Tate Collection: first contact with The Dynamic Eye
Tate Collection: first contact with The Dynamic Eye
Topic:
Work
Year:
15 April 2024
Replicating movement in optical and kinetic art
The Dynamic Eye Series marked ADVERSA's first sustained intervention around works from the Tate Collection, responding to The Dynamic Eye: Beyond Optical and Kinetic Art during its presentation at the Atkinson Museum in Porto.
The exhibition brought together more than 100 works by over 63 artists from more than 21 countries. At its centre were experiments in optical and kinetic art, particularly those developed during the 1950s and 1960s, when artists began working more directly with mathematics, colour theory, scientific research and emerging technologies.
Many of these works depend on the viewer. Movement, light and changing points of view affect what can be seen, turning perception itself into part of the work.
ADVERSA responded by producing visual reinterpretations of more than twenty pieces from the exhibition. Conceptual photography by Magna Araújo Amorim and Tiago Bastos Nunes revisited works from the Tate Collection through contemporary imaging tools, focusing on light, depth, movement and perception.
The series included responses to Julio Le Parc's Sphère Bleue, Monir Shahroudy Farmanfarmaian's Pentagon and François Morellet's Random Distribution of 40,000 Squares Using the Odd and Even Numbers of a Telephone Directory. The photographs approached these works through another technological moment. Pieces shaped by the tools and visual experiments of the twentieth century were photographed and reinterpreted through devices that belong to the present.
The Dynamic Eye Series grew from something already present in the original works.
Other articles
S.1
Tate Collection: first contact with The Dynamic Eye
Tate Collection: first contact with The Dynamic Eye
Topic:
Work
Year:
15 April 2024
Replicating movement in optical and kinetic art
The Dynamic Eye Series marked ADVERSA's first sustained intervention around works from the Tate Collection, responding to The Dynamic Eye: Beyond Optical and Kinetic Art during its presentation at the Atkinson Museum in Porto.
The exhibition brought together more than 100 works by over 63 artists from more than 21 countries. At its centre were experiments in optical and kinetic art, particularly those developed during the 1950s and 1960s, when artists began working more directly with mathematics, colour theory, scientific research and emerging technologies.
Many of these works depend on the viewer. Movement, light and changing points of view affect what can be seen, turning perception itself into part of the work.
ADVERSA responded by producing visual reinterpretations of more than twenty pieces from the exhibition. Conceptual photography by Magna Araújo Amorim and Tiago Bastos Nunes revisited works from the Tate Collection through contemporary imaging tools, focusing on light, depth, movement and perception.
The series included responses to Julio Le Parc's Sphère Bleue, Monir Shahroudy Farmanfarmaian's Pentagon and François Morellet's Random Distribution of 40,000 Squares Using the Odd and Even Numbers of a Telephone Directory. The photographs approached these works through another technological moment. Pieces shaped by the tools and visual experiments of the twentieth century were photographed and reinterpreted through devices that belong to the present.
The Dynamic Eye Series grew from something already present in the original works.
Other articles
S.1
Tate Collection: first contact with The Dynamic Eye
Tate Collection: first contact with The Dynamic Eye
Topic:
Work
Year:
15 April 2024
Replicating movement in optical and kinetic art
The Dynamic Eye Series marked ADVERSA's first sustained intervention around works from the Tate Collection, responding to The Dynamic Eye: Beyond Optical and Kinetic Art during its presentation at the Atkinson Museum in Porto.
The exhibition brought together more than 100 works by over 63 artists from more than 21 countries. At its centre were experiments in optical and kinetic art, particularly those developed during the 1950s and 1960s, when artists began working more directly with mathematics, colour theory, scientific research and emerging technologies.
Many of these works depend on the viewer. Movement, light and changing points of view affect what can be seen, turning perception itself into part of the work.
ADVERSA responded by producing visual reinterpretations of more than twenty pieces from the exhibition. Conceptual photography by Magna Araújo Amorim and Tiago Bastos Nunes revisited works from the Tate Collection through contemporary imaging tools, focusing on light, depth, movement and perception.
The series included responses to Julio Le Parc's Sphère Bleue, Monir Shahroudy Farmanfarmaian's Pentagon and François Morellet's Random Distribution of 40,000 Squares Using the Odd and Even Numbers of a Telephone Directory. The photographs approached these works through another technological moment. Pieces shaped by the tools and visual experiments of the twentieth century were photographed and reinterpreted through devices that belong to the present.
The Dynamic Eye Series grew from something already present in the original works.
Other articles
S.1