ANTONIO ASÍS

Even if he is better known for his Kinetic work through formal concentric interferences in painting and through grids in sculpture, among his most innovative contributions to the movement are the tactile fixtures of objects (usually spheres) on the canvas. Oriented towards interaction, these complements produced types of movement that did not presuppose an equivalence between sight and perception, as was common in Kinetic art, but that alluded to a wider conception of the latter that came to include the sense of touch.

The systematic research of the reticule and movement led him to become a founding member of “Groupe Position” in 1971. It included other Argentinian artists living in Paris, and offered different approaches to Kinetic problems, from the mechanical and electrical intervention of the work to the pure development of color vibrations, where Asís found himself mid-way with his sculptural lattices.