Kinetic multiples: between industrial vocation and handcraft solutions

Autores
Plante, Isabel
Año de publicación
2019
Idioma
inglés
Tipo de recurso
documento de conferencia
Estado
versión publicada
Descripción
In the 1960s, kineticism attracted a wide audience and exhibitions of kinetic art drew large crowds, apparently fulfilling the most ambitious objective of the avant-garde: to integrate art and life. Some kinetic objects were made in series: the idea of multiples was at the core of these artists strategies of demystifying art objects by avoiding the uniqueness fetish. The idea of an industrial production of kinetic multiples made it possible to imagine the extension to a wider audience of the optically destabilizing effects of the visual artifacts. This paper analyzes kinetic multiples as an artistic production that discovered its limits and contradictions amid arguments about culture, standardization, and consumption around 1968.
Fil: Plante, Isabel. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de San Martín. Centro de Investigaciones en Arte y Patrimonio. - Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Centro de Investigaciones en Arte y Patrimonio; Argentina
Proceedings from the meeting organized by the Getty Conservation Institute
Milán
Italia
The Getty Conservation Institute
Materia
Kinetic art
Multiples
Paris
Cultural consumption
Nivel de accesibilidad
acceso abierto
Condiciones de uso
https://creativecommons.org/licenses/by/2.5/ar/
Repositorio
CONICET Digital (CONICET)
Institución
Consejo Nacional de Investigaciones Científicas y Técnicas
OAI Identificador
oai:ri.conicet.gov.ar:11336/179661
Acceder
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network_name_str CONICET Digital (CONICET)
spelling Kinetic multiples: between industrial vocation and handcraft solutionsPlante, IsabelKinetic artMultiplesParisCultural consumptionhttps://purl.org/becyt/ford/6.4https://purl.org/becyt/ford/6In the 1960s, kineticism attracted a wide audience and exhibitions of kinetic art drew large crowds, apparently fulfilling the most ambitious objective of the avant-garde: to integrate art and life. Some kinetic objects were made in series: the idea of multiples was at the core of these artists strategies of demystifying art objects by avoiding the uniqueness fetish. The idea of an industrial production of kinetic multiples made it possible to imagine the extension to a wider audience of the optically destabilizing effects of the visual artifacts. This paper analyzes kinetic multiples as an artistic production that discovered its limits and contradictions amid arguments about culture, standardization, and consumption around 1968.Fil: Plante, Isabel. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de San Martín. Centro de Investigaciones en Arte y Patrimonio. - Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Centro de Investigaciones en Arte y Patrimonio; ArgentinaProceedings from the meeting organized by the Getty Conservation InstituteMilánItaliaThe Getty Conservation InstituteThe Getty Conservation Institute2019info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/conferenceObjectReuniónBookhttp://purl.org/coar/resource_type/c_5794info:ar-repo/semantics/documentoDeConferenciaapplication/pdfapplication/pdfapplication/pdfhttp://hdl.handle.net/11336/179661Kinetic multiples: between industrial vocation and handcraft solutions; Proceedings from the meeting organized by the Getty Conservation Institute; Milán; Italia; 2016; 1-18978-1-60606-537-2CONICET DigitalCONICETenginfo:eu-repo/semantics/altIdentifier/url/https://www.getty.edu/publications/keepitmoving/theoretical-issues/13-plante/Internacionalinfo:eu-repo/semantics/openAccesshttps://creativecommons.org/licenses/by/2.5/ar/reponame:CONICET Digital (CONICET)instname:Consejo Nacional de Investigaciones Científicas y Técnicas2025-09-29T09:56:43Zoai:ri.conicet.gov.ar:11336/179661instacron:CONICETInstitucionalhttp://ri.conicet.gov.ar/Organismo científico-tecnológicoNo correspondehttp://ri.conicet.gov.ar/oai/requestdasensio@conicet.gov.ar; lcarlino@conicet.gov.arArgentinaNo correspondeNo correspondeNo correspondeopendoar:34982025-09-29 09:56:44.133CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicasfalse
dc.title.none.fl_str_mv Kinetic multiples: between industrial vocation and handcraft solutions
title Kinetic multiples: between industrial vocation and handcraft solutions
spellingShingle Kinetic multiples: between industrial vocation and handcraft solutions
Plante, Isabel
Kinetic art
Multiples
Paris
Cultural consumption
title_short Kinetic multiples: between industrial vocation and handcraft solutions
title_full Kinetic multiples: between industrial vocation and handcraft solutions
title_fullStr Kinetic multiples: between industrial vocation and handcraft solutions
title_full_unstemmed Kinetic multiples: between industrial vocation and handcraft solutions
title_sort Kinetic multiples: between industrial vocation and handcraft solutions
dc.creator.none.fl_str_mv Plante, Isabel
author Plante, Isabel
author_facet Plante, Isabel
author_role author
dc.subject.none.fl_str_mv Kinetic art
Multiples
Paris
Cultural consumption
topic Kinetic art
Multiples
Paris
Cultural consumption
purl_subject.fl_str_mv https://purl.org/becyt/ford/6.4
https://purl.org/becyt/ford/6
dc.description.none.fl_txt_mv In the 1960s, kineticism attracted a wide audience and exhibitions of kinetic art drew large crowds, apparently fulfilling the most ambitious objective of the avant-garde: to integrate art and life. Some kinetic objects were made in series: the idea of multiples was at the core of these artists strategies of demystifying art objects by avoiding the uniqueness fetish. The idea of an industrial production of kinetic multiples made it possible to imagine the extension to a wider audience of the optically destabilizing effects of the visual artifacts. This paper analyzes kinetic multiples as an artistic production that discovered its limits and contradictions amid arguments about culture, standardization, and consumption around 1968.
Fil: Plante, Isabel. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de San Martín. Centro de Investigaciones en Arte y Patrimonio. - Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Centro de Investigaciones en Arte y Patrimonio; Argentina
Proceedings from the meeting organized by the Getty Conservation Institute
Milán
Italia
The Getty Conservation Institute
description In the 1960s, kineticism attracted a wide audience and exhibitions of kinetic art drew large crowds, apparently fulfilling the most ambitious objective of the avant-garde: to integrate art and life. Some kinetic objects were made in series: the idea of multiples was at the core of these artists strategies of demystifying art objects by avoiding the uniqueness fetish. The idea of an industrial production of kinetic multiples made it possible to imagine the extension to a wider audience of the optically destabilizing effects of the visual artifacts. This paper analyzes kinetic multiples as an artistic production that discovered its limits and contradictions amid arguments about culture, standardization, and consumption around 1968.
publishDate 2019
dc.date.none.fl_str_mv 2019
dc.type.none.fl_str_mv info:eu-repo/semantics/publishedVersion
info:eu-repo/semantics/conferenceObject
Reunión
Book
http://purl.org/coar/resource_type/c_5794
info:ar-repo/semantics/documentoDeConferencia
status_str publishedVersion
format conferenceObject
dc.identifier.none.fl_str_mv http://hdl.handle.net/11336/179661
Kinetic multiples: between industrial vocation and handcraft solutions; Proceedings from the meeting organized by the Getty Conservation Institute; Milán; Italia; 2016; 1-18
978-1-60606-537-2
CONICET Digital
CONICET
url http://hdl.handle.net/11336/179661
identifier_str_mv Kinetic multiples: between industrial vocation and handcraft solutions; Proceedings from the meeting organized by the Getty Conservation Institute; Milán; Italia; 2016; 1-18
978-1-60606-537-2
CONICET Digital
CONICET
dc.language.none.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv info:eu-repo/semantics/altIdentifier/url/https://www.getty.edu/publications/keepitmoving/theoretical-issues/13-plante/
dc.rights.none.fl_str_mv info:eu-repo/semantics/openAccess
https://creativecommons.org/licenses/by/2.5/ar/
eu_rights_str_mv openAccess
rights_invalid_str_mv https://creativecommons.org/licenses/by/2.5/ar/
dc.format.none.fl_str_mv application/pdf
application/pdf
application/pdf
dc.coverage.none.fl_str_mv Internacional
dc.publisher.none.fl_str_mv The Getty Conservation Institute
publisher.none.fl_str_mv The Getty Conservation Institute
dc.source.none.fl_str_mv reponame:CONICET Digital (CONICET)
instname:Consejo Nacional de Investigaciones Científicas y Técnicas
reponame_str CONICET Digital (CONICET)
collection CONICET Digital (CONICET)
instname_str Consejo Nacional de Investigaciones Científicas y Técnicas
repository.name.fl_str_mv CONICET Digital (CONICET) - Consejo Nacional de Investigaciones Científicas y Técnicas
repository.mail.fl_str_mv dasensio@conicet.gov.ar; lcarlino@conicet.gov.ar
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score 13.070432

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