Groupe de Recherche d'Art Visuel (GRAV) (Research Group for Visual Art) was a collaborative artists group in Paris that consisted of eleven opto-kinetic artists, like François Morellet, Julio Le Parc,

Francisco Sobrino Francisco Sobrino (1932 – 11 May 2014) was a Spanish sculptor. His career began in 1959 when he moved to Paris to have a start in his career. His works can be seen in Tel Aviv, Guadalajara, Chicago, Madrid, New York City ...

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Vera Molnár Vera Molnár (born 1924) is a Hungarian media artist living and working in France. Molnar is widely considered to be a pioneer of computer art and generative art, and is also one of the first women to use computers in her art practice. Born in ...

, who picked up on

Victor Vasarely Victor Vasarely (; born Győző Vásárhelyi, ; 9 April 1906 – 15 March 1997) was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader of the Op art movement. His work entitled ''Zebra'', created in 1937, is consid ...

's concept that the sole artist was outdated and which, according to its 1963 manifesto, appealed to the direct participation of the public with an influence on its behavior, notably through the use of interactive

labyrinth In Greek mythology, the Labyrinth (, ) was an elaborate, confusing structure designed and built by the legendary artificer Daedalus for King Minos of Crete at Knossos. Its function was to hold the Minotaur, the monster eventually killed by t ...

s. GRAV was active in Paris from 1960 to 1968. Their main aim was to merge the individual identities of the members into a collective and individually anonymous activity linked to the scientific and technological disciplines based around collective events called Labyrinths. Their ideals enticed them to investigate a wide spectrum of kinetic art and op art optical effects by using various types of artificial light and mechanical movement. In their first ''Labyrinth'', held in 1963 at the Paris Biennale, they presented three years work based on optical and kinetic devices. Thereafter they discovered that their effort to engage the human eye had shifted their concerns towards those of spectator participation; a foreshadow of

interactive art Interactive art is a form of art that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting the observer walk through, over or around them; others ask the artist ...

Labyrinth 1963

In 1963 GRAV produced a labyrinth for the third Paris Biennial that invited viewers to walk through twenty environmental experiences. Made up of wall mounted reliefs, light installations and mobile bridges in different rooms the labyrinth was meant to invoke different viewer reactions. GRAV argued that viewers' reactions had social implications and the group defined different types of audience interaction with their art, such as: "perception as it is today", "contemplation", "visual activation", "active involuntary participation", "voluntary participation" and "active spectatorship". GRAV published the ''Assez des Mystification'' ("Enough Mystification") manifesto alongside the labyrinth, stating that:

If there is a social preoccupation in today's art, then it must take into account this very social reality: the viewer. To the best of our abilities we want to free the viewers from this apathetic dependence that makes him passively accept, not only what one imposes on him as art, but a whole system of life... We want to make him participate. We want to place him in a situation that he triggers and transforms. We want him to be conscious of his participation... A viewer conscious of his power of action, and tired of so many abuses and mystifications, will be able to make his own 'revolution in art'.

According to Claire Bishop the GRAV labyrinth installation would today be described as

, rather than

participatory art Participatory art is an approach to making art which engages public participation in the creative process, letting them become co-authors, editors, and observers of the work. This type of art is incomplete without viewers' physical interaction. It ...

Day in the Street 1966

On April 19, 1966 GRAV created the Day in the Street itinerary (''Une Journée dans la rue'') in Paris where they invited passing public to involve themselves in various kinetic activities. The itinerary started 8 o'clock in the morning with the GRAV artists handing out small gifts to passengers at the entrance of the Châtelet Metro. At 10 am the public was invited to assemble and disassemble changeable structures on the

Champs-Élysées The Avenue des Champs-Élysées (, ; ) is an avenue in the 8th arrondissement of Paris, France, long and wide, running between the Place de la Concorde in the east and the Place Charles de Gaulle in the west, where the Arc de Triomphe is l ...

. At midday habitable kinetic objects could be manipulated, and at 2pm a giant

kaleidoscope A kaleidoscope () is an optical instrument with two or more reflecting surfaces (or mirrors) tilted to each other at an angle, so that one or more (parts of) objects on one end of these mirrors are shown as a regular symmetrical pattern when v ...

was made available to passers by while balloons floated in the fountain. 6 pm passers by where invited to walk on moveable paving slabs at

Montparnasse Montparnasse () is an area in the south of Paris, France, on the left bank of the river Seine, centred at the crossroads of the Boulevard du Montparnasse and the Rue de Rennes, between the Rue de Rennes and boulevard Raspail. Montparnasse has bee ...

. Photos of the installations show Parisians of all ages engaging with all kinds of objects and constructions. According to GRAV the public passes through city streets everyday with habits and actions repeating daily. "We think that the sum total of these routine gestures can lead to total passivity, and create a general need to reaction."

Critique

The Situationist International criticised GRAV's installations for requiring the viewer to fulfill preexisting options devised by the artists. While GRAV and the Situationaists employed similar rhetoric around participation and spectatorship, and both criticised

consumerism Consumerism is a social and economic order that encourages the acquisition of goods and services in ever-increasing amounts. With the Industrial Revolution, but particularly in the 20th century, mass production led to overproduction—the su ...

, GRAV's aim was to achieve a shift in the audiences' perception. Joël Stein later acknowledged that audience interaction with GRAV installations "can become a sort of entertainment, a spectacle in which the public is one of the elements in the work". Their agreed dissolution in November 1968 was based on their recognition that it was impossible to maintain the rigor of a joint program.

Footnotes

References

* Ian Chilvers & John Glaves-Smith, ''A Dictionary of Modern and Contemporary Art''. Oxford University Press, p. 291 *

Frank Popper Frank Popper (17 April 1918 – 12 July 2020) was a Czech-born French-British historian of art and technology and Professor Emeritus of Aesthetics and the Science of Art at the University of Paris VIII. He was decorated with the medal of the L ...

, ''Origins and Development of Kinetic Art'', New York Graphic Society/Studio Vista, 1968 * Frank Popper, ''Art—Action and Participation'', New York University Press, 1975 * Jacopo Galimberti, ''The Early Years of GRAV: Better Marx than Malraux'', http://www.perspectivia.net/publikationen/ownreality/13/galimberti-en * Galimberti, Jacopo (2017), ''Individuals against Individualism. Art Collectives in Western Europe (1956-1969)''. Liverpool University Press, Chapitre 2. {{DEFAULTSORT:Groupe de Recherche d'Art Visual French art movements French artist groups and collectives Arts organizations established in the 1960s Op art French contemporary artists