The Dynamic Eye

During the 1950s and 1960s, many artists began to incorporate mathematical theories, scientific research and color theory into their work, and some began to use computers to create images. These artists saw the viewer not as a passive observer, but as an active participant, interacting with art in real time and space. His works often trigger complex visual sensations, activated by the observer's perception of shape, color and pattern. Sometimes this effect is intensified by the inclusion of kinetic elements, which create real or perceived movements. Op Art - short for Optical Art - emerged during this period. Artists associated with this movement combined simple lines, geometric shapes and vibrant colors to create optical effects and illusions. Around the same time, a wave of kinetic artists used motors, moving elements, energy sources and audience interaction to challenge art as a static form. These two movements were historically related, with many artists working in both areas, but they should also be seen as independent approaches that resulted in a wide variety of works of art, from rigid geometries and regular rhythms to more organic forms and chaotic constructions - and , sometimes joining apparently opposing ideas. The Dynamic Eye reviews the rise of Op and Kinetic Art in a global perspective. It weaves together artists closely associated with these movements as well as their predecessors, and connects them to parallel movements and practices which were often shown together at the time due to their shared themes and formal concerns. This exhibition touches upon important groups of artists who chose to work together, as well as exhibitions that were foundational to the development of Op and Kinetic Art. Rather than following a rigid chronology, the exhibition reformulates Op Art and Kinetic Art as trends adopted by artists in different eras, geographies and cultural contexts. What they share is a deep interest in stimulating the viewer's gaze and perception, taking art to new dimensions.