The Dallas Museum of Art’s ‘Movement’ Explores the Evolution of Kinetics – NBC 5 Dallas-Fort Worth
Experiencing kinetic art is as easy as turning on a light bulb at the Dallas Museum of Art’s immersive exhibit, Movement: the legacy of kineticsnow visible until July 16.
Visitors enter the exhibition by browsing the 2006 installation by Brazilian artist Valeska Soares Vagalume (Firefly)a series of hanging light bulbs that customers can turn on and off by pulling one of hundreds of pull strings.
“It’s an amazing experiential piece of art that captures a childlike imagination. She was really inspired by just turning the light on and off as a child and the flickering it created like a firefly. But it was also playing with the historical legacy of art in Brazil,” said Dr. Anna Katherine Brodbeck, Senior Curator of Hoffman Family Contemporary Art at the museum and organizer of this exhibition.
The installation is one of 80 works in the collection of the Dallas Museum of Art that uses optical effects of mechanical or manipulable parts to engage the viewer physically or perceptually. By combining two-dimensional paintings, three-dimensional sculptures, projections and interactive objects, the exhibition presents works of art from three historical periods spanning a century.
“This exhibition shows how artists working today have been influenced by the long heritage of dynamic abstraction,” Brodbeck said. “What was so exciting about this exhibition is that it’s actually an opportunity for us to preview works that have been in the collection for many years and that we haven’t been able to show. .”
A gallery sets historical precedents rooted in the early 20th century avant-garde movements of Suprematism, Constructivism and DeStijl when artists used geometric abstraction to alter the relationship between art and viewer. The works of Piet Mondrian and El Lissitzky demonstrate the innovative thinking of this era that will inspire artists for decades to come.
“We were really interested in going back to the 1920s and 1920s when artists were really interested in the revolutionary potential of geometry and abstraction. And they were also very interested in the influence of technology,” Brodbeck said. “They saw art almost dissolving into everyday life.”
Inspired by Alexander Calder, George Rickey frequently used motors to mechanize his mobiles. Its colorful mobile named after the United Nations building in New York, UN II, is distinctly different due to its lack of a motor.
“This piece moves when there’s airflow,” Brodbeck said.
Tomás Saraceno combines the activities of his favorite insect, science and technology to create ring the air. Fascinated by the way spiders navigate space in a “hot air balloon” or floating on air currents, Saraceno recreates the phenomenon using a computer-generated soundtrack based on the ethereal movement of the gallery’s surroundings. and what looks like a very thin thread.
“It’s actually spider silk what you see,” Brodbeck said, adding that the museum has spools of spider silk in case it breaks. “He really takes a look at all kinds of invisible energies that surround us and creates a visual element of that.”
A small zen sculpture+ and -, by Mona Hatoum depicts a pattern of accumulation and destruction with a blade continually cutting through the sand, shaping, erasing and then reshaping hypnotic patterns. Born into a Palestinian family in Beirut, the artist explores loss, memory and displacement.
“The idea of moving boundaries has a very poetic resonance in this work,” Brodbeck said.
by Ricci Albenda Panoramic annex is the ultimate optical illusion, using a video projector to silently reshape a gallery. The spotlight pans the neutral space continuously, creating a subtle yet surprising change.
“He was really interested in creating an extension of the room that people were supposed to stumble upon,” Brodbeck said.
The exhibition ends with jewelry from designers who have integrated mechanical and interactive elements into their creations. When worn, jewelry moves.
“A lot of these artists were really interested in working across disciplines and dissolving art into everyday life and there’s no better example of that than wearable art,” Brodbeck said.
Learn more: Dallas Museum of Art