Mobile cinéthique 1970

Curator: This is Antonio Asis’s “Mobile Cinétique” from 1970, a work utilizing mixed media and demonstrating key elements of serial art and minimalism. Editor: It's strikingly...calming. The pale, almost pastel shades are very easy on the eye and the repetitive spherical forms give it a serene quality. Curator: The title "Mobile Cinétique" implies movement, which is interesting since it's a static sculpture. But perhaps the movement is meant to be perceived through the changing light and shadows, emphasizing the modular construction? It prompts questions about the artist's labor in producing such a uniform arrangement of shapes. Editor: Absolutely. And I think there's a strong connection to feminist critiques of Minimalism, considering how much it can be seen as an assertion of industrial male dominance. Asis gives us softness, a domestic palette—almost subversive when you view it alongside the hard edges and rigid structures often associated with that movement. It becomes about redefining boundaries, gender, race, and their visual relationships with art. Curator: I see your point. I'm thinking of the way the work references the concept of industrial reproduction while resisting perfect replication. There are visible variations in color across the spheres suggesting different phases in a craft-based process. The variations invite contemplation on serial production. Editor: I think Asis presents us with an image deeply invested in materiality, but he uses its structure and execution as a space to open considerations around the intersectionality in its production. In a way, it embodies light and gentle visuality—a subversive approach, but always present. Curator: Indeed. Exploring these textures in relation to the larger themes really highlights a powerful intersection of concept and craft. It transforms our appreciation for minimalist sculptures! Editor: Yes, examining this piece encourages us to move beyond seeing minimalist and abstract art as a set of emotionless blocks to be experienced, instead fostering sensitivity toward materiality and broader sociopolitical dimensions.