{"id":4765,"date":"2014-07-25T08:15:46","date_gmt":"2014-07-25T06:15:46","guid":{"rendered":"https:\/\/laregledujeu.org\/arrabal\/?p=4765"},"modified":"2015-08-19T00:36:45","modified_gmt":"2015-08-18T22:36:45","slug":"otto-piene-sest-occulte","status":"publish","type":"post","link":"https:\/\/laregledujeu.org\/arrabal\/2014\/07\/25\/4765\/otto-piene-sest-occulte\/","title":{"rendered":"Otto Piene s’est occult\u00e9…"},"content":{"rendered":"
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\"Otto<\/a><\/div>\n

Otto Piene s\u2019est occult\u00e9 le 17 juillet 2014 \u00e0 86 ans. <\/strong><\/p>\n

Co-fondateur, avec Heinz Mack, du groupe ZERO.<\/em> <\/strong><\/p>\n

Inventeur du Sky Art <\/em>qui a r\u00e9volutionn\u00e9 l\u2019art\u00a0 du XX\u00e8me si\u00e8cle. <\/em><\/strong><\/p>\n

\n***<\/p>\n

Fernando Arrabal: <\/strong> Mon ami, le g\u00e9nie Otto Piene, (l\u2019involontaire h\u00e9ros du po\u00e8me \u201c\u2026il \u00e9tait\u00a0\u00a07h 51\u2032<\/strong> \u201c) s\u2019est occult\u00e9 \u00e0 Berlin dans un taxi avec Ante Glibota
\n(nous venions de finir, \u00e0 Paris, notre livre pour bibliophiles \u00abLes nuits d\u2019H\u00e9liogabale \u00bb<\/strong> de 80 cm x 120 cm,\u00a0 couverture \u00ab\u00a0in wood\u00a0\u00bb)
\nje me souviens comme il \u00e9tait, incendiant oublis et naufrages, avec \u00a0sa femme, la grande po\u00e9tesse Elizabeth Goldring<\/p>\n

***<\/p>\n

MAL DOLOR<\/strong><\/p>\n

\u2026 il \u00e9tait\u00a0\u00a07h 51\u2032<\/p>\n

le mercredi 10 juillet 2013<\/p>\n

et nous pleurions<\/p>\n

elle et moi<\/p>\n

entour\u00e9s du Tout-Paris<\/p>\n

et peut-\u00eatre du Tout-Berlin<\/p>\n

et m\u00eame des mille yeux du groupe Z\u00e9ro<\/p>\n

assis dans son\u00a0\u00a0fauteuil de fondateur<\/p>\n

il y avait Otto Piene<\/p>\n

en feu et\u00a0\u00a0en flammes<\/p>\n

et Delano\u00eb couvert<\/p>\n

du rosso de maggiore<\/p>\n

et nous pleurions<\/p>\n

inconsolables<\/p>\n

elle<\/p>\n

qui est adulte<\/p>\n

depuis quelques mois<\/p>\n

et moi<\/p>\n

qui suis charg\u00e9 d\u2019ans<\/p>\n

depuis plusieurs si\u00e8cles<\/p>\n

Daniel Spoerri nous topographiait<\/p>\n

depuis le hasard<\/p>\n

comme s\u2019il collectionnait<\/p>\n

encore<\/p>\n

des soupes<\/p>\n

et Jean Tinguely<\/p>\n

dansait<\/p>\n

sur son squelette d\u2019acier<\/p>\n

pour nos fontaines de Stravinsky<\/p>\n

parce que nos pleurions pour nous<\/p>\n

seuls au monde<\/p>\n

pench\u00e9s\u00a0\u00a0sur le d\u00e9sespoir<\/p>\n

entre Yves Klein<\/p>\n

plus bleu que jamais<\/p>\n

et Pol Bury<\/p>\n

plus d\u00e9s\u00e9quilibr\u00e9 que ses sph\u00e8res<\/p>\n

entre Heinz Mack<\/p>\n

aux \u00e9crans motoris\u00e9s<\/p>\n

et Ante Glibota<\/p>\n

vibrant de lumi\u00e8re au scalpel<\/p>\n

et tout le monde \u00e9tait l\u00e0<\/p>\n

et tout le monde nous regardait<\/p>\n

mais nous ne le voyions personne<\/p>\n

suspendus \u00e0 nos larmes<\/p>\n

oui tout le monde \u00e9tait beau<\/p>\n

oui tout le monde \u00e9tait gentil<\/p>\n

oui\u00a0\u00a0tout le monde \u00e9tait riche<\/p>\n

oui\u00a0\u00a0tout le monde \u00e9tait g\u00e9n\u00e9reux<\/p>\n

oui\u00a0\u00a0tout le monde \u00e9tait c\u00e9l\u00e8bre<\/p>\n

oui\u00a0\u00a0tout le monde \u00e9tait d\u00e9vou\u00e9<\/p>\n

oui\u00a0\u00a0tout le monde \u00e9tait artiste<\/p>\n

oui\u00a0\u00a0tout le monde \u00e9tait moderne<\/p>\n

et m\u00eame d\u2019avant-garde<\/p>\n

mais nos larmes d\u00e9bordaient<\/p>\n

inattendues<\/p>\n

nous n\u2019avions pas r\u00eav\u00e9\u00a0\u00a0\u00a0de fortune<\/p>\n

nous n\u2019avions pas r\u00eav\u00e9\u00a0\u00a0\u00a0de gloire<\/p>\n

nous avions r\u00eav\u00e9 d\u2019un espace et d\u2019un temps<\/p>\n

aussi inimaginables qu\u2019impossibles<\/p>\n

parce que nous songions<\/p>\n

\u00e0 des po\u00e8mes plastiques<\/p>\n

\u00e0 des images de beaut\u00e9<\/p>\n

de libert\u00e9<\/p>\n

et de science<\/p>\n

et nous pleurions<\/p>\n

avec les larmes\u00a0\u00a0si malvenues<\/p>\n

de notre mal dolor\u2026<\/p>\n

Fernando Arrabal<\/strong>, Paris nuit du 10 juillet de 2013,\u00a0 v <\/em><\/p>\n

________________________________________________________________________________________________<\/p>\n

THE NEW YORK TIMES\u00a0JULY 18, 2014
\nARTS
\n<\/a>Otto Piene, German Artist of New Modes, Dies at 85
\n<\/em>By Bruce Weber\u00a0JULY 18, 2014<\/h3>\n

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\"Otto<\/a><\/p>\n

Otto Piene, a German painter and sculptor known for his experiments in kinetic art and for working at the junction of art, nature and technology, died on Thursday in Berlin, where he was attending the opening of a retrospective of his work. He was 86 and had homes in D\u00fcsseldorf and Groton, Mass.<\/p>\n

His death was confirmed by Joachim J\u00e4ger, head of the Neue Nationalgalerie in Berlin. The retrospective, \u201cOtto Piene, More Sky,\u201d opened there and at Deutsche Bank KunstHalle on Wednesday as a joint project devoted to honoring Mr. Piene\u2019s influential role in postwar German art.<\/p>\n

In 1957, along with Heinz Mack, Mr. Piene (pronounced PEEN-uh) founded the Zero Group, a collection of artists dedicated to redefining art in the aftermath of World War II. Through the mid-1960s the group attracted adherents from Japan and the Americas as well as Europe. Their work \u2014 to be celebrated\u00a0in an exhibition<\/a> at the Guggenheim Museum in New York this fall \u2014 anticipated developments in land art, Minimalism, Conceptual art and performance art.<\/p>\n

Among other things, the Zero artists explored new modes of painting, including monochromes and unusual materials: Mr. Piene himself experimented with smoke, soot and burned paint. They employed light, open space and movement as rudiments of artworks and used technology to create artistic effects.<\/p>\n

Mr. Piene\u2019s work included mechanized light sculptures. In one work, \u201cLight Ballet,\u201d exhibited at a New York gallery in 1965, a roomful of aluminum spheres, bulb-studded globes and brass columns, illuminated in sequence, glowed and dimmed in an endless program, enveloping viewers in a pattern of oscilloscopic blips and racing shadows.<\/p>\n

In an interview at the time, Mr. Piene said he had been fascinated with light from boyhood, when he began contemplating how far a candle could throw its light and cast its shadow. During World War II, he recalled, he found the tracers and searchlights that striped and dotted\u00a0Germany<\/a>\u2019s night skies \u201chectically beautiful.\u201d<\/p>\n

\"The<\/a><\/p>\n

\u201cLight is my medium,\u201d Mr. Piene said. \u201cI hate objects that just stand there demanding interpretation. Previously, paintings and sculptures\u00a0seemed <\/em>to glow. Today they\u00a0do<\/em> glow; they are active. They don\u2019t merely express something; they\u00a0are<\/em> something.<\/em>\u201d<\/p>\n

In the late 1960s, Mr. Piene began creating projects in the air over public spaces, events he called\u00a0sky art<\/a>. These were collaborations with scientists, engineers and often large groups of volunteers in which he created inflatable tubes or other balloonlike shapes made of polythene or other plastic substances, filled them with helium and allowed them to float above buildings or landscapes, which became backdrops for artistic events unfolding in the sky.Perhaps Mr. Piene\u2019s best-known sky art was \u201cOlympic Rainbow,\u201d consisting of five different-colored polythene tubes, each more than 1,500 feet long, which were inflated and released to close the 1972 Summer Olympics in Munich.<\/p>\n

Mr. Pience was born in April 1928 in Bad Laasphe, east of Cologne and D\u00fcsseldorf in west central Germany. He studied painting and art education at the Academy of Art in Munich and the Kunstakademie D\u00fcsseldorf and philosophy at the University of Cologne.He went to the United States in 1964 and taught at the University of Pennsylvania before becoming a fellow at the Center of Advanced Visual Studies, a provocative academic venture at the Massachusetts Institute of Technology that encouraged collaborations between artists and scientists. Mr. Piene became director of the center in 1974 and led it for nearly two decades, expanding its commitment to producing art for civic consumption. (The center has since merged with M.I.T.\u2019s visual arts program.)<\/p>\n

Under his leadership, the center created \u201cCenterbeam,\u201d a massive multimedia construction. Commissioned in 1977 by the Documenta 6 exhibition in Kassel, Germany, and later mounted on the National Mall in Washington, it involved 22 artists and a phalanx of scientists and engineers and featured laser-projected images on moving steam screens, solar-tracked holograms, a 144-foot water prism and helium-lifted sky sculptures.<\/p>\n

In 1996, Mr. Piene received one of the four annual prizes for artists awarded by the American Academy of Arts and Letters. His works are in numerous museum collections around the world, among them the Museum of Modern Art in New York,\u00a0\u00e1the Walker Art Center in Minneapolis, the National Museum of Modern Art in Tokyo, the Stedelijk Museum in Amsterdam and the Centre Georges Pompidou in Paris.<\/p>\n

\u201cHe was a developer and a discoverer,\u201d Mr. J\u00e4ger said. \u201cSo many of his ideas are relevant today, from project-oriented work, to discussion-led thinking, to the ephemeral; all of that is now commonplace. That is a central contribution of his work.\u201d<\/p>\n

Mr. Piene\u2019s survivors include his wife, the former Elizabeth Goldring, a poet and artist who also worked on \u201cCenterbeam,\u201d as well as four children, a stepdaughter and four grandchildren.<\/p>\n

After his death, Mr. Piene was praised by Germany\u2019s minister of culture, Monika Gruetters.\u201cMany of his highly aesthetic works in public space were also a signal against the inhospitality of our cities,\u201d Ms. Gruetters said in a statement. \u201cBy making light and movement a topic of many of his objects and installations, he pointed out new ways for the fine arts.\u201d<\/p>\n

Melissa Eddy contributed reporting from Berlin.A version of this article appears in print on July 19, 2014, on page B8 of the New York edition with the headline: Otto Piene, German Artist of New Modes, Dies at 85.\u00a0Order Reprints<\/a>|Today\u2019s Paper<\/a>|Subscribe<\/a><\/p>\n

German artist Otto Piene, known for his colourful paintings and gigantic open-air sculptures, has died aged 86.<\/h3>\n

\"<\/a><\/p>\n

A leading figure in technology-based art, his most famous work was the 1,600ft Rainbow that lit up the Munich sky at the end of the 1972 Olympics.<\/span><\/p>\n

Piene died on Thursday, shortly after the opening of an exhibition of his work at Berlin\u2019s Neue Nationalgalerie.<\/span><\/p>\n

He had been \u201cfull of happiness\u201d at the opening on Wednesday, said Germany\u2019s <\/span>Der Taggespiel<\/span><\/strong> newspaper.<\/span><\/p>\n

According to the <\/span>Berliner Morgenpost<\/span><\/strong>, Piene died while in a taxi on his way to continue preparations for a \u201cSky Art Event\u201d at the Neue Nationalgalerie on Saturday.<\/span><\/p>\n

The gallery has not confirmed whether the event will go ahead in tribute to the artist.<\/span><\/p>\n

Zero Group<\/span><\/strong><\/p>\n

Piene was born in Bad Laasphe, Germany, in 1928 and studied art in Munich and Dusseldorf, as well as taking a degree in<\/span> philosophy at Cologne University.<\/span><\/p>\n

He founded the influential European post-war movement Group Zero with Heinz Mack in 1957, as part of an effort to transform and redefine art in the aftermath of the Second World War.<\/span><\/p>\n

The name referred to the countdown for a rocket launch and, according to the group, was meant to evoke \u201ca zone of silence [out of which develops] a new beginning\u201d.<\/span><\/p>\n

\u201cArtists after the war turned against technology, because war is technology,\u201d Piene explained to <\/span>Art in America magazine<\/span><\/strong><\/a> in 2010. \u201cZero was about the pure possibilities for a new beginning.\u201d<\/span><\/p>\n

The experimental movement was the precursor of minimalism and conceptual art, and they challenged people\u2019s perceptions of art, space and materials.<\/span><\/p>\n

Piene developed the Grid Picture, a type of stencilled painting made from half-tone screens, which led to his Light Ballet series, in which light from moving torches was projected through grids, altering the viewer\u2019s perception of space.<\/span><\/p>\n

He was also known for Rauchbilder (smoke pictures), in which the artist applied solvent to pigmented paper and set it on fire, before creating images from the soot.<\/span><\/p>\n

\"Many<\/a><\/p>\n

\"The<\/a><\/p>\n

But his biggest projects were his \u201cSky Art\u201d \u2013 including the Olympic Rainbow, which consisted of five multi-coloured helium-filled polythene tubes, which illuminated the sky over Munich\u2019s Olympic Park.<\/span><\/p>\n

Speaking in 2006<\/span><\/strong><\/a>, the artist said it had been \u201ca moving and important experience,\u201d after the Palestinian terrorist attack which left 11 Israeli athletes and one German policeman dead.<\/span><\/p>\n

The decision to go ahead with the closing ceremony, and to float the rainbow above it, gave the nation an \u201cincredible release\u201d, Piene said.<\/span><\/p>\n

\u201cPeople really got the feeling that there was a reason to hope, that not everything from now on would be disaster, death and destruction.\u201d<\/span><\/p>\n

In 1974, Piene was appointed director of the Massachusetts Institute of Technology\u2019s Center for Advanced Visual Studies. He retired in 1993.<\/span><\/p>\n

At recent public appearances, he used a walking stick or wheelchair to get around.<\/span><\/p>\n

His death was confirmed on Friday by Markus Farr, a spokesman for the Friends of the Neue Nationalgalerie, which organised his most recent exhibit.<\/span><\/p>\n

st<\/span><\/p>\n

Fallece\u00a0 Otto Piene a los 86 a\u00f1os<\/p>\n

Perdi\u00f3 la vida a poco tiempo de haber presentado su exhibici\u00f3n \u201cMas Cielo\u201d en la Nueva Galer\u00eda Nacional de Berl\u00edn.<\/p>\n

Otto Piene ten\u00eda 86 a\u00f1os, muri\u00f3 repentinamente el jueves, poco despu\u00e9s de inaugurar su exhibici\u00f3n \u00ab\u00a0M\u00e1s cielo\u00a0\u00bb en la Nueva Galer\u00eda Nacional de Berl\u00edn. Su deceso fue confirmado el viernes por Markus Farr, un vocero del grupo Amigos de la Nueva Galer\u00eda Nacional que ayud\u00f3 a organizar la muestra.<\/p>\n

La ministra de Cultura alemana Monika Gruetters y el dramaturgo espa\u00f1ol Fernando\u00a0 Arrabal calificaron a Piene como uno de los \u00faltimos grandes padres del arte moderno de posguerra.<\/p>\n

\u00ab\u00a0Muchas de sus obras altamente est\u00e9ticas en espacios p\u00fablicos tambi\u00e9n fueron una se\u00f1al contra la inhospitalidad de nuestras ciudades\u00a0\u00bb, dijo Gruetters en un comunicado. \u00ab\u00a0Al hacer de la luz y el movimiento un t\u00f3pico de muchos de sus objetos e instalaciones, remarc\u00f3 nuevos modos para las bellas artes\u00a0\u00bb.<\/p>\n

Piene naci\u00f3 en 1928 en Bad Laasphe, en el oeste de Alemania, y estudi\u00f3 en las academias de bellas artes en Munich y Duesseldorf. Junto al artista Heinz Mack, fund\u00f3 en 1957 el influyente movimiento europeo de posguerra grupo ZERO, que trat\u00f3 de romper los l\u00edmites tradicionales de las bellas artes experimentando con luz, aire, movimiento, fuego y metal.<\/p>\n

En 1974 Piene fue designado director del Centro para Estudios Visuales Avanzados del Instituto de Tecnolog\u00eda de Massachusetts (MIT), del que se retir\u00f3 en 1993.<\/p>\n

Su obra se ha exhibido en m\u00e1s de 100 galer\u00edas y museos alrededor del mundo y en 1972 se expuso en los Juegos Ol\u00edmpicos de Munich.<\/p>\n

Piene estaba finiquitando los \u00faltimos detalles para el Sky Art Event, una muestra al aire libre en el museo, con esculturas pl\u00e1sticas inflables iluminadas, que se inauguraba el s\u00e1bado.<\/p>\n

\u00ab\u00a0De acuerdo con los deseos de la familia del artista, el Sky Art Event se llevar\u00e1 a cabo\u00a0\u00bb como estaba planificado, dijo Farr.<\/p>\n

La agencia alemana de noticias dpa dijo que Piene ser\u00e1 sepultado en Estados Unidos, donde vivi\u00f3 por muchos a\u00f1os en Groton, cerca de Boston.<\/p>\n

Le sobreviven su esposa e hijos.<\/p>\n

__________________________________________<\/p>\n

Otto Piene : double exposition posthume \u00e0 Berlin<\/p>\n

Berlin rend un hommage \u00e0 Otto Piene, au travers d\u2019une double exposition. La premi\u00e8re ici, \u00e0 la Neue Nationalgalerie. Elle met \u00e0 l\u2019honneur l\u2019une des \u0153uvres embl\u00e9matiques de l\u2019artiste intitul\u00e9e \u2018La Prolif\u00e9ration du Soleil\u2019. V\u00e9ritable ballet lumineux sur fond de diapositives peintes \u00e0 la main. Une installation cr\u00e9\u00e9e au d\u00e9but des ann\u00e9es 60.<\/p>\n

Otto Piene: \u201c Sans lumi\u00e8re, on ne peut pas vivre, on ne peut pas travailler, on ne peut pas manger, ni boire. La lumi\u00e8re est \u00e0 la fois source d\u2018\u00e9nergie et de nutriments ; sans lumi\u00e8re, nous mourrons. Et cela vaut pour les animaux comme pour les humains. \u00c0 part cela, la lumi\u00e8re, c\u2019est \u00e9galement l\u2019un des plus beaux ph\u00e9nom\u00e8nes du cosmos, de la vie et du monde. \u201c<\/p>\n

Concours de circonstances tragique, Otto Piene, est d\u00e9c\u00e9d\u00e9 la veille du vernissage. Ses proches ont choisi de maintenir la manifestation. L\u2019occasion pour le grand public de d\u00e9couvrir ou red\u00e9couvrir la fascination de l\u2019artiste pour la lumi\u00e8re et les ph\u00e9nom\u00e8nes optiques. Une passion qui le m\u00e8nera aux quatre coins du monde, il passera notamment plus de 25 ans aux Etats-Unis.<\/p>\n

Otto Piene: \u201c Je ne sais pas si je suis n\u00e9 \u2018citoyen du monde\u2019, mais ma vie, en tout cas, a \u00e9t\u00e9 \u2018internationale\u2019,\u00a0 \u2018dans les catacombes’ comme dit le dramaturge espagnol Fernando Arrabal. L\u2019obsession de la \u2018nation\u2019 ne nous a pas apport\u00e9es que des bonnes choses \u00e0 travers l\u2019histoire. La meilleure chose que les nations nous aient apport\u00e9e, c\u2019est la Coupe du monde de foot ! C\u2019est la seule bonne chose. \u201c<\/p>\n

En qu\u00eate de renouveau artistique, Otto Piene avait co-fond\u00e9 \u00e0 la fin des ann\u00e9es 50 le groupe ZERO, ou comment donner des formes \u00e0 l\u2019universalit\u00e9.<\/p>\n

Avec Fernando Arrabal il venait d’achever, \u00e0 Paris, le livre pour bibliophiles \u00abLes nuits d\u2019H\u00e9liogabale \u00bb de 80 cm x 120 cm,\u00a0 couverture \u00ab\u00a0in wood\u00a0\u00bb. \u2018More Sky\u2019, la seconde exposition berlinoise consacr\u00e9e \u00e0 l\u2019artiste d\u00e9funt se tient jusqu\u2019au 31 aout \u00e0 la Deutsche Bank Kunsthalle.<\/p>\n

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