Lot 530 D

'Technology and nature: these two words indicate both spheres that inspire Heinz Mack and which he duly interprets. He is an artist who wants to be aware of the aesthetic potential of his era, which he understands as technological civilization. His interests are, however, neither general nor uncertain, but are geared to extremely specific forces, which challenge him to use and articulate them: light and movement. Phenomena then, in which the naturally occurring and manufactured worlds manifestly coincide and are duly interwoven.
Heinz Mack´s work has been included in the field of kinetic art. However, in the individual shaping of his ideas and realisations, he has achieved something that transcends kinetics in the narrow sense of the word and is typical of the openness of the developments in the 1960s, both with reference to artistic production as well as in relation to reflections upon it. [...] This artist´s output is also typical for the very reason that it reflects that changed attitude to the configuration and informational value of the artwork, which has been developing since the inception of the abstraction process more than half a century ago, but only now is gradually being understood. That means: the deideologising and demythologising of art in order to accept its statements as self-evident symbols within the reality of our civilisation.' (Margit Staber (1968), in: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland (ed.), Heinz Mack, Licht, Raum, Farbe, exhibition catalogue Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Cologne 2012, p.104)