(Buenos Aires, 1932 - Paris, 2019)
Antonio Asís was one of the protagonists of the Kinetic movement in Argentina. Having first studied at the National School of Fine Arts in Buenos Aires and then having worked closely with renowned artists such as Jesús Rafael Soto and Victor Vasarely in Paris, he centered his work on light and chromatic relations. Asís conducted his first artistic experiments with photograms, exploring the possibilities of monochrome in terms of the perception of movement in a static format.
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.