Group ZERO: zero point of art. Zero Biography
Like any significant movement in art, the group Zero (“Zero”) arose spontaneously. The origins of the group, which was formed in 1957 and made Düsseldorf a metropolis of modern art, were young artists - Otto Pinet, Heinz Mack, Günther Uecker. The group contrasted their work with German informel, which in those years was an all-powerful and very influential movement in German post-war art.
Group Zero: Heinz Mack, Otto Piene and Günter Uecker, 1962. Photo: ©ZERO foundation.
A group of avant-garde artists, without breaking ties with the avant-garde of the 1920s, put forward new artistic principles. Wanting to cleanse german art From abstraction, artists turned to the concepts of space and time in a cosmogonic vision.
They set out to find new ground for art after the war. The art of Zero became a zero point of reference, renewal and rebirth.
In the 1960s, many Western philosophers and artists became interested in the problem of restoring modernism after a terrible past. Among other things, they were interested in the question of “zero”, “zero point”. Among them were Theodor Adorno, Maurice Merleau-Ponty, Roland Barthes and others. During these years, the Zero group released its first manifesto in the spirit of the early avant-garde, entitled “Zero is silence. Zero is the beginning." Zero is not a symbol of nihilism, the denial of everything - it is a starting point, a moment of emptiness in which new art was born.
Heinz Mack. Light and movement of a wall mirror, 1960
In addition to the German Zero, there were other groups with similar names - "Gutai" from Japan, "Zero" from Holland, "New Realists" from France, "Azimuth" from Italy.
The "Zuleviks" maintained relationships with the leading artists of the time - Lucio Fontana, Yves Klein, Mark Rothko, Piero Manzoni, who shared their intentions to oppose abstract expressionism and other appearances of the unconscious. The group's creativity came into contact with op art, kinetic art, land art, and abstract expressionism.
Gunther Uecker. Art object with nails.
Artists explored the interaction between man and nature, expressed their ideas using light and kinetic designs, monochrome painting using technological means, objects industrial culture. The group's favorite materials were light-scattering aluminum, nails, sand, rope, and glass. The mirror and lighting fixtures also served as the basis for the sculptures.
Gunther Uecker. Cosmic vision. 5 light discs, 1961,1981.
Heinz Mack (b. 1931) studied philosophy at the University of Cologne and after graduating he began to research problems of light and motion. In the 1950s he created light reliefs and light kinetic structures made of polished metal that reflected the colors of the world around him. In 1958, he published his theory of "dynamic structures" in the essay "The Rest of Anxiety." Most often, he used polished aluminum, glass, mirrors, plastic - light glared and played on the surfaces of these objects.
Heinz Mack. Various columns, 1960-1969. Photo: © Collection of the Zero Foundation.
Otto Pinet (1928-2014), like Heinz Mack, was the founder of the group (later Uecker joined them). Pinay also studied the behavior of light and color, and worked with smoke and fire. In 1957 he invents mesh/lattice painting - a type stencil painting; halftone screens with rhythmically placed color dots were created. This type was constantly developed and modified. Thus, the development of this type was carried out in the work “Light Ballet” (1959) - light from moving torches was projected through a color grid. This expanded the viewer's perception of space. In 1959, he created “Smoke Paintings,” embodying simple natural energies. In his “fire” paintings, a layer of solvent on pigmented paper was lightly burned to create organic forms from soot and paint residue.
Otto Pinet. Spread of the sun, 1966. Photo: © Collection of the Zero Foundation.
Günter Uecker (b. 1930) studied with Otto Pankock at the Düsseldorf Academy of Arts. In 1956, he first began to use nails in his work. In 1960 he joined the group Zero. He, like his colleagues, studied the behavior of light, optical phenomena, movement, and the visual process of kinetic or manual intervention. Ucker nail is the main material, artistic medium, which remains central to his art to this day. Since the 1960s he started hammering nails into various items- furniture, musical instruments, household items. Over time, he combined the theme of light and nails to create the illusion of movement. In addition, he used sand, water, and electricity. In his work one can see his interest in the avant-garde of the 1920-1930s, in the culture and philosophy of the Far and Middle East.
Gunther Uecker. Piano.
By the way, it was Ucker who was the first Western avant-garde artist to come to Moscow (Central House of Artists) in 1988 with his exhibition. This exhibition caused Soviet people a real sensation.
INwithin the framework of the Days of Dusseldorf in Moscow MAMM will present an exhibition of the legendary German art group Zero, which had a huge influence on the post-war european art. The exhibition included iconic works its founders: Günther Uecker, Heinz Mack and Otto Piene. The exhibition will be held from September 24 to November 13. Entry for participants is free.
Following the end of World War II, there was an unprecedented surge in artistic activity throughout Germany. Having survived the horror of one of the most terrible wars in human history, artists, writers, and philosophers felt the need to rethink the tragedy, free themselves from the legacy of the past, and revive the ideas of modernism and Bauhaus that dominated before the Nazis came to power.
Due to its favorable location and proximity to Paris, Amsterdam, Antwerp, and Brussels, Dusseldorf became one of the most prominent international cultural and economic centers of post-war Europe.
It was in Düsseldorf in 1957 that the group Zero arose. At the origins of its foundation were Otto Piene and Heinz Mack, later they were joined by Günther Uecker. The zero in the group's name was not a symbol of negation. He was the starting point, the point of silence and emptiness, in which a new world, full of hope and light, arose.
By the beginning of the 60s, many world artists and philosophers came to the “zero mark”: Maurice Merleau-Ponty talked about “zero space”, Roland Barthes about the “zero degree of writing”, Yves Klein opened an exhibition called “Emptiness”, and John Cage began working on the music of silence. In 1963, a manifesto by Otto Pinet, Heinz Mack and Günter Uecker appeared, it was called “Zero is silence. Zero is the beginning."
The group’s ideas were expressed in light and kinetic installations, objects at the intersection of painting and sculpture, as well as monochrome paintings.
The group members were in constant creative contact with leading European and American artists of that time: Yves Klein, Lucio Fontana, Piero Manzoni, Jean Tinguely, Mark Rothko and others. Representatives of the international artistic community conducted an intensive dialogue, expressed in joint exhibitions and other diverse forms of cooperation.
The group's creativity came into contact with abstract expressionism, op art, new realism, situationism, land art and even pop art.
The Zero group often took part in various architectural projects: they were commissioned to paint walls, decorate rooms, create lighting fixtures and installations. At the same time, the group conducted personal and group exhibitions all over the world - from Amsterdam, Milan, Rome, to London, New York and Philadelphia.
Despite the close connection between the artists, each of them had a unique personality and worked on their own projects. Heinz Mack experimented with the kinetic possibilities of light. The leitmotif of his work is his light steles, which he placed in untouched spaces of deserts or the open sea. Often the public could only get to know them through video or photography.
Günter Uecker's works are characterized by a lack of color; the nail plays a dominant role in many of his works, reflecting light and darkness in its own way. The most famous series Uecker, “Cosmic Vision” (1961–1981), represents rotating circles into which nails are hammered in a geometric pattern, turning into light reflectors. They function differently than Mac's light-emitting steles, but create a similar effect.
Pinay, who combined art education with a philosophical background, was fascinated by the interaction of art and science. His works are marked by a special sense of color and stand out with their characteristic handwriting and form.
At the same time, the artists of the Zero group and their like-minded people have always strived for what Günter Uecker called “a world where art ceases to be the work of individuals, which it still is.”
Contact Information
Address: Moscow, Ostozhenka, 16.
Ticket prices: adults: 500 rubles, full-time students of the Russian Federation: 250 rubles, pensioners and schoolchildren: 50 rubles, disabled people of groups I and II: free.
For club members " Russian Photo" the entrance is free.
Opening hours and days: 12:00 - 21:00, every day except Monday.
Electronic duo Zero 7 are two bosom friends Henry Binns and Sam Hardaker, long-time partners, composers, producers and authors of numerous remixes. Mastering unlimited spaces ambient techno, Zero 7 literally from the very first steps became the favorites of both music lovers and critics. The latter, without further ado, after the release of the first disc, dubbed... Read all
Electronic duo Zero 7 are two bosom friends Henry Binns and Sam Hardaker, long-time partners, composers, producers and authors of numerous remixes. Mastering the unlimited expanses of ambient techno, Zero 7 literally from the very first steps became the favorites of both music lovers and critics. The latter, without further ado, after the release of the first disc, dubbed Zero 7 English Air. As it turned out later, it was somewhat premature.
Henry Binns and Sam Hardaker had been friends since childhood, living next door in one of the areas of north London. Both understood that their lives would be connected with music, which interested them in its most diametrical manifestations - soul and classical music, jazz and hip-hop seemed equally attractive. Among the albums that radically influenced their understanding of music, they name somewhat unexpected records: Sam - “Planet Rock” by Afrika Bambaataa, and Henry - “The Hissing Of Summer Lawns” by Joni Mitchell.
After school, both mastered the profession of recording engineer and were hired by Rak studio, which was headed by Mickie Most. It was not immediately possible to show off my engineering talents. To begin with, the guys had to be content with the duties of couriers, making tea for employees and running small errands. But they soon managed to more than make up for lost time. Since 1992, Henry Binns and Sam Hardaker have regularly served as assistant engineer and later as recording director. In the mid-90s, they became interested in creating remixes and prepared plenty of them, including for top stars - Robert Plant, Pet Shop Boys, Lenny Kravitz. But, as a rule, the recordings that passed through their hands did not arouse much interest among their friends. The first truly exciting work was a remix of the track "Climbing up the Walls", featured on Radiohead's classic 1997 album OK Computer. Nigel Godrich, a college friend who worked with Radiohead as a producer, suggested that the musicians work on this song. Hardaker and Binns gave it their all full program. And for good reason - their work attracted the attention of the famous DJ and influential entrepreneur Gilles Peterson, who paid close attention to the couple. To begin with, he broadcast a remix of “Climbing up the Walls” on BBC Radio 1, then offered the musicians another track for processing. It was the composition “Love Theme From Spartacus” by soul singer and composer Terry Callier. And another success in their remixing field.
Since then, Gill Peterson has not refused to support aspiring composers and producers. So, in 2000, it was at his instigation that two friends - already as Zero 7 - published their debut EP, “originally” called “EP1”. The first edition consisted of only a thousand copies, but they sold out instantly. Returning to their native remixing craft, Henry Binns and Sam Hardaker did not give up the idea of creating on their own. And in the same year they prepared the second “EP2”, which sold out in a much more decent circulation. During the break between releases, Henry Binns managed to make his debut as a producer, working on the sound of Mel B's "Hot" album, and Sam Hardaker began remixing tracks from Radiohead's "Karma Police, Pt. 2".
“We were offered great amount material for remixes, the musicians recall. “But at some point we wanted to do something ourselves and see what would come of it.” The difference was huge. And we had no idea where it would all lead."
Little by little, Zero 7 began to gather material for their full-length debut. The compositions were born under the influence of very diverse artists - Quincy Jones, Ray Charles, George Martin, John Barry. Zero 7 released their first album, Simple Things, to the public in the summer of 2001. The sound of the recording maneuvered between acid jazz, ambient techno and funk. The instrumental tracks on the album were juxtaposed with songs narrated by talented vocalists Mozez, Sia Furler and Sophie Barker. Combining smarmy soul vocals, bubbling keyboards, acoustic guitar and classical strings, the authors achieved a free and strong sound. Reviewers on the pages of various British publications did not skimp on their praise. “Our answer to Air” is just one example of high praise.
In February 2002, the musicians published a collection of remixes from the “Another Late Night” series, in which they presented their versions of works by very different artists, mainly Brazilian and French. Representative of the rap underground Quasimoto interested them no less than Serge Gainsbourg's classic "Bonnie & Clyde".
A few months later, Zero 7 landed on American shores to play 14 shows in different corners United States in support of their debut release. The concert trip was an extremely rewarding experience for the members of Zero 7, who for many years considered themselves studio recluses and never imagined that they would ever dare to perform live. An impressive backing group - 11 musicians and three vocalists - took to the stage with them. The tour program also included a show at the third Coachella festival in California.
By this time, in the UK, the album “Simple Things” had already become double gold, having sold 200,000 copies (today its circulation has exceeded 300,000). And the duo was nominated for two prestigious awards - the Mercury Music Prize (“album of the year”) and the Brit Award (“best new artist"). After a concert acquaintance with the American public, the disc “Simple Things” appeared in the Top 5 electronic albums in the United States. When the duo returned to their homeland in the summer of 2002, the English part of the tour was waiting for them with a stop at the venues summer festivals. They became the real stars of the Homelands 2002 festival.
Second studio album"When It Falls" was completed in March 2004. Inviting two new vocalists, Tina Dico and Yvonne John Lewis, along with the already familiar Sia Farler, the duo prepared a nice selection of melodic songs and instrumental compositions. Zero 7 adhered to the same formula, which completely justified itself in debut album, although they placed an additional emphasis on elements of pop style. Producers themselves, Sam Hardaker and Henry Binns used flute, horns and strings in their arrangements, giving their tracks a soft, warm flavor. The long-play “When It Falls” was equally enjoyed by both English and American music lovers. Even without the support of a special hit single ( 100% hits was not on the album) this disc rose to Top 3 on the US electronic chart and even appeared on the Billboard 200.
A month before the official release, members of Zero 7, accompanied by 15 other musicians, went on a tour of the UK. Even the most skeptical journalists had to pay tribute to their ability to get the audience going. One of the most impressive features of their live shows is the four alternating vocalists (Moses, Tina Daiko, Sophie Barker and Sia Farler), plus the entire action takes place against the backdrop of impressionistic images projected onto the backdrop of the stage.
Having successfully won their place in the sun of show business for more than three years, the musicians have not yet realized the reason for their popularity: “We did not expect anything like this. We have no idea how this even happens." And they still haven’t acquired any delusions of grandeur. Henry Binns and Sam Hardaker characterize their project very simply: “Zero 7 is a traditional band, but using samples, and it is the mixing of these two components that produces the desired effect.”
As part of the Days of Dusseldorf in Moscow, MAMM presents an exhibition of the legendary international art movement ZERO. In 2011, the museum presented its Italian part in Russia for the first time; the current exhibition includes works by the German founders of the movement - Günther Uecker, Heinz Mack and Otto Pinet.
After the end of World War II, there was an unprecedented surge in artistic activity throughout Germany. Having survived the horror of one of the most terrible wars in the history of mankind, artists, writers, philosophers felt the need to rethink the tragedy, free themselves from the legacy of the past, and revive the ideas of modernism and Bauhaus that dominated before the Nazis came to power.
Due to its favorable location - proximity to Paris, Amsterdam, Antwerp, Brussels - Dusseldorf became one of the most prominent international cultural and economic centers of post-war Europe.
It was in Düsseldorf in 1957 that the group ZERO arose. At its origins were Otto Piene and Heinz Mack, later they were joined by Günther Uecker. The zero in the group's name was not a symbol of negation - it was a starting point, a point of silence and emptiness in which new world, full of hope and light.
By the beginning of the 60s, many world artists and philosophers came to the “zero mark”: Maurice Merleau-Ponty talked about the “zero mark of being”, Roland Barthes - about the “zero degree of writing”, Yves Klein opened an exhibition called “Emptiness”, and John Cage began working on the music of silence. In 1963, a manifesto by Otto Pinet, Heinz Mack and Günter Uecker appeared, it was called “ZERO is silence. ZERO is the beginning."
The group’s ideas were expressed in light and kinetic installations, objects at the intersection of painting and sculpture, as well as monochrome painting.
The group members were in constant creative contact with leading European and American artists of the time: Yves Klein, Lucio Fontana, Piero Manzoni, Jean Tinguely, Mark Rothko and others. Representatives of the international artistic community conducted an intensive dialogue, expressed in joint exhibitions and other very diverse forms of cooperation.
The group's creativity came into contact with abstract expressionism, op art, new realism, situationism, land art and even pop art.
Despite the close connection between the ZERO artists, each of them had a unique personality and worked on their own projects.
Heinz Mack experimented with the kinetic possibilities of light, and the leitmotif of his work is the light stele. He placed these objects in pristine desert spaces and the open sea, and often the public could only experience these works through photographic and video documentation. Günther Uecker's works are characterized by a lack of color, and main role a nail plays in them, refracting light and darkness in its own way. Pinet, who combined artistic education with philosophical training, was fascinated by the interaction of art and science.
At the same time, the artists of the ZERO group and their like-minded people have always strived for what Günter Uecker called “a world where art ceases to be a solitary endeavor.”
Almost 60 years ago, two artists and theorists Heinz Mack And Otto Pinet founded a group in Düsseldorf Zero. Soon he joined them Gunther Uecker, and they, in the spirit of early modernism, composed a manifesto called Zero- this is silence. Zero- this is the beginning. By silence and beginning he understood reflection and the search for an answer to the “damned” question of the philosopher Theodor Adorno, is it possible new modernism after the Nazis.
The affirmative answer was found in the creation of light and kinetic objects and monochrome paintings. At the same time, the group's works are made Zero opposed abstract expressionism, automatic writing and other manifestations of the unconscious. “Zulevikov” was supported Yves Klein, Lucio Fontana, Jean Tinguely, Mark Rothko. They became the pioneers of land art, where, as Uecker puts it, “art ceases to be the work of individuals, which it still is.”
Heinz Mack became famous for his “light columns” (some from the artist’s studio will be presented at the exhibition). In the early 1960s, his luminous installations in deserts and on the high seas, which could only be seen in photographs, became a sensation. Günther Uecker, the “man of nails” who made nails his trademark, is remembered by older audiences for his huge 1988 exhibition of 800 works at the Central House of Artists in Moscow. Uecker and Francis Bacon- the first living classics of modernism shown in the USSR. During the years of participation in Zero Uecker created Cosmic vision of five rotating disks into which reflective nails are driven in a geometric pattern. Then the nails were tuned to meditative perception. Later they will become a sign of aggression and destruction.
Otto Pinet, artist and philosopher, author Olympic rainbow made of luminous tubes for the 1972 Munich Olympics, represented by an installation of light objects Three blue glowing ghosts. In fact, there are four objects, but one is always in the shadow.
As often happens with great artists, Union Zero did not last long. The group broke up ten years after its creation, everyone took up their own projects. After half a century, it has become clear how seriously “zero” ideas influenced not only modern Art and design, but also on our perception of the world. Nowadays, a lonely object in the desert or on the seashore is a familiar thing, a necessary attribute of living space.
Large group exhibitions Zero and their associates took place in 2014 at the Guggenheim Museum in New York and in 2015 at Martin-Gropius-Bau in Berlin. Now the turn has come to Russia, where the exhibition was prepared jointly with Foundation Zero especially for the Days of Dusseldorf in Moscow.
