Model for 'Rotating Fountain' 1925

Curator: Naum Gabo, a pivotal figure in Constructivism and kinetic art, created this intriguing piece, "Model for 'Rotating Fountain'," in 1925. It blends metal and other materials, reflecting his commitment to merging art with technology and engineering. Editor: Wow, my first thought is how surprisingly delicate it appears! All those intersecting geometric planes and that outer ring, it feels like a complex solar system rendered in translucent amber. Curator: Precisely. Gabo, along with his brother Antoine Pevsner, championed a break from traditional sculpture. The "Realistic Manifesto" they co-authored rejected static representation, emphasizing space and rhythm as artistic materials in their own right. Gabo’s exploration moved beyond just form and considered forces acting upon objects, very scientific. Editor: I see it. It has the vibe of an elaborate machine but there’s something incredibly graceful about it too. Almost balletic in its potential movement, do you think it was fully functional at any point? Curator: While the "Rotating Fountain" was fully realized in a larger scale much later, this "Model" allows us to understand Gabo's process. His deep investment in both scientific principles and the social impact of technology are visible. His exploration challenged notions of artistic labor and mass production—art for the people as it were. Editor: That rings true; looking at it now, it speaks to both utopian ideals and the anxiety surrounding technology that emerged post-World War I. There’s a lightness there, a promise almost. I’m drawn to that fine line between optimistic design and looming unease. Curator: Absolutely. The piece encourages us to critically examine progress narratives and consider whose voices and bodies benefit—and whose are excluded—from such technological advancements. Editor: The use of simple shapes is so powerful. There is a sort of universal visual language employed that makes this highly conceptual art accessible. Gabo really challenges our notions about traditional artwork. Curator: I completely agree. I appreciate that the opportunity to deconstruct societal structures comes about from an artwork such as this one. Editor: For me, getting a peek into what artists like Gabo imagined a functional work of art could look like is exciting.