MCR: What do you mean when you speak of inaccurate interpretations of the term “kinetic”?
CCD: The term has—almost universally—come to symbolize banalities such as something that moves; a small object with a little motor that creates optical effects in a work of art. That perception of “kinetic” has nothing to do with a new concept of art that I and other artists in this movement decided to develop, confronting the hegemonic trends of the time. In our case, the concept of “the kinetic” prompted us to redefine the notion of art itself, that is, “art,” surely, but understood in terms of exploring other creative avenues, and the role of art in society. Our proposal, in other words, was to abandon painting’s discourse and turn away from what had already been exhausted in search of new horizons. Contributions from each of those kinetic artists went far beyond little gadgets that moved. I repeat: Their contributions represent far more profound “concepts” that have nothing to do with ridiculous interpretations of what simply moves, or with a pattern of small lines, or some little lights that turn on and off. The banality of that shallow assessment is what I reject.
Carlos Cruz-Diez, Color in Space and Time, Houston 2011, p. 220.
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