קטלוג תערוכת העפיפונים - page 206

PLAYING WITH THE WIND
לשחק עם הרוח ‹
204
capitals until 1991, before leaving for the United States in
1992. Under the initiative of the Goethe Institute in Osaka
Japan, approximately one hundred extremely famous artists
from all over the world were invited to paint kites. Taking
into account that these artists would not know how to make
the kites fly, the organizers sent the paintings to Japan
where experts transformed the pictures into real kites, in
the best Japanese tradition. Niki de Saint Phalle proposed
“A bird in love”, Robert Rauschenberg “A house in the
sky”, David Nash a “Flying Tree”, Tapies created a “Catalan
message”, Antes a pair of kites, Daniel Buren a white
rectangle with red stripes, Vasarely an optical illusion, etc...
On the opening day at Himeji the Japanese flew all the kites,
managing to bring together famous artists, active in the
international art market, and experienced kite-builders.
Was it enough for the artistic kites to beat in the game
and detract attention from the world of art? In fact, the
kites of this exhibition successfully camouflaged the failure
to give recognition to the Western or Japanese painters
or sculptors who built the skeletons of their kites by
themselves, and needed no one to make them fly. Seven
of them – the three partners in “Art that Flies”, Curt Asker,
Jackie Matisse and Tal Streeter, joined by Istvan Bodocsky,
Michel Gressier, Kalko Haase, and José Maria Yturralde,
met in 1995 to publish the
Manifeste de l’Art Volant:
“The simple kite, as in the original, is a vehicle whose
objective is to create a relationship between the material
and the spiritual. Kites are therefore tools, a means
of expression in space, meditation in space, in which
different fabrics and structures, colors and shapes mix
on an interactive, visual, oral and tactile foundation. The
kite’s string creates contact between the human hand
and spirit and the forces of nature. Kites accord artists
an unprecedented opportunity to play, create, explore,
experience, manoeuver different scales of size and distance,
thus making a huge space visible, and unlocking the doors
of imagination. We, the undersigned seven artists continue
in our work with this medium, encourage its development,
and support flying art.”
Twenty years later, what is the situation?
The perception in the early 20
th
century regarding the
relationships between games, toys, and art had been in
a context in which the child represented hope for a new
world. By giving the toys new forms and content, the artists
thought they could contribute to bettering the future. The
1,207,208,209 196,197,198,199,200,201,202,203,204,205,...210
Powered by FlippingBook