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Heinz Mack (b. 1931)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Heinz Mack (b. 1931)

Dynamische Struktur

Details
Heinz Mack (b. 1931)
Dynamische Struktur
signed and dated 'Mack 59' (on the reverse)
oil and resin on canvas
90 x 100 cm.
Executed in 1959
Literature
Goepfert und Zero, exh.cat., Frankfurter Kunstverein, 1987 (illustrated, p. 127).
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Lot Essay

'The painting meets our eyes; this meeting is a dynamic ongoing process. The elation of our eyes is the rest in the unrest. The unrest of the rest is though spooky, for the heart's rhythm a contradiction, a movement that destroys itself. They do not free us of the seeing, which is awake, bright and a dimension of the exorbitant. Our pictorial sensitivity is a sensitivity of vision. The untroubled and the finite confines and wearies our eyes, denies it ultimately.
Of the possible additional conditions under which the notion of the movement belongs, is a single aesthetic: the rest of the unrest. It is an expression of a continuous movement that we call vibration, which our eye experiences as aesthetic; and their harmony touches our soul, as our breath, the lifespan of the image.
Just as a steady wind can shape a thousand clouds, can artistic movement give spatial order to colors and form. In it, the colour will find the rest of the unrest, its form. To me, the movement is the actual shape of the image.
Each dynamic shaped element (be it ever so small and of low energy) has the unrest to transcend itself, being open towards its balanced surroundings where it has its continuous boundary.
The unrest of the line: she wants to become surface; the unrest of the surface: it wants to become space.
This unrest is followed by our pictorial sensibility. Lines, surfaces, and space must continuously merge and cancel each other out, in a dialectical sense, which language implies. If this integration remains visible, then the image vibrates and our eyes will find the rest of the unrest.'
(Heinz Mack as cited in Goepfert und Zero, Frankfurter Kunstverein, 1987, p. 42)

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