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According to art-history ‚Kinetic Art’ can be traced all the way back to the beginning of abstract-concrete art in the first decades of last century. The unprecedented conquest of the tableau by geometry is, in the point of view of many viewers still nowadays a big loss in comparison to bucolic landscapes and puffy nudes – as if Rubens hadn’t composed his paintings other than in triangle- and circle-wise construction-patterns!
The step from true form to moving geometric/abstract imagery and reaching beyond to the phenomenon, that a tableau can at the same time become a sculpture – the step is minimal but was inevitable. The once liberated game of forms found its meaning through the idea of free interaction of forms. Not different worlds lay between Malewitsch’s ‚Black Square’ and Moholy-Nagy’s ‚Light-Space-Modulator’ but many connections.
Concrete Art and Kinetic Art have definitely shown how they depend on each other – the vivid growth depending on the order of forms and the forms on what makes them come alive. I think here lies the secret of the big fascination of Böllinger’s art: How the two systems of logic and freedom interact with each other. His works come alive by the intriguing interplay of moving and non-moving elements, of weight and lightness, of sometimes archaic block-like structures and filigree meshes.
Most of his works - particularly the earlier ones - you see in exhibitions, have a kind of delicateness, which gives them the character of graphic pattern drawn right into the air. Inevitably they raise a memory of music, some seem to be consciously and esthetically composed like a musical composition. Some titles like ‚Nocturne’ or ‚Pavane’ support this impression. What abilities do you need in order to construct something like that, provided, you have esthetical sensibility and enough phantasy for the treatment of materials?

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