קטלוג תערוכת העפיפונים - page 204

PLAYING WITH THE WIND
לשחק עם הרוח ‹
202
film
Circus
while manipulating his figurines, thus erasing the
boundaries between art and games.
The argument that toys are part of art has also been
supported by the Bauhaus in Weimar: “Play becomes
festivity, festivity becomes work, work becomes play,”
Johannes Itten used to say. Thus, every fall kites were
created in a wide range of sizes and shapes in the Bauhaus
studios. As far as I know none of these kites survived;
we only have posters for each year of the Kite Festival,
such as the one drawn by Oskar Schlemmer, and several
photographs. According to the artists’ records, following a
large parade in the city streets, they walked up the hill to fly
their works of art alongside hundreds of children’s kites.
Thirty years later Charles and Ray Eames would fly their
kites in Bideford every summer. They had a passion for toys,
toy trains, spinning tops and… kites. In the films devoted to
their home, one can see on the walls of this mythic place
several items from their kite collection: a Chinese centipede
and several traditional kites, either Chinese or Japanese.
But what really reflects their love for kites is the famous
collage published in 1950 on the cover of the
Portfolio
magazine which dedicated to them a 14-page article. The
caption reads: “Charles Eames design for a kite, pasted up
from brilliant swatches of tissue paper, reflects the same
creative organization of form and color that goes into his
architecture and furniture.” Amusing themselves by flying
kites inspired by their Asian kite collection, and devoting
to their kite projects as much attention as to their other
projects, they, in fact, anticipated what would find its full
expression twenty years later.
In the 1970s the focus of the artists who became kite-
makers was no longer on the child or the toy. Times had
changed, the cards were shuffled, and artists produced
a new wealth of ideas. Regarding kites, even if they
were deeply rooted in the early 20
th
century Avant-garde
movements, their key concerns were for Land Art, kinetic
art, and Performances. For some of them kites became the
ideal means for putting art in motion, confronting their works
with nature, taking them out of the galleries and hanging
them on the rails of the skies.
They fell free, ready to cope with the changes of the
winds and the transient character of the kite. They played
with landscape, distances, scales of size, colors, in a new
attempt to change the perception of reality.
Curt Asker, Jackie Matisse, and the American sculptor Tal
Streeter, are among the pioneers who choose this new path.
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