Is it a movement? Kinetic art at Christie’s

Christie’s new private selling exhibition, ‘Turn Me On: European and Latin American Kinetic Art 1948–1970’ opened last week with moving works involving light, electrical motors, and non-electrical motors (in their simplest form, optical illusions). But what exactly is ‘kinetic’ art, and does the exhibition itself prove that the term is just a bit too problematic?

In an interview with The Guardian, Christie’s specialist Jacob Uecker recognises the term as ‘broad’. The installation-like, Science Museum-worthy fare perhaps constitutes a ‘type’ (like painting or sculpture) that has, and will continue to, evolve with technological advances. Kinetic art from the 1950s looks very different to contemporary kinetic art involving a digital aspect. Video is ‘accepted’ by Christie’s for ‘Turn Me On’ as well, encompassing its ever-developing forms.

Dinamica Circolare 6S+S (1966), Marina Apollonio

In the same interview Uecker also says that ‘in the past, kinetic art has been seen as a genre in itself, which is completely untrue’. The confusion in that statement is that the auction house actually appears to be spearheading the term anew, with a capital K, even on its own website. Does this simply refer to a time when kinetic art was particularly popular, as we might refer to Ancient Greek, Roman or Neoclassical Sculptural Art?

In prodding the boundaries, establishing and re-establishing what constitutes kinetic art, Christie’s are leading collectors into (hazily defined) new territory. The objects for sale at this exhibition are collectible in a straight-forward sense, but this display of kinetic art suggests a brave step towards tackling newer challenges.

What would it mean if specially-choreographed dance were one day allowed to join the kinetic ranks? Or, even, some future permutations of the prevalent animated GIF? It’s certainly something to think about.