Perpetuum Mobile 1968

Editor: Here we have Friedrich Meckseper's mixed-media print, "Perpetuum Mobile," created in 1968. I find its composition fascinating; the overlaying of geometric forms gives it a scientific yet mystical quality. What compositional elements stand out to you? Curator: I observe a clear tension between the circle and the square. The large, soft-edged circle dominates the upper portion, within which we see a radial symmetry established by lines connecting the central concentric circles to the outer spheres. Juxtaposed with this, the rigid, geometric square form anchors the lower half of the image. Do you perceive any relationship between these contrasting forms? Editor: Perhaps the circle represents an ideal, unattainable perfection in motion, while the square, with its defined lines and angles, represents the concrete and knowable. I'm interested in the arrows; are they merely indicators of implied movement? Curator: The arrows undeniably introduce a dynamic element. However, let us consider their placement in relation to the overall structure. They do not suggest an unbridled dynamism; rather, they imply a controlled, cyclical, and even predetermined motion. They almost serve to highlight the impossibility of a true 'perpetuum mobile.' Note the colour relationships—how do they impact the visual effect? Editor: The limited palette—earthy browns, grays, and reds—creates a muted and almost dreamlike effect, softening the starkness of the geometry and lending it a vintage feel. So, the composition and colour scheme work together to reinforce the paradoxical nature of something that can never exist. Curator: Precisely. It invites us to contemplate the interplay between order and chaos, possibility and limitation, inherent in the pursuit of perfection. Editor: I never thought I could read so much just by analyzing its forms. Thanks! Curator: And I trust this closer examination allows for a renewed appreciation of Meckseper's visual syntax.