Birmania

Arcobaleno mattutino

A sostegno dei nostri amici incredibilmente coraggiosi in Birmania: venerdì 28 settembre indossiamo tutti quanti, in tutto il mondo, una maglietta rossa.
GRAZIE!

A. Calder - National Gallery, Washington

A. Calder
National Gallery, Washington

Most of Calder's constructions are not imitative of nature; I know no less deceptive art than his. Sculpture suggests movement, painting suggests depth or light. A "mobile" does not "suggest" anything: it captures genuine living movements and shapes them. "Mobiles" have no meaning, make you think of nothing but themselves. They are, that is all; they are absolutes. There is more of the unpredictable about them than in any other human creation. No human brain, not even their creator's, could possibly foresee all the complex combinations of which they are capable. A general destiny of movement is sketched for them, and then they are left to work it out for themselves. What they may do at a given moment will be determined by the time of day, the sun, the temperature or the wind. The object is thus always half way between the servility of a statue and the independence of natural events; each of its evolutions is the inspiration of a moment. It may be possible to discern the composer's theme, but the mechanism itself introduces a thousand personal variations. It is a fleeting snatch of swing music, evanescent as the sky or the morning: if you miss it, you have lost it forever. Valery said of the sea that it is a perpetual recommencement. A "mobile" is in this way like the sea, and is equally enchanting: forever re-beginning, forever new. No use throwing it a passing glance, you must live with it and be fascinated by it. Then and only then will you feel the beauty of its pure and changing forms, at once so free and so disciplined.

"The Mobiles of Calder" by Jean-Paul Sartre