De Gauche A Droit

source: futilitycloset

Swiss artist Markus Raetz created this innovative portrait of Piero della Francesca. Two mobiles are fitted with aluminum plates that are juxtaposed successively as the mobiles rotate. Piero appears between them.
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source: gizmodo

アーティストMarkus Raetzさんの作品がこちら。紙でできた2つのオブジェが回転し、その間に人の頭が浮かび上がるという仕掛け。回転している紙のカットが1枚1枚微妙に違うことで、頭も正面から横から後ろと回っているように見えます。ネガティブスペースを利用した作品ですね。
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source: cirqla

Hoy os presentamos el trabajo de Markus Raetz. Pintor, ilustrador y escultor suizo, que ha centrado gran parte de su obra en un tema concreto: la naturaleza de la percepción. Sus obras no se centran en lo que ellos representan, sino en la forma en que se perciben. A menudo requieren interacción por parte del espectador, y sólo se pueden entender cuando se ve en movimiento o desde diferentes ángulos.
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source: ipickca

This older video features a mind blowing illusion reportedly by artist Markus Raetz.

As the 3D sculpture spins, a human head can be perceived in the center turning ‘from right to left.’
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source: crownpoint

Markus Raetz is a sculptor and conceptual artist who lives in Switzerland. His art is usually described as being about issues of reality and illusion. For example, he has made a sculpture that suggests the pipe painted by Renee Magritte in 1929. Magritte inscribed his picture “Ceci n’ est pas une pipe,” (This is not a pipe), and Raetz calls his free-standing sculpture of a pipe “Nichtpfeife” (Non-Pipe).

As you move around it, you see that it is a somewhat flat, twisted piece of cast iron. Not only is it not a pipe, it is not even an illusion of a pipe except from one particular spot. Still, once you see the pipe you don’t forget it, and there’s a kind of delight in walking around, putting it together and taking it apart in your mind.

Raetz was born in Buren, a small town near Bern, Switzerland, in 1941. He grew up there, worked as an assistant to a local artist during school vacations, took teacher training in Bern, and worked as a teacher from the ages of twenty to twenty-two. He has had no formal art training, except “half a year studying etching in Amsterdam.” However, he knew, he says, from the age of ten that he would be an artist. “My father liked to draw. He saw that maybe I would do something he had wanted to do.”

Raetz still lives in Bern. Since he began showing his work in 1966, he has had exhibitions in many galleries and museums, including all the major Swiss museums and the Stedelijk Museum in Amsterdam, the Kolnischer Kunstverein in Germany, the Serpentine Gallery in London, the New Museum in New York City and, in 2001, the Arts Club of Chicago.

In 1988 he represented Switzerland in the Venice Biennale. His Venice exhibition was partly made up of seascapes, but Raetz did not go out with his easel to paint them. He calls them “invented,” and the essayist for the Venice catalog speaks of “fields of vision” and “continuity in constant flux.”

Flux is especially evident in a work of sculpture that is simply a piece of sheet metal cut into binocular “eyes” and hammered to produce a horizon line and other marks that reflect light differently from one point of view to the next.

At Crown Point Press, in the winter of 2001, Raetz produced two etchings on a similar theme. These images are essentially bands of light outlined by the shape you would see if you were looking through binoculars. Raetz drew one of these, “Gaze,” directly on the copper plates from which the image is printed.

The other, “Binocular View,” he created in photogravure using stencils. In the final prints, the images are intended to be completed inside the viewer’s own head. But Raetz gives clear suggestions, and taps into human consciousness in a direct and simple way.nIn sculpture works, the word “SI” (yes) from a different angle reads as “NO.” “TODO” (all) turns into “NADA” (nothing). And a rabbit outlined in wire looks in a mirror that reflects the image of a man in a hat.

Two of Raetz’s new etchings are pictures of a line that twists gracefully and enigmatically in the air. In the etching titled “Flourish” the line is made from a piece of twisted wire, held in the artist’s hand and exposed onto a copper plate using the photogravure process. To make the second version, “Trim’s Flourish,” Raetz drew the line in spit bite aquatint.

The Flourish has its origins as a drawing in the 1759 novel Tristram Shandy by Laurence Sterne. Trim, a main character, waves his walking stick in that pattern into the air as he is speaking of freedom. Billy Collins, who is presently poet laureate of the United States, has said that “a poem is like a ride,” and the poet who wrote it is “the first one to take that ride.” Raetz’s ride is a quiet one, but it makes the shifting sand we stand on pleasurable. We are moving. There are many points of view. But we hold our binoculars and gaze at whatever is out there.
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source: clynefr

C’est un artiste contemporain (il est né en 1941) dont l’intérêt pour l’anamorphose lui a fait créer des dispositifs qui mettent le spectateur en mouvement. En effet, il faut se déplacer autour de ses œuvres pour les appréhender.
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source: acozzacokr

1941년 스위스태생의 마르쿠스 라에쯔는 컨셉츄얼 아티스트이다. 그의 작업은 주로 현실과 일루젼에 대한 것이다. 이번 전시에서 그의 작품들은 마지막전시실에 전시되어 이번 전시를 요약해서 보여주는 역할을 했다.

그의 작품들은 신기하다. 중절모를 쓴 남자의 뒷모습을 조각한 작품을 거울을 통해 다시보면 토끼가보이고, CECI라고 쓴 글자를 거울을 통해 다시보면 CELA라고 보여진다.
구부정한 S자 모양의 선이 거울에선 사람의 옆모습으로 보인다.

이미지, 단어들은 그의 작품속에서 마술을 하는듯 하다. 조각들은 볼륨있게 만들어지지만 우리가 그것들을 볼때는 회화같은 평편한 작품을 만나게된다. 시각적 유희랄까.
우리는 사진이나 그림 앞에서는 그대로 서서 작품감상을 하지만 조각작품을 볼때는 그것들을 둘러가며 감상을 한다. 이 두가지를 한 작품에 공존케한것이 마르쿠스의 작품이다. 그는 조각된 작품의 주위를 둘러볼것을 권하지만 그 마지막에 우리가 보게되는것은 일반적인 회화감상과 같은것이다.
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source: mashpedia

Markus Raetz (Berna, 6 de julho de 1941) é uma artista suiço contemporâneo. Sua primeira exposição ocorreu em 1966 na Suiça, sendo seguida por exposições na Holanda, Alemanha, Londres, Amsterdã e Estados Unidos. Markus realiza um trabalho de escultura conceitual, utilizando-se de diversos materiais, como folhas, fios, madeira,ferro fundido. Suas obras apresentam-se de forma diferente sob os possíveis pontos de vista assumidos pelo apreciador das esculturas. Um aparente fio retorcido, ao movimentar-se ao vento ou diante do movimento de quem o observa transforma-se numa face que pode assumir diferentes expressões. O artista expôs na Bienal de Veneza em 1988. e na Bienal de São Paulo em 1998.