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Skulptūra-"Hole Zero + Timeless Kinetic Art Sculpture"

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Skulptūra-"Hole Zero + Timeless Kinetic Art Sculpture"

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Öznur Pınar.

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Detail of an Strandbeest - Theo Jansen - Google Arts & Culture

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The Animaris Rigide Properans was a robust, fast-moving propeller animal that walked sideways like a crab

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David C. Roy.

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Sundancer - Miles Addison Pepper - Google Arts & Culture

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This stainless steel kinetic wind sculpture has airplane-like components and a striped mounting pole that reflect the nearby airport runway at the Airport ...

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four white discs red rubber - Alexander Calder - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Alytaus rajono valdžia skulptūrą pirko internetu iš Kinijos: nerado tinkamo lietuvių menininko

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Alytaus rajono valdininkai didžiuojasi internetiniu pirkiniu - iš Kinijos atkeliavusia kinetine skulptūra, kuri papuošė Giluičio ežero pakrantę. Savivaldybės architektas Edvardas Minkevičius atskleidė, kad Lietuvoje nerado tinkamo menininko ir pabrėžė: „Teigti, kad masinės produkcijos daiktai neturi jokios meninės vertės, būtų gan netikslu ir mėgėjiška." Internetu nupirktos dvi skulptūros atsiėjo kone 12 tūkstančių eurų.

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KINETINIS MENAS ( gr. kinētós - judantis, judrus < kinéō - judinu), vėlyvojo modernizmo kryptis, artima opdailei. Siekiama įveikti kūrinio statiką, paversti jį judančiu erdvėje ir laike. Dinamiška kompozicija kuriama dvejopomis priemonėmis: iliuzinėmis (pagrįstomis optikos dėsniais) ir mechaninėmis (pagrįstomis gamtos jėgų arba spec. prietaisų veikimu).

Ž.Tinkveli. Santana. 1966

Iš rusų konstruktyvizmo (A.Rodčenko, N.Gabo) kilusi dailės forma, iškelianti judėjimą kaip kūrybos principą. Terminą pirmą kartą pavartojo Naumas Gabo (tikr. Naum Nehemia Pevsner ) ir jo brolis Antuanas Pevsneris (Antoine Pevsner) „ Realistiniame manifeste" (1920 m.).

Užuomazgų būta futurizmo, orfizmo, konstruktyvizmo, siurrealizmo dailėje.

N.Gabo. Linijų konstrukcija 4

Kinetiniais dailės kūriniais laikomos tiek mechaniškai, tiek magnetu judinamos skulptūros, tiek oro dvelksmo virpinamos mobilios konstrukcijos.

Ž.Tinkveli. "Méta-Harmonie II". 1979 m.

Mobiliai, judantys nesistemiškai ir be mechaninės jėgos, buvo išrasti dviejų menininkų: A.Rodčenkos, o po poros metų ištobulinta amerikiečio Aleksandro Kolderio (Alexander Calder).
Jo skulptūros - ant svirtelių sunertos abstrakčios kompozicijos, kurios nuo menkiausio oro virpesio juda.
A.Kolderis. Mėlynos plunksnos. 1948 m.

Kinetinis menas susiformavo 20 a. 6-7 dešimtmečiais. Nutapyta kintančio vaizdo paveikslų, sukurta judančių trimačių konstrukcijų. Prancūzijoje kinetinio meno principus plėtojo Vizualinio meno tyrinėjimų grupė (Groupe de Recherche d'Art Visuel, GRAV, 1960-68 m.), Vokietijoje - „ Zero"(1957-60 m.), Italijoje - grupės „ T" (1959-66 m.) ir „ N" (1960-64 m.).

Ž.Tinkveli. Fontano kinetinė skulptūra. Paryžius

1965 Paryžiuje surengta pirmoji kinetinio meno paroda „Judėjimas" („Le Mouvement"). Žymesni dail.: Jakovas Agamas (Yaacov Agam), Žanas Tinkveli (Jean Tinguely), Giunteris Ulkeris (Gūnther Uecker), Viktoras Vazarelis (Victor Vasarely) .

A.Kolderis. Raudonų lelijų padėklai. 1956 m.

A.Kolderio mobilios skulptūros

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Trimačiai kinetiniai meno objektai teikė menininkams daugiau pasirinkimo galimybių

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KINETINIS MENAS ( gr. kinētós - judantis, judrus < kinéō - judinu), vėlyvojo modernizmo kryptis, artima opdailei. Siekiama įveikti kūrinio statiką, paversti jį judančiu erdvėje ir laike. Dinamiška kompozicija kuriama dvejopomis priemonėmis: iliuzinėmis (pagrįstomis optikos dėsniais) ir mechaninėmis (pagrįstomis gamtos jėgų arba spec. prietaisų veikimu). Ž.Tinkveli. Santana.

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Term applied to works of art concerned with real and apparent movement. It may encompass machines, mobiles and light objects in actual motion; more broadly, it also includes works in virtual or apparent movement, which could be placed under the denomination of Op Art. Kinetic art originated between 1913 and 1920, when a few isolated figures such as Marcel Duchamp, Vladimir Tatlin and Naum Gabo conceived their first works and statements to lay stress on mechanical movement. At about the same time Tatlin, Aleksandr Rodchenko and Man Ray constructed their first mobiles, and Thomas Wilfred and Adrian Bernard Klein, with Ludwig Hirschfeld-Mack and Kurt Schwerdtfeger at the Bauhaus, began to develop their colour organs and projection techniques in the direction of an art medium consisting of light and movement (1921-3). Although László Moholy-Nagy and Alexander Calder pursued more or less continuous artistic research into actual motion in the 1920s and 1930s, it was only after 1950 that the breakthrough into kinetic art, and its subsequent expansion, finally took place.

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Term applied to works of art concerned with real and apparent movement. It may encompass machines, mobiles and light objects in actual motion; more broadly, it also includes works in virtual or apparent movement, which could be placed under the denomination of Op Art.

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Surasti 3 kinetinės skulptūros pavyzdžius ir aprašyti, kokia energija veikia judančias skulptūros dalis. 

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Surasti 3 kinetinės skulptūros pavyzdžius ir aprašyti, kokia energija veikia judančias skulptūros dalis. 

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Term applied to works of art concerned with real and apparent movement. It may encompass machines, mobiles and light objects in actual motion; more broadly, it also includes works in virtual or apparent movement, which could be placed under the denomination of Op Art. Kinetic art originated between 1913 and 1920, when a few isolated figures such as Marcel Duchamp, Vladimir Tatlin and Naum Gabo conceived their first works and statements to lay stress on mechanical movement. At about the same time Tatlin, Aleksandr Rodchenko and Man Ray constructed their first mobiles, and Thomas Wilfred and Adrian Bernard Klein, with Ludwig Hirschfeld-Mack and Kurt Schwerdtfeger at the Bauhaus, began to develop their colour organs and projection techniques in the direction of an art medium consisting of light and movement (1921-3). Although László Moholy-Nagy and Alexander Calder pursued more or less continuous artistic research into actual motion in the 1920s and 1930s, it was only after 1950 that the breakthrough into kinetic art, and its subsequent expansion, finally took place.

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Term applied to works of art concerned with real and apparent movement. It may encompass machines, mobiles and light objects in actual motion; more broadly, it also includes works in virtual or apparent movement, which could be placed under the denomination of Op Art.

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Alexander Calder at Tate Modern on The Art Channel

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Kinetic Sculpture - Art-O-Motion - Lesson Plan

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We'll show you how to make a simple kinetic sculpture that is so fun to build and play with that your students won't realize they are learning basic design principles and physics. For a pdf version of this lesson plan along with a materials list, please go to: http://www.dickblick.com/lesson-plans/art-o-motion-mechanical-sculpture/.

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STEM At Home Episode #7: Building a kinetic sculpture

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Art Lessons with Rossi: How to make a Mobile

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The Art of Movement: Alexander Calder, George Rickey & Tim Prentice

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"Alexander Calder: Multum in Parvo" at Dominique Lévy Gallery

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Hábitat Hidroespacial, Maqueta E from La Ciudad Hidroespacial (The Hydrospatial City) - Gyula Kosice - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Detail of an Strandbeest - Theo Jansen - Google Arts & Culture

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The Animaris Rigide Properans was a robust, fast-moving propeller animal that walked sideways like a crab

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Observe the wings throughout its structure. The Plaudens Vela can walk in low wind conditions because it has many wings. If the wind blows parallel to the coast, Plaudens Vela can walk for a long time.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

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Animaris Plaudens Vela - Theo Jansen - Google Arts & Culture

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Observe the wings throughout its structure. The Plaudens Vela can walk in low wind conditions because it has many wings. If the wind blows parallel to the coast, Plaudens Vela can walk for a long time. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more Recommended

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Constelaciones No. 1 from La Ciudad Hidroespacial (The Hydrospatial City) - Gyula Kosice - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Tokio pat pavyzdžio kaip mano nedėk, surask kitą.

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Red, Yelloe and Blue Gongs - Alexander Calder - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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four white discs red rubber - Alexander Calder - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Between the 1920s and '30s, Calder regularly made long study and work trips to Paris, where he began to participate in the Abstraction-Création group. Finally, in 1932, at the Galleria Vignon - owned by Marie Cuttolì, an avant-garde collector - he exhibited for the first time, presenting thirty mobile works that were to pave the way for other mobiles to come. Fifteen of these were operated artificially by motors and others were composed of naturally oscillating parts. Later constructions often had supports or were suspended in the air, and were normally composed of painted metal sheets joined by a metal skeleton of slender veins and stems. Apparently it was Marcel Duchamp, on a visit to the exhibition by his American friend, who gave their name to these graceful, floating structures, which could catch the slightest change in the breeze, in stark contrast to the basic characteristics of traditional sculpture - gravity and stability. The Parisian context and close interest of the avant-guard led to the mechanical and biomorphic nature of these works being associated with the organic motifs of the surrealist painting and sculpture of Jean Mirò and Jean Arp. The Dadaist legacy of interest in movement, better still if unpredictable and casual in its effects and forms, which Calder combined with a preference for abstract and heavily stylised language, was stimulated by attention towards primitive cultures, which for the artist essentially meant the ethnic heritage of Native Americans, encountered while wandering around the United States in his youth. These influences spawned abstract anatomies, like this large Red Mobile, always in movement with a calculated balance, aimed at creating a visual equivalent of the harmonious yet unpredictable activity of nature.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

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Red Mobile - Alexander Calder - Google Arts & Culture

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Between the 1920s and '30s, Calder regularly made long study and work trips to Paris, where he began to participate in the Abstraction-Création group. Fina...

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This kinetic wind sculpture demonstrates the highly complex movements of simple shapes and components.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

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Two Open Rectangles, Eccentric Variation VII - Triangular Section - George Rickey - Google Arts & Culture

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This kinetic wind sculpture demonstrates the highly complex movements of simple shapes and components. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more Recommended

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Hábitat Hidroespacial, Maqueta N from La Ciudad Hidroespacial (The Hydrospatial City) - Gyula Kosice - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Tokio pat pavyzdžio kaip mano nedėk, surask kitą.

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Red, Yelloe and Blue Gongs - Alexander Calder - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Alytaus rajono valdžia skulptūrą pirko internetu iš Kinijos: nerado tinkamo lietuvių menininko

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Alytaus rajono valdininkai didžiuojasi internetiniu pirkiniu - iš Kinijos atkeliavusia kinetine skulptūra, kuri papuošė Giluičio ežero pakrantę. Savivaldybės architektas Edvardas Minkevičius atskleidė, kad Lietuvoje nerado tinkamo menininko ir pabrėžė: „Teigti, kad masinės produkcijos daiktai neturi jokios meninės vertės, būtų gan netikslu ir mėgėjiška." Internetu nupirktos dvi skulptūros atsiėjo kone 12 tūkstančių eurų.

# data[].attributes.attachment_link.readable_text
Between the 1920s and '30s, Calder regularly made long study and work trips to Paris, where he began to participate in the Abstraction-Création group. Finally, in 1932, at the Galleria Vignon - owned by Marie Cuttolì, an avant-garde collector - he exhibited for the first time, presenting thirty mobile works that were to pave the way for other mobiles to come. Fifteen of these were operated artificially by motors and others were composed of naturally oscillating parts. Later constructions often had supports or were suspended in the air, and were normally composed of painted metal sheets joined by a metal skeleton of slender veins and stems. Apparently it was Marcel Duchamp, on a visit to the exhibition by his American friend, who gave their name to these graceful, floating structures, which could catch the slightest change in the breeze, in stark contrast to the basic characteristics of traditional sculpture - gravity and stability. The Parisian context and close interest of the avant-guard led to the mechanical and biomorphic nature of these works being associated with the organic motifs of the surrealist painting and sculpture of Jean Mirò and Jean Arp. The Dadaist legacy of interest in movement, better still if unpredictable and casual in its effects and forms, which Calder combined with a preference for abstract and heavily stylised language, was stimulated by attention towards primitive cultures, which for the artist essentially meant the ethnic heritage of Native Americans, encountered while wandering around the United States in his youth. These influences spawned abstract anatomies, like this large Red Mobile, always in movement with a calculated balance, aimed at creating a visual equivalent of the harmonious yet unpredictable activity of nature.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

Recommended

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Red Mobile - Alexander Calder - Google Arts & Culture

# data[].attributes.attachment_link.description
Between the 1920s and '30s, Calder regularly made long study and work trips to Paris, where he began to participate in the Abstraction-Création group. Finally, in 1932, at the Galleria Vignon - owned by Marie Cuttolì, an avant-garde collector - he exhibited for the first time, presenting thirty mobile works that were to pave the way for other mobiles to come.

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Hábitat Hidroespacial, Maqueta N from La Ciudad Hidroespacial (The Hydrospatial City) - Gyula Kosice - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

# data[].attributes.attachment_link.title
Detail of an Strandbeest - Theo Jansen - Google Arts & Culture

# data[].attributes.attachment_link.description
The Animaris Rigide Properans was a robust, fast-moving propeller animal that walked sideways like a crab

# data[].attributes.attachment_link.readable_text
Between the 1920s and '30s, Calder regularly made long study and work trips to Paris, where he began to participate in the Abstraction-Création group. Finally, in 1932, at the Galleria Vignon - owned by Marie Cuttolì, an avant-garde collector - he exhibited for the first time, presenting thirty mobile works that were to pave the way for other mobiles to come. Fifteen of these were operated artificially by motors and others were composed of naturally oscillating parts. Later constructions often had supports or were suspended in the air, and were normally composed of painted metal sheets joined by a metal skeleton of slender veins and stems. Apparently it was Marcel Duchamp, on a visit to the exhibition by his American friend, who gave their name to these graceful, floating structures, which could catch the slightest change in the breeze, in stark contrast to the basic characteristics of traditional sculpture - gravity and stability. The Parisian context and close interest of the avant-guard led to the mechanical and biomorphic nature of these works being associated with the organic motifs of the surrealist painting and sculpture of Jean Mirò and Jean Arp. The Dadaist legacy of interest in movement, better still if unpredictable and casual in its effects and forms, which Calder combined with a preference for abstract and heavily stylised language, was stimulated by attention towards primitive cultures, which for the artist essentially meant the ethnic heritage of Native Americans, encountered while wandering around the United States in his youth. These influences spawned abstract anatomies, like this large Red Mobile, always in movement with a calculated balance, aimed at creating a visual equivalent of the harmonious yet unpredictable activity of nature.

Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more

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Red Mobile - Alexander Calder - Google Arts & Culture

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Between the 1920s and '30s, Calder regularly made long study and work trips to Paris, where he began to participate in the Abstraction-Création group. Fina...

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Constelaciones No. 6 from La Ciudad Hidroespacial (The Hydrospatial City) - Gyula Kosice - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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https://artsandculture.google.com/asset/opticar-structure-martha-boto/FQGV4l-FQ6KiBw

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Opticar Structure - Martha Boto - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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Kinetinė skulptūra. Paslaptingas judesys 

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Kinetinė skulptūra. Paslaptingas judesys 

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Mano kinetinės spalvingos skulptūros pavadinimas "Paslaptingas judesys". Tai skulptūra su paslaptimi. Iš pirmo žvilgsnio ji atrodo nejudanti, stabili, bet palietus ranka galima sukurti paslaptingą judesį.

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https://artsandculture.google.com/asset/four-white-discs-red-rubber-alexander-calder/mgGcrdyxuJYdrA

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four white discs red rubber - Alexander Calder - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Mano idėja buvo atskleisti ir parodyti jautrumo bruožus. Stengiausi erdvėje pavaizduoti kaip veikia jausmai ir kaip skulptūra gali keisti savo formą bei būsena, panašiai kaip žmogus. Šiai skulptūrai naudojau vielą ir kinetine energiją. Jos esmė įrodyti, kad įmanoma manipuliuoti skulptūra ir jausmus, kaip tik nori.

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Mano skulptūros idėja buvo parodyti kitą pusią gravitacijos. T.y pavaizduoti, kad gravitacija nėra tik kažkas kas juda, bet gali ir parodyti jausmą bei norą. Manau, kad skulptūra nėra tik meno kūrinys. Ji gali būti daug daugiau. Šios skulptūros idėja - parodyti jausmus, ką man reiškia pasimesti, bijoti ar net pabėgti. Kinetinė energija atsiranda pajudinus vieną ar kitą skulptūros dalį.

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Mano skulptūros ,,Bėgantis laikas" idėja kilo iš lėtai bėgančio laiko per visus praėjusius sunkius metus, kuriuos praleidome karantine.

Kinetinė energija atsiranda pajudinus vieną ar kitą skulptūros dalį.

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Šios mano skulptūros įdėja buvo parodyti kaip atrodo susimaišiusios mintys nuo kasdienių darbų, sprendimų, galvojimo ar netgi jausmų. Taip aš matau savo "susimaišiusias" mintis ir noriu tai perteikti kitiems, kad jie pamatytų gyvai kas dedasi žmogaus galvoje.
Kinetinė energija vyksta kai pajudinus vieną skulptūros dalį atsiranda judėjimas.

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Savo mintyse turėjau žodį jausmai.
Norėjau, kad paprastas žmogus pamates mano skulptūrą pajaustu skirtingus jausmus.
Manau, kad mano ir mano klasės draugų darbai gali įrodyti, kad fizikos mokslas nebūtinai turi būti vien skaičiai ir formulės tai gali buti paversta į kitokią formą-meną.

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Mano kinetinės skulptūros ,,Kubai širdyje" idėja, kad kiekvienas kubas yra langas į atsiminimus ir momentus su artimais ir mylimais žmonėmis. Kiekvienas kubų pastūmimas atveria langą į skirtingą praeitį.

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Ši skulptūra yra skirta priminti visiems pavasario jausmą, spalvoti kiaušiniai simbolizuoja Velykas, o pats judesys rodo šventės linksmumą.

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https://artsandculture.google.com/asset/dibujo-para-la-revista-dyn-dyn-3-otono-1942-alexander-calder/hwHREquV7w0oOg?avm=4

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Dibujo para la revista DYN (DYN 3, otono 1942) - Alexander Calder - Google Arts & Culture

# data[].attributes.attachment_link.description
Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Man ši idėja kilo galvojant apie planetas ir jų grožį. Jos visos skirtingos, bet panašios tuo pačiu metu. Aš sugalvojau jas daryti skirtingų dydžių, bet monochromiškas (juoda ir balta). Manau, kad tos spalvos turi daugiausia prieštaringų kontrastingų jausmų ir emocijų. Ši kinetinė skulptūra juda nuo lengviausio vėjo papūtimo. Tuo norėjau parodyti fizikos įdomumą.

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-Putplasčio burbulukai (skirtingų dydžių );
-Purškiamieji dažai ( juodi ) ;
-Baltas akrilas ;
-Balta plalstikinė juostelė ;
-Juodas plonas siūlas ;
-Plona viela;
-Pagaliukai.