ZERO countdown to tomorrow, 1950s–60s October 10, 2014–January 7, 2015 countdown to tomorrow, 1950s–60s

Solomon R. Guggenheim Museum Teacher Resource Unit

A Note to Teachers

ZERO: Countdown to Tomorrow, 1950s–60s, is the first large-scale historical survey in the UnitedS tates dedicated to the German artists’ group Zero (1957–66), founded by and and joined in 1961 by Günther Uecker, and ZERO, an international network of like-minded artists from , Japan, and North and South America who shared the original group’s aspiration to transform and redefine art in the aftermath of World War II.

Featuring more than 40 artists from 10 countries, the exhibition is organized around these diverse artists’ shared interests. Themes include new definitions of (for instance, the use of monochrome and serial structures); movement and light; space as subject and material; and the relationship between nature, technology, and humankind.

This Resource Unit focuses on various aspects of ZERO art and provides techniques for exploring both the visual arts and other areas of the curriculum. This guide also is available on the museum’s website at guggenheim.org/artscurriculum with images that can be downloaded or projected for classroom use. The images may be used for educational purposes only and are not licensed for commercial applications of any kind. Before bringing your class to the Guggenheim, we invite you to visit the exhibition, read this guide, browse our website, and decide which aspects of the exhibition are most relevant to your students. For more information on scheduling a visit for your students, please call 212 423 3637.

ZERO: Countdown to Tomorrow, 1950s–60s is supported by the exhibition’s Leadership Committee, with special thanks to The George Economou Collection, the committee’s Founding Member, as well as to Larry Gagosian, Axel Vervoordt Gallery, and Stefan Edlis and Gael Neeson.

Additional funding is provided by Rachel and Jean-Pierre Lehmann, the Swiss Arts Council Pro Helvetia, Anna and Gerhard Lenz, Mondriaan Fund, The David W. Bermant Foundation, and an anonymous donor.

Support for this exhibition is also provided by Sperone Westwater; Beck & Eggeling International Fine Art; Cees and Inge de Bruin; Sigifredo di Canossa; Patrick Derom; Yvonne and Edward Hillings; Dominique Lévy Gallery; Nicole and Jean-Claude Marian; The Mayor Gallery; Mnuchin Gallery; Achim Moeller, Moeller Fine Art, New York; Robert and Irmgard Rademacher Family; David Zwirner, New York/London; Institut für Auslandsbeziehungen e.V. Stuttgart; Walter and Nicole Leblanc Foundation; Consulate General of the Federal Republic of New York; The Government of Flanders through Flanders House New York; and Netherland-America Foundation. ZERO New Definitions of Painting

Stencil Stencil (1957), allowed (1957), Vibration of Light of Vibration He experimented with experimented He 4 Frequency Frequency

3 , or raised patterns. The patterns. raised or , relief 5 these ideas in works such as such works in ideas these aluminum. medium: new a with but (1958), possibilities material’s the discovered Mack piece thin a on stepped “accidentally he when mat. sisal a on lying was that foil metal of As I picked up the metal foil the light was set was light the foil metal the up picked I As vibrating.” to In 1957 Piene1957 In with stencils use to began canvas to paint apply to holes hand-punched produce and these in patterns monochromatic as such , Mack wrote about similar concepts, proposing proposing concepts, similar about wrote Mack a in lines straight parallel of number “a that could arrangement” vertical or horizontal vibration. produce him to experiment with structure and light and light and structure with experiment to him of impression the create to potential its Piene movement. “continuous the that argued betweenpainting current rhythmic of flow and observer” generated by light produces produces light by observer”and generated vibration.” “total 1

nformel, I Art . structures serial The Third Reich was was Reich Third The 2

and achisme T Vibration of Light of Vibration Frequency and monochrome Heinz Mack, Mack, Heinz They rejected the dominant European styles European dominant the rejected They time, the at highly critical of avant-garde art, removing it removing art, avant-garde of critical highly artists. many persecuting and museums from twoThe believed students philosophy and art emphasize should hope of art postwar a that minimal a reflect and space and motion, light, aesthetic.exploration their by evidenced is This the of ting > n nitions of Pai < New Defi Mack Heinz two1957 artists, German In (b. 1931) and Otto PieneOtto and 1931) (b. (1928–2014), Zero. called they group artists’ an founded new a for hope their indicated word The express would that art of kind a and beginning World of devastation the after optimism War II. Their country was still in the midst of midst the in still countryTheir II. was War only war—not of ravages the from recovery culturally. also but physically and economically a by enclosed were “we it, put has Mack As that vacuum information an cemetery, cultural today.” unimaginable is which used gestural abstraction to express express to abstraction gestural used which angst. and trauma of feelings personal From the beginning we looked upon the term [ZERO] not as an expression of nihilism—or as nihilism—or of an expression as not [ZERO] term upon the looked we the beginning From new a possibilities for pure of silence and of a zone indicating but as a word gag, a dada-like which zone in the incommensurable is off—zero take rockets when as at the countdown beginning —Otto Piene the new. turns into the old state : Otto Piene,Otto : right left ), 1958. Aluminum 1958. Lichts), des (Vibration Mack Studio cm. 140 x 95 wood, on © Heinz Mack. Photo: Courtesy Courtesy Photo: Mack. Heinz © Mack Heinz Prof. Atelier ), 1957. Oil and aluminum and Oil 1957. ), (Frequenz cm. 30.5 x 40.5 canvas, on paint Germany Krefeld, Kunstmuseen Piene.Otto © Courtesy Photo: Germany Krefeld, Kunstmuseen Challenge students to create their own their own Challenge students to create 7 For this activity, students will experiment students will experiment this activity, For 6 NS ORATIO EXPLORATIONS He is most closely associated with a color he developed with with is most closely associated with a color he developed He 8 XPL THER E with the possibilities of aluminum foil. First, hand out a sheet to hand out a sheet to of aluminum foil. First, with the possibilities of ways to come up with ten different each student. Ask them ask Now, affect light? do these manipulations manipulating it. How piece of aluminum foil. with a a relief creating students to focus on stepped on a techniques when he “accidentally his discovered Mack some What are mat.” lying on a sisal that was thin piece of metal foil can they use? What kinds of tools reliefs? students can make other ways call light which I would rather “My metal reliefs, to Mack, According light instead of formed by hand, only require and which are reliefs, to come alive.” color in order Mack was fascinated by aluminum’s ability to make light look like light look like ability to make by aluminum’s fascinated was Mack vibrating.” to “set it was a chemist, named after himself, and patented: International Klein Klein International and patented: a chemist, named after himself, he associated religions, on his study of Eastern Blue (IKB). Drawing the color with infinity. painting, a monochrome tell students they will make this activity, For red, them with blue, Provide a color. to “invent” but first they have and allow them to experiment with black, and white paint yellow, color mixing. Then discuss: Which kinds of colors do they think best Fluorescent? their personalities? Bright or dull? Pastel? represent and their personality, students mix just one color to represent Have or canvas of paper sheet an entire name it. Then they should paint What does each color say the colors to the class. Present that color. about the painter? “light relief.” Does it come alive with the addition of light? How? it come alive Does “light relief.” Piene with paintings to create used stencils with punched-in holes stencils using students will create this activity, For patterns. relief they can find punches—or and tools such as hole pieces of cardboard should Students or graters. such as strainers stencil-like, tools that are or by laying them on top of paper paintings use the stencils to create Ask and products. on the process Reflect and applying paint. canvas to use stencils. students to discuss why an artist might choose to be associated with the One of the first artists outside of Germany Klein saw Klein (1928–1962). Yves network ZERO was larger as the window to freedom, as an “open paintings monochrome existence of possibility of being immersed in the immeasurable color.”

FUR •

• • (1957) (1957) Frequency Frequency (1958). (1958). Light of Vibration

Group Zero wanted to distinguish distinguish to wanted Zero Group in currents art major from itself Art and time, the at Europe of images for online Look Informel. Art and Tachisme with associated art compare to students ask and Informel artworks. Zero Group these to them Mack and Pieneand Mack in interested were raised the and structure serial the how artworksthese of interact could reliefs of sense a create to light with students Ask movement. or vibration the create light seen ever have they if do How vibration. of impression could works these imagine students vibration? of impression the create These artists were the two founders twothe founders were artists These II War post–World in group a of wanted They Zero. called Germany optimism the reflect to art make to Do period. postwar the in felt they artworktheir think students reflects not? why or Why optimism? Share the titles of the works and ask ask and works the of titles the Share do What them. compare to students about think students make titles the works? the Now compare the artwork to Heinz artworkthe Heinz to compare Now Mack’s or similar is think students do What different? Show Otto Piene, Otto Show How notice. they what students Ask Pieneimagine they do have might it? created        ▲ ▲ ▲ ▲ ▲ ▲ ▲ VIEW + DISCUSS VIEW ZERO Everyday Materials

), Spiegelkasten 9 ( Box Mirror Christian Megert, Christian Megert, : Les petites petites (Les Sweets Little The Arman, : right left 93 x 53 x 39 cm. Arman Marital Trust, Corice Corice Trust, Marital Arman cm. 39 x 53 x 93 Kristopher Photo: Arman. © Trustee Arman Guggenheim R. Solomon The © McKay York New Foundation, ), 1961. Aluminum foil in glass case, case, glass in foil Aluminum 1961. ), gourmandises 1965. Mirror in wood box, 103 x 70 x 10 cm. 10 x 70 x 103 box, wood in Mirror 1965. Rights Artists 2014 © London Gallery, Mayor The Zurich. York/ProLitteris, SocietyNew (ARS), London Gallery, Mayor The Courtesy Photo: 11 Regardless of the specific materials they used Regardless of artists’ incorporation ZERO and how, a link between art everyday materials forged reality. art and everyday and life, case. Unlike most ZERO artists, he imposed artists, most ZERO Unlike case. other than on the presentation no structure of his series is part Little Sweets the case. mass- everyday, that presents Accumulations (such as old dolls refuse materials or produced or costume jewelry) or glass boxes. in Plexiglas 1936), a Swiss artist, (b. Christian Megert and utilitarian standardized used a more wall-mounted, created He material: the mirror. (1965). Box such as Mirror reliefs boxlike of stacked installation also made a large He that hang floor to ceiling. panels of mirror rows the tenets of his reflect works These mirror to build “i want new space”: 1961 manifesto “a and without beginning a space a new space, and is invited everything lives end, where immovable quiet and loud, a space to live, and moving.”

10 rials > Mate ay yd Arman (1928–2005), a French artist linked to linked artist a French Arman (1928–2005), The created and ZERO, Réalisme Nouveau in 1961 by collecting aluminum Little Sweets and gathering them in a glass pastry wrappers < Ever Mack Heinz when earliest days, ZERO’s From of a the possibilities discovered 1931) (b. artists associated with the piece of metal foil, in using nontraditional interested network were that incorporating They believed materials. create items helped them contemporary ZERO their time. to relevant artwork more these everyday artists often integrated serial, grid- materials into works that feature and modular forms. repetition, structures, like but Artists associated not just with ZERO Realism) (New Réalisme also with Nouveau in the “new realities” especially interested were societyof postwar and the explosion of the wake in production consumer-goods They expressed war. of of the privations of urban, recycling in a “poetic an interest reality.” industrial and advertising I have a very simple theory. I have always pretended that objects themselves formed a self- a that objects formed themselves pretended always I have very a theory. simple I have — themselves. compose them to allowing of consisted My composition composition.

13 For 12 14 NS ORATIO EXPLORATIONS . Accumulations of a series called is part Sweets The Little XPL THER E this activity, challenge students to do a “poetic recycling” of words of words challenge students to do a “poetic recycling” this activity, industrial, advertising-related, whether urban, in their environment, that they words Ask them to jot down or photograph or all three. into a these words them arrange them. Then have see around like way in a highly organized the words poem. They can arrange as Arman did themselves” art or allow them to “compose Megert’s as in shapes with the words also make They can with his objects. the class the poems aloud and show them to Read poetry. concrete What do the poems say (since their visual form will also matter). in? students live about the environment their artwork artists often accompanied with writing stating ZERO 1961 Megert’s held beliefs about what art should be. their strongly a to build a new space, “i want read: new space” manifesto titled “a and is everything lives and end, where without beginning space and moving.” quiet and loud, immovable a space invited to live, Another artist associated with ZERO, (b. 1929), also also 1929), (b. Kusama Yayoi with ZERO, Another artist associated everyday covered Kusama made artworks called Accumulations. and flowers. macaroni like objects in materials their own “accumulation.” challenge students to make this activity, For Then ask them to think about first. the meaning of the word Discuss in accumulating they would be interested what kinds of materials be specific.Just ask them to think of (Students need not and why. Their new.) such as old versus the qualities of the material, type a particular is to collect, or accumulate, homework assignment to to school. The next day ask them of object and bring it back For these objects. to arrange ways consider a few alternative like way them in a highly organized they might arrange instance, her objects by linked Arman. Kusama loosely like or more Megert Students should select a final them all one color. painting What do students’ the final works. Share strategy. presentation or their process? artworks say about them, their interests, in a interested were Réalisme The artists associated with Nouveau reality.” industrial and advertising of urban, “poetic recycling For this activity, challenge students to research artistic manifestos of manifestos of artistic challenge students to research this activity, For manifestos align most closely with the students’ Which the past. manifestos and various beliefs? They should collect statements from manifesto of collage them together to form a loosely organized their own. Arman and a number of his colleagues signed a statement that said, Arman and a number of his colleagues signed a statement that said, singularity. of their collective aware are Réalistes “The Nouveaux to reality.” approach = a new perceptive Réalisme Nouveau • FUR • Arman’s •

(1961) (1961) Sweets The Little

For this work, Arman gathered work, Arman gathered this For put and aluminum foil pastry wrappers other works For them in a glass case. , he in his series Accumulations objects such as discarded gathered Ask and costume jewelry. doll parts gathered ever students if they have of similar objects and their own group they do with them? What did why. What do students notice about this about this students notice What do the materials and artwork? do How the materials the artist used the way ? traditional differ from Ask students to turn to a partner and and Ask students to turn to a partner an artist and had were you discuss: If material, what to pick a signature would it What would you be and why? do with it? Group Zero was founded with an founded with an was Zero Group in light, monochrome interest (or and movement painting, students see those Do vibration). manifest in Arman and initial interests artworks? not? Why or why Megert’s Can they think of other materials that those initial interests? could address Compare Arman’s material choices to material choices to Arman’s Compare who those of Christian Megert, Ask students to with mirrors. worked the qualities of and compare associations with the different materials.  Show Arman,     ▲ ▲ ▲ ▲ ▲ ▲ VIEW + DISCUSS VIEW ZERO Process

15 125 x 250.8 cm. Solomon R. Guggenheim R. Solomon cm. 250.8 x 125

, 1959. Synthetic Synthetic 1959. , Attese spaziale, Concetto , ca. 1961. Charred Charred 1961. ca. ), 81 (F Painting Fire Untitled , Yves : , Fontana, Lucio : left right

(ca. 1961) (ca. 81 ) (F Painting Fire Untitled paint on canvas, olive green, green, olive canvas, on paint 2014 © 77.2322 Fontana, Teresita Mrs. Gift, York, New Museum, Heald David Photo: Rome. York/SIAE, SocietyRights Artists New (ARS), York New Foundation, Guggenheim R. Solomon The © below below laminated fiberboard, 130.2 x 250.2 cm. The Menil Collection, Houston 130.2 Collection, 250.2 x Menil fiberboard, laminated The cm. © 2014 Artists Rights Society (ARS), New York/ADAGP, . Photo: Paris. York/ADAGP, SocietyRights Artists 2014 © New (ARS), York New Clements, Geoffrey Yves Klein (1928–1962) was an important an was (1928–1962) Klein Yves he 1957 In network. ZERO the in figure his of exhibition an for Germany to came revolutionary his only not brought and work confidence a also but paintings Monochrome strong a made that artist an as role his in Zero. Group of founders the on impression natural the with preoccupied was Klein the in earth the with worked He elements. wind, with as well as pigments, pure of form and burners Bunsen used Klein fire. and rain, pictures. his of some make to flamethrowers For he had a nude female model (a “living (a model female nude a had he to water apply to body her use paintbrush”) create to it burned later Klein fiberboard. the had Klein form. human the of traces ghostlike method paintbrush” “living this developed and paint in models covering by earlier paper. on marks make to them directing

16

. gestures series Concetti spaziale spaziale Concetti ocess > Pr < often and new, developed artists ZERO making for processes destructive spectacular, into arrows shooting and nailing including art, slicing smoke, and fire with painting objects, and sheets, metal and canvases drilling and of out came Creation explosions. engineering lived had who artists, these For destruction. that confirmed acts the II, War World through could things beautiful and positive, new, devastation. from emerge began first (1899–1968) Fontana Lucio through cutting and surfaces paper puncturing reveal works The 1940s. late the in canvases picture the beyond and within space the anis painting a that declare and plane, object and not just a surface. Though heThough surface. a just not and object the shape, and size their with experimented signature his slash became and hole In 1968 he told an intervieweran told he 1968 “mythat In happyam I it. that’s and hole the was discovery discovery.” a such after grave the to go to (1947–68) was made with a single gesture gesture single a with made was (1947–68) couldsupport the though sharp blade, a using sculpture. or paper, relief, metal canvas, be Each cut in his in cut Each I don’t mean just the classical Greek elements: fire, water, air, and earth. I also mean the human mean the I also and earth. air, water, fire, elements: Greek the classical mean just I don’t —Otto Piene participation. and such as action,elements involvement, reaction, VIEW + DISCUSS

▲ FURTHER EXPLEXPLORATIONSORATIONS Show: Lucio Fontana, Concetto spaziale, Attese (1959) • While their methods could be violent, ZERO artists often displayed great humor. In a comically short 1962 performance for Belgian ▲ What do students notice about the television, Fontana took a few seconds to fill a fellow artist’s monochrome work with slashes. In an ironic comment afterward, artwork? To make it, Fontana slashed 17 a canvas multiple times with a sharp Fontana said he had “never been so satisfied.” Klein sometimes made his “living paintbrush” paintings in front of an audience, and blade. Compare this process and its in 1960 he had a performance accompanied by a “symphony” that product to traditional art making. consisted of a single note and silence.18 ▲ Now look together at Yves Klein’s Challenge students to react to something painful in their personal life or in their country’s present or past with humor. They can write, Untitled Fire Painting (F 81) paint, perform, make photographs, or respond in any other way. (ca. 1961). What do students notice about it? • ZERO artists learned that a destructive act could also be a creative one. In your classroom, give students a selection of art materials and ▲ Klein made this work by having a challenge them to work in small groups to experiment with one question in mind: How can a destructive act become a creative one? “living paintbrush” (or nude model) Encourage them to find several answers to this question. Discuss apply water to her body and roll it afterward. How are the products different than what the students onto the fiberboard. Then Klein used normally create? How did it feel to make art this way? a flamethrower to burn the surface. • As an addendum to the above activity, explore the same question

▲ about creation out of destruction in writing. Ask students to On the board, list words or phrases conduct a brainstorming session about how it could apply to poetry. students would use to describe Then they should perform a destructive act in order to create the processes Klein and Fontana poetry. (For example, they could tear up an old magazine and engaged in. rearrange the scraps to form a poem.) Ask similar reflection questions to those above. ▲ ZERO artists lived through the violence and destruction of World War II. Ask students what connections they see between the words and phrases they listed and the historical context. ▲ On the back of his canvases, Fontana wrote the Italian word attesa (meaning “expectation,” “hope,” or “waiting”) if he made one cut, and attese (plural) if he made multiple cuts. Ask students why they think he chose this word, given the process, the product, and the context. ZERO Environment

In his In

Mack realized realized Mack 22 He wanted to create thirteen art thirteen create to wanted He 21 some aspects of this ambitious project during project ambitious this of aspects some 1960s late the in Algeria and Tunisia to visits ’70s. the and “stations” in the middle of the desert. The desert. the of middle the in “stations” things, other among display, would stations hundred-meter-long a oasis, an reliefs, sand artists participating cube a and wall, mirrored space. meditative a as enter could particularly museums, and create experiential create and museums, particularly his conceived Mack world. natural the in art in Morocco to trips during Project Sahara about text a published he and 1950s, late the journal the of edition final and third the in it . ZERO words, the plan included “forests of fungus of “forests included plan the words, smoke of columns rising of screens . . . growth light.” of flashes catapulted and . . . fire and sky: the to devoted be would station final The carry sky, the in floating balloons, “Silver light-reflecting which in nets, invisible hanging.” are membranes

20 vision utopian 19 > onment Envir Heinz Mack in the Grand Erg Oriental, south of the Timimoun Oasis, southern Algeria, 1976. Photo: Thomas Hoepker Thomas Photo: 1976. Algeria, southern Oasis, Timimoun the of south Oriental, Erg Grand the in Mack Heinz also created their own environments, or environments, own their created also elements. natural using often installations, the demonstrated installations ZERO Many institutions, of outside work to desire artists’ Not only were ZERO artists interested in interested artists ZERO were only Not the environment in the ecological sense, they sense, ecological the in environment the After observing of power destructive the After artists ZERO II, War World during humankind in potential regenerative the to drawn were < its history, Zero’s Group in Early nature. PieneOtto Heinz and founders, (1928–2014) on light of play the explored 1931), (b. Mack aluminum. and paintings relief of surface the methods devised (1928–1962) Klein Yves Later, artworks elementsnatural with make to as such Artists fire. and wind, earth, including burning by nature of power the explored Klein artists ZERO artworks. their of surfaces the feathers as such materials natural used also works. their in sand and to themselves limit not did artists ZERO space and sky open The earth. on nature Art them. fascinated also exploration that argued has Pörschmann Dirk historian a realize to sought they the was “It war: of catastrophes the after once that 1930 around born generation earth the sky, the to look to dared again intolerable.” be to itself shown having . . . make something, which cannot ‘perform’ ‘perform’ which cannot something, . . . make . . . its environment assistance of without the Haacke —Hans VIEW + DISCUSS

▲ FURTHER EXPLEXPLORATIONSORATIONS Ask students if they’ve ever dreamed of doing something that seemed • Mack was not the only ZERO artist to dream up a challenging art impossible. What was it? What project related to the natural environment. Yves Klein symbolically seemed impossible about it? What signed the sky above Nice, , and dreamed of dyeing the drew them to the idea? sea with his trademark blue pigment.24 Encourage students to dream up a challenging project that makes a mark on the natural ▲ Show: Heinz Mack in the Grand Erg environment. They should write a proposal for the project that Oriental, south of the Timimoun describes the materials, methods, and potential difficulties. Oasis, southern Algeria (1976) • ZERO artists used natural elements—air, earth, fire, and water—as materials and tools. Klein, for example, burned fiberboard. Set up a ▲ What do students notice about it? nature studio in your classroom. Provide natural materials such as What would students guess about the dirt, flowers, sand, stones, and water as well as tools to manipulate artist based on this image and why? air and light, such as fans, flashlights, and mirrors. More standard art supplies should also be available. Challenge students working in ▲ pairs to pick one natural element and come up with three ways to Mack wanted to create an art use that element to make artwork. What did they discover about the installation in the middle of the desert. potential of those elements? If they had more resources and time, In the filmTelemack (1968), he wore a what else would they create related to that element? reflective silver suit like those in this photograph (taken later); in line with • Many ZERO artists were interested in the natural environment, but his text on the Sahara Project, he some also created their own environments, or installations (as they erected a number of his in are often termed in the art world). Discuss the definition of an art installation: a work of art that usually consists of multiple components the desert and also used silver fabric and mediums and that is often exhibited in a large space in an as a tool for harnessing the effects of arrangement specified by the artist. For instance, Otto Piene's Light natural light. What would be the Ballets (1959–2014) cast abstract forms in dark spaces. For this challenges and rewards of creating an activity, assign students to create plans for an installation of their artwork in an environment like the own. Use four pieces of foam core to create a space with two walls, Sahara desert (as opposed to in a a floor, and a ceiling. Then, using collage materials, students should install an artwork in the space. How does their artwork transform the gallery or museum)? What does perception of the space? Mack’s project suggest about the artist’s goals and interests? ▲ Mack loved boundless natural space: “In such spaces, the clarity of light and the fullness of the silence are forever expanding. . . . Such spaces are: the sky, the sea, Antarctica, the deserts. Within these the reservations of art will float like artificial islands.”23 Why do students think he wanted to show art in these boundless spaces? ▲ Ask students what environment they would choose to set an artwork in and why. What challenges would they face? ZERO Network

25 Yves Klein Yves ZERO – Der neue Idealismus, Idealismus, neue Der – ZERO for leaflet in Heinz Mack, Otto Piene, and Günther Uecker, Piene,Otto Mack, Heinz Uecker, Günther and , Galerie Diogenes, , 1963 1963 Berlin, Diogenes, Galerie , Manifest poetisches poem originally published in German on poster and poster on German in published originally poem Zero is silence. Zero is the beginning. Zero is is the beginning. Zero Zero is silence. Zero is the moon. The sun Zero spins. Zero round. The The desert Zero. is white. Zero is Zero. The flows. The night – . Zero Zero. sky above The milk is Kiss. Mouth. Navel. Zero. eye Silently. the bird. Zero The flower round. I sleep Zero, I drink Zero, I eat Zero, Floating. beautiful. is Zero I love Zero. I am Zero, awake The trees in dynamo. dynamo dynamo Red sea. water, fire, the snow, springtime, indigo blue violet Zero green yellow orange Gold and silver, 4 3 2 1 Zero. rainbow. Zero Zero Zero. circus Traveling sound and smoke. is round. is the beginning. Zero Zero is silence. is Zero. Zero of the phrases. The final product represents represents The final product of the phrases. qualities and imagery: ZERO key However, many traces of their shared vision vision of their shared many traces However, the best Perhaps remain. and aspirations the founding from answer comes directly of a 1963 exhibition the catalogue For artists. network, Piene, Mack, ZERO on the larger To together. composed a poem and Uecker write it, the artists took turns contributing determined the order and this process lines,

Similarly, the the Similarly, 26 rk > Netwo other artists who took part in ZERO-related in ZERO-related other artists who took part careers activities had their own individual and many were simultaneously affiliated with with simultaneously affiliated and many were and movements. other groups the artists in the ZERO By the mid-1960s, network had less time and fewer opportunities They were to connect and work together. number of projects, engaged in an increasing one distance from and often at a great to this swelling demand in part Due another. disbanded the German group and popularity, and the high period of activity in 1966, for came to an end. ZERO < of as a small group What started in 1957 cohort a larger to German artists grew parts various artists from of like-minded and South and North Japan, of Europe, was the affiliation many ways, America. In with the not a movement was It loose. a web but rather that implies, cohesiveness of international connections that curator has termed a “network.” Hillings Valerie to used to refer are and “Zero” Zero” “Group of Heinz the smaller German artists’ group 1931), Otto Piene and (b. Mack (1928–2014), is 1930), and “ZERO” (b. Günther Uecker network of artists to the larger used to refer together in the late 1950s and who worked efforts, their collaborative Despite the ’60s. the original German artists of Zero even in a as “no group thought of themselves way.” definitely organized These artists who cannot collaborate work from the stomach, the plexus, the intestines. the intestines. the plexus, stomach, the from work collaborate cannot who artists These the head. — with the heart and who work those are who collaborate The artists VIEW + DISCUSS

▲ FURTHER EXPLORATIONSEXPLORATIONS Ask students to read the poem by Heinz Mack, Otto Piene, and • Otto Piene described the organization of Zero (and ZERO) this way: Günther Uecker on their own and then discuss it in pairs. How would Mack, Uecker, and I now form, let’s say, the “inner circle” of students describe the imagery, syntax, Zero. . . . There is no president, no leader, no secretary; there rhythm, and tone in the poem? are no “members,” there is only a human relationship among several artists and an artistic relationship among different ▲ This poem was written jointly by the individuals. . . . There is no obligation to take part, no “should” or “must” (one of the reasons, I think, why Zero is still three German artists in Group Zero. growing). . . . teamwork is nonsense if it tries to be an Based on the poem, what would alternative to or rules out individuality or personal sensibility. students guess about the group? For me the essence of teamwork is the chance for a synthesis of different personal ideas. This synthesis might be richer than ▲  the few ideas which a single artist usually is able to They wrote the poem together by 27 taking turns contributing lines and investigate. letting the process determine the Ask students to discuss this statement as a class. What do they think order of the phrases. Ask students: of his take on teamwork? Do they identify with his ideas, such as his What does the artists’ process for sense that the network was growing because there was “no obligation creating the poem suggest about to take part”? How do they see connections to these ideas in their the group? What do students think own lives? Assign students to write an essay in response, stating it would be like to write a poem whether they agree or disagree and using examples from history and that way? What are the challenges their own lives. and rewards? • The three artists of the original German artists’ group, Zero, worked together to write texts such as the poem printed in this section. ▲ This poem appeared in a catalogue for a 1963 exhibition. Ask students For this activity, students will write collaborative texts in groups of what kind of artwork they imagine was three. They should work together to come up with a strategy for shown in the exhibition. writing collaboratively. Ask students to read the resulting texts aloud and to discuss the products and the methods. How do the poems

▲ vary? What are the challenges and rewards of writing collaboratively? Read the quote at the beginning of this section to students and ask if they • Like other far-flung networks of artists, ZERO exchanged and spread agree with the ideas it expresses. ideas in part by creating magazines with artwork reproductions, Should collaboration be an important essays, and other features. On the final page of the third issue of the part of art making? Why or why not? magazine ZERO, for instance, one artist included a match and encouraged readers to burn the book. Another artist attached a sunflower seed and directed readers to plant it in good soil.28

For this activity, create a magazine or a blog as a class. Students should submit artwork and texts and dream up other interactive elements. If it is a magazine, photocopy, assemble, and distribute copies throughout the school, and send copies to students at a far-flung school, if possible. If it is a blog, publish it online and share the link via e-mail or social networks. What feedback do students get? How does it feel to communicate ideas this way as opposed to in person? RESOURCES VOCABULARY A painting, drawing, orphotograph inasinglehue Monochr and inuse flexibility variety Constructed with standardized unitsordimensionsfor Modular opinions ofapersonorgroup A writtenstatementthatdescribesthepolicies, goals, and Manifesto arrangement specifiedbytheartist mediums andthatisoftenexhibitedinalarge space inan A workofartthatusuallyconsistsmultiplecomponentsand Installation movement during the act of painting emphasizes an idea, sentiment, or attitude; specifically, in art, A movement usually of the body or limbs that expresses or Gesture website) its American equivalent (adapted from the Guggenheim Related to , which is often considered repetitive calligraphic marks and anticompositional formats. characterized by the gestural and expressive, often with Term used for a tendency in postwar European painting Ar Playground. Exh. cat. New York: Guggenheim Museum, 2013. Tiampo, Ming, and Alexandra Munroe, eds. University of California Press, 2012. Art: A Sourcebook of Artists’ Writings. 2nd ed. Berkeley: Stiles, Kristine, ed. Howard Beckman. Cambridge, Mass.: MIT Press, 1973. Otto,Piene, and Heinz Mack, eds. Angeles; Munich: Prestel Verlag, 2012. Art to 1974 . Los Angeles: Museum of , Los Kaiser, Philipp, and Miwon Kwon, eds. Schavemaker. New York: Guggenheim Museum, 2014. Derom, Johan Pas, Dirk Pörschmann, and Margriet With contributions by Hillings, Daniel Birnbaum, Edouard Hillings, Valerie. Sculpture Garden; Minneapolis: , 2010. Void, Full Powers. Washington, D.C.: Hirshhorn Museum and Brougher, Kerry, and Philippe Vergne. Cold War Cultures. New York: Harry N. Abrams, 2009. Barron, Stephanie, and Sabine Eckmann. Books t Informel ome ZERO: Countdown to Tomorrow, 1950s–60s . Theories and Documents of Contemporary ZERO. Translated by Yves Klein: With the Ends of the Earth: Land Art of Two Germanys: Gutai: Splendid (adapted from organization Having impossibly idealconditions, especiallyof social Utopian website) meaning aspotorstain(adaptedfrom theGuggenheim One manifestationofArtInformel, from theFrench tache, T or row Something built,organized, orarranged inaseries, rank, Serial tructur Painting witharaised surface Relief (Paintig) The surface ofapicture Picture Plan that workwitheachother A group ofpeopleororganizations thatare connectedand Network links agroup ofartists, usuallyforaspecificperiodoftime A commonartisticstyle, approach, and/orphilosophythat ( foundation.html ZERO foundation: Yves Klein Archives: collection-online/movements/195205 Collection: Tachisme and Art Informel in the Guggenheim Museum Arman’s official website: Websites https://www.youtube.com/watch?v=gqLwA0yinWg An Yves Klein https://www.youtube.com/watch?v=gJKc5IGdbS4 on HeinzA short documentary Mack Videos Ar achisme t) Move ment t)

http://www.guggenheim.org/new-york/collections/ Anthropometries performance Merriam-Webster noted) unless otherwise http://www.zerofoundation.de/ http://www.yveskleinarchives.org http://www.armanstudio.com

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o r ze Notes

1 18 Otto Piene, “The Development of the Group ‘Zero,’” The Times “Yves Klein, Anthropometry: Princess Helena, 1960” (2008), Literary Supplement, Sept. 3, 1964, pp. 812–13, reprinted in ZERO, Museum of , http://www.moma.org/collection/browse_ ed. Piene and Heinz Mack, trans. Howard Beckman (Cambridge, results.php?object_id=80530 Mass.: MIT Press, 1973), p. xx. 19 Hans Haacke, untitled statement, in nul negentienhonderd vijf en 2 Heinz Mack quoted in Wieland Schmied, “Arbeit am Projekt der zestig, exh. cat., vol. 1, teksten (Amsterdam: Stedelijk Museum, Moderne: Über Heinz Mack und den Mythos vom Künstler als 1965), n.p., quoted in Valerie Hillings, “Countdown to a New Konstrukter neuer Welten,” in Utopie und Wirklichkeit im Werk von Beginning,” in Hillings, ZERO: Countdown, p. 39. Punctuation Heinz Mack, ed. Schmied (Cologne: DuMont, 1998), pp. 10–13, reflects the original. reprinted and trans. as “Working on the Project of Modernism: 20 About Heinz Mack and the Myth of the Artist as Engineer Dirk Pörschmann, “Where No Man Has Gone Before: Utopia Designing New Worlds,” in ZERO aus Deutschland 1957–1966: Zero,” in Hillings, ZERO: Countdown, p. 62. 21 Und heute, ed. Renate Wiehager, exh. cat. (Ostfildern, Germany: Heinz Mack, “The Sahara Project,” ZERO 3 (July 1961), reprinted Hatje Cantz Verlag, 2000), p. 117. in ZERO (1973), pp. 180–84. See also Pörschmann, “Where No 3 Otto Piene, “Über die Reinheit des Lichts, ZERO 2 (Oct. 1958), Man Has Gone Before,” p. 63. 22 pp. 24–27, reprinted and trans. as “On the Purity of Light” in ZERO Mack, “The Sahara Project,” pp. 182, 184. (1973), p. 47. 23 4 Ibid., p. 180. Heinz Mack, “Die neue dynamische Struktur,” ZERO 1 (Apr. 1958), 24 pp. 24–27, reprinted and trans. as “The New Dynamic Structure” in Pörschmann, “Where No Man Has Gone Before,” p. 63. ZERO (1973), p. 15. 25 Yves Klein, “Discours prononcé à l’occasion de l’Exposition 5 Heinz Mack, “Die Ruhe der Unruhe,” ZERO 2 (Oct. 1958), TINGUELY à DUSSELDORF (janvier 1959),” in Klein, pp. 20–23, reprinted and trans as “Resting Restlessness” in ZERO Le dépassement de la problématique de l’art (La Louvière, : (1973), p. 41. Éditions de Montbliart, 1959), pp. 19–22, reprinted and trans. as 6 “Discourse on the Occasion of Tinguely’s Exhibition in Düsseldorf, Ibid. January 1959,” in Yves Klein, 1928–1962: A Retrospective, exh. cat. 7 Ibid. (Houston: Institute for the Arts, Rice University, 1982), p. 233. 8 26 Yves Klein, quoted in Paul Wember, Yves Klein (Cologne: Verlag M.  Group Zero: Mack Piene Uecker, exh. cat. (London: McRoberts and Dumont Schauberg, 1972), pp. 9, 11. Tunnard Gallery, 1964), quoted in Hillings, “Countdown to a New Beginning,” p. 35. 9 Arman, quoted in Daniel Abadie, Arman: L'âge de fer et ses 27 monuments (Paris: Galerie Beaubourg, 1977). Otto Piene, “Development of the Group ‘Zero,’” xxi. 10 28 Pierre Restany, 60/90: Trente ans de Nouveau Réalisme (Paris: See Hillings, “Countdown to a New Beginning,” p. 29. La Différence, 1990), p. 76, quoted in “New Realism,” Educational Dossiers, http://mediation.centrepompidou.fr/ education/ressources/ENS-newrea-EN/ENS-newrea-EN.htm 11 Christian Megert, “a new space” (Copenhagen, 1961), reprinted in Christian Megert: A New Space, exh. cat. (London: The Mayor Gallery, 2012), p. 7. 12 Restany, 60/90, p. 76. 13 Megert, “a new space,” p. 7. 14 Pierre Restany et al., Déclaration constitutive du Nouveau Réalisme (Paris, Oct. 27, 1960). 15 Otto Piene, “Elements,” in Otto Piene: Elements, exh cat. (New York: Howard Wise Gallery, 1969), n.p. 16 Sarah Whitfield, ed.,Lucio Fontana, exh. cat. (London: , 1999), p. 12, quoted in Sophie Howarth, “Lucio Fontana: Spatial Concept ‘Waiting’ 1960” (2000), Tate, http://www.tate.org.uk/ art/artworks/fontana-spatial-concept-waiting-t00694/text-summary 17 Belgian television program recorded Dec. 3, 1962, in the Knokke home of collector Louis Bogaerts and broadcast by Vlaamser Radio- en Televisieomroeporganisatie. See Margriet Schavemaker, “Performing Zero,” in Valerie Hillings, ZERO: Countdown to Tomorrow, 1950s–60s (New York: Guggenheim Museum, 2014), p. 51.