Abraham Palatnik, Pioneer of Kinetic Art

• BRAZILIAN TECHNOLOGICAL ART Abraham Palatnik, Pioneer of Kinetic Art EduardoKac Abraham Palatnik, tho first Brazilian am" to explore the creative use oftechnology in art, continues to develop his research in light and movement. He also seeks to explore new possibilities in the use of traditional materials in his reliefs and paintings. On 14 October 1986, Palatnik had two exhibitions opening simultaneously in Rio de Janeiro. At the Aktuel Gallery he was showing new kinetic objects, and at the Gravura Brasileira he exhibited new paintings. In the canvases at Gravura Brasileira, the rigorous treatment of the surface coexisted with a mathematical progression of lines with a single curve succeeding one another sequentially. At Aktuel, Palatnik showed pieces he developed in the 1980s, from a body of work first started in the 1950s that defined him as one of the pioneers in the expressive use of light and movement. The show was comprised of "cinechromatic" machines "that project compositions of color light forms moving on semiclear surfaces," as Mario Pedrosa wrote [1] (see Color Plate B No.2). The show also included other kinetic pieces that go beyond the rigid pictorial elements of static painting. Palatnik was born in Natal, Rio Grande do Norte, Brazil, in 1928. Between 1943 and 1947 he studied in Tel-Avivand specialized in combustion engines. While he was in Israel, he also studied art with Aron Avni, Sternshus and Shor. He came back to Brazil in 1948 and in the following year started to develop his innovative research. In 1951, Palatnik shocked the jury of the First International Biennial in Sao Paulo with his first "cinechrornatic" art machine. From 1953 to 1955, he took part in the group Frente(Front), and became involved in discussions on abstract art. During the 1960s, Palatnik started to produce art machines in which color pieces moved unexpectedly and harmonically, as parts of a complex system of motors and gears (Fig. 1). Kac: What was the nature of your contact with Mario Pedrosa? What was the influence that he, as an avant-garde art critic, had on your creative process? Palatnik: I first met Mario Pedrosa in 1948, through friends, such as Ivan Serpa and Almir Mavignier. Mario strongly supported my research, which was absolutely nontraditional. At that point, I had been painting but once I started my new experiments , I abandoned the brush and started to explore possibilities that had nothing to do with the traditional concepts of art. At that time, what I was doing was not considered art and I had several problems by the time of the First Biennial-my work could not be judged, I couldn't participate in the Biennial, and there wasn't a section for my kinetic art. Mario Pedrosa invented a name for my machines- "cinechromatics"-which has been used since that time to describe them, That really stimulated my investigations with light and movement. Kac: What happened during the First Biennial? Was the first cinechromatic machine seen as a revolutionary work of art, or was it considered as a curiosity without major future consequences ? Palatnik: In reality, it was luck that got me into the Biennial. At first, my machine was rejected, because it wasn't a painting, a sculpture, a drawing or a print. The Japanese delegation failed to send the work they had committed to the Biennial on time. Then, someone-I don't know who-remembered my work and suggested it be put in the place vacated by the Japanese . I remember that Almir came to me and said: "Abraham, you will exhibit at the Biennial! They will put you in the place ofJapan." As a result, the internationaljury was surprised with the work and made special remarks about it. From this event came the recognition that the work was an "important manifestation of modern art," as they said, However, even then, in the forthcoming Biennials I received invitations to show my work, but under the condition that I would agree not to compete for any award, since they did not have a section for the type of artwork I was making. Kac: What were the repercussions of your work in the 1950s, when you were conducting pioneering research...