ABSTRACT
This article discuss the reception, in 1960s London and Paris, given to the work of four South American artists (Sérgio Camargo, Lygia Clark, Jesús Rafael Soto and Julio Le Parc), who all lived in Europe at the time and whose work was related to kineticism and was exhibited and commented on in the same spaces. I shall therefore discuss the role of certain cultural agents who served as interlocutors for these artists in a plural and cosmopolitan environment. I shall also address the circulation and impact of their works based on analysis of publications made at the time, particularly in specialist magazines. This article relates to the research I have developed as a visiting academic at the University of the Arts, London, with a grant from FAPESP, and at the INHA, Paris, in 2015, as chercheur invité.
keywords:
kinetic art; spectator participation; European art circuit