Special Issue "Kinetic and Op Art"


A special issue of Arts (ISSN 2076-0752). This special issue belongs to the section "Visual Arts".

Deadline for manuscript submissions: closed (15 June 2015)

Special Issue Editor

Guest Editor
Dr. Andres Pardey
Museum Tinguely, Paul Sacher-Anlage 2, P.O. Box 3255, CH-4002 Basel, Switzerland
Website: http://www.tinguely.ch/en.html

Special Issue Information

Dear Colleagues

In the Fifties and Sixties of the last century, art under the label „kinetic“ or “optical” kind of emerged and found a vast interest not only in artistic circles but also in a bigger public. Art came closer to the people, moving, motorized, electric driven sculptures, paintings, that would change their form, color and appearance, artworks, where people could interact with. Art had left its golden cage! Together with kinetic sculpture, forms like artistic action or happening were developed, and the use of everyday material became normal in the field of art.
It’s the idea of this special issue of ARTS dedicated to kinetic and optical art to bring together different views on this vast field of artistic development, to assemble a collection of scholarly articles that will look on the field from different perspectives, bringing up historical, aesthetical, philosophical and any other question about kinetic and optical art.

Andres Pardey
Guest Editor


Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. Papers will be published continuously (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are refereed through a peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed Open Access quarterly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. For the first couple of issues the Article Processing Charge (APC) will be waived for well-prepared manuscripts. English correction and/or formatting fees of 250 CHF (Swiss Francs) will be charged in certain cases for those articles accepted for publication that require extensive additional formatting and/or English corrections.


  • kinetic art
  • op art
  • movement
  • nouveau réalisme
  • zero
  • nul

Published Papers (3 papers)

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Displaying article 1-3
p. 93-100
Arts 2015, 4(3), 93-100; doi:10.3390/arts4030093
Received: 13 July 2014 / Accepted: 5 June 2015 / Published: 22 July 2015
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(This article belongs to the Special Issue Kinetic and Op Art)
p. 75-92
Arts 2015, 4(3), 75-92; doi:10.3390/arts4030075
Received: 6 July 2014 / Accepted: 28 May 2015 / Published: 7 July 2015
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(This article belongs to the Special Issue Kinetic and Op Art)
p. 394-406
Arts 2014, 3(4), 394-406; doi:10.3390/arts3040394
Received: 25 April 2014 / Revised: 13 August 2014 / Accepted: 12 September 2014 / Published: 11 December 2014
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(This article belongs to the Special Issue Kinetic and Op Art)
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Submitted Papers

Type of Paper: Article
Participative Mindscapes
Roger Katan
6 Rue des Bourgades, F-30610 Sauve, France; E-Mail: roger.katan@wanadoo.fr; Web: http://en.wikipedia.org/wiki/Roger_Katan and http://www.youtube.com/user/rogerkatan
In parallel with my social activism, I introduced architecture into my kinetic art and participatory activism into my architecture. As one of the initiators of advocacy planning in 1964 in East Harlem, NY, I helped people have their say in the shaping their environment. Flexibility and participation in architectural design has been a permanent feature of my practice, bringing new opportunities for self-expression in urban living. To form follows function, I opposed form follows movement because it is man oriented while function is object oriented. After my 1962-64 Mecanographs, machine-made images based on an interaction between the movement, the artist and the machine, I joined forces with Len Lye to determine what kind of positive attributes a Museum of Kinetic Art should have, defining three aspects of kinetic movement: illumination, sound, and physical movement. Participation underlay our project. As Lazslo Moholy-Nagy put it, “man . . . experiences a heightening of his own faculties, and becomes himself an active partner to the forces unfolding themselves.” Vasarely and other kinetic artists put their mark on their time by promoting a form of social art, accessible to all, suggesting movement without actual movement. By prompting participation, a new relationship was established between a dynamic work of art and the viewer. Walking through my medieval village can be a kinetic experience. The sense of wonder you feel at every corner compares with that of optical art. In the past decade, I moved toward a new form of participatory kinetic expression using state-of-the-art technology (plastics, LED, wireless devices). I view my kinetic work as an architectural experience and architecture as a stimulating kinetic experience.

Type of Paper: Article
Title: Expanding Spectres of Time with Study for an End of the World
Author: Christina Chau
Affiliation: The University of Western Australia; E-Mail: christina.chau@uwa.edu.au
Abstract: This paper focuses on the relationship between kinesis and expressions of time during a period of technological turbulence. I also draw upon the auto-destructive artworks by Tinguely, Homage to New York (1960) and Study for an End of the World No. 2 (1962), as a signification of a turbulent consciousness of time in art. I argued that kinetic artists such as Tinguely contributed to a turbulent consciousness of time by orchestrating new perceptions of time with mechanical and tele-communicational media. While both works are auto-destructive in nature, I focus on the differences between these two works to argue that Tinguely’s kineticism is sensitive to the ways that different technologies can be used to rationalize time in different ways, and that, at times, can also be incompatible with one another.
Keywords: kinesis; kineticism; Jean Tinguely; temporality

Planned Papers

The below list represents only planned manuscripts. Some of these manuscripts have not been received by the Editorial Office yet. Papers submitted to MDPI journals are subject to peer-review.

1. Arthur Clay; http://www.xmedialab.com/vip/arthur-clay
2. Reinhard Bek; http://bekandfrohnert.com/
3. Noémi Joly
4. Robert C. Morgan; http://www.robertcmorgan.com/
5. Paolo Martore
6. John Durant and Laura Knott; http://web.mit.edu/museum/
7. Danièle Perrier; http://www.perrier.at/index2.html
8. Sophie Kromholz; https://glasgow.academia.edu/SophieKromholz
9. Susanne Jaschko; http://www.sujaschko.de/en/index.html
10. Inge Hinterwaldner; http://www.leuphana.de/inge-hinterwaldner.html
11. Henry Adams; http://www.henryadams-cleveland.com/index.html
12. Laura Woodward; http://laurawoodward.com.au/
13. Petra Gemeinboeck; http://www.crl.niea.unsw.edu.au/people/petra-gemeinboeck/

Abstracts will be uploaded soon.

Last update: 23 July 2015

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