ACTUISM | PAINTINGS | ANIMATIONS | DRAWINGS |
ACTUISM | SCULPTURES | WOOD | STONE | CASTING |

Actuism is the theory of all creative works based on action and movement. Every work of art contains a component of actuism. Every artist reveals himself with the created work. His personal history and perspective become visible. Actuism goes to the roots of all forms of artistic expression. Actusimus theory is about reducing a composition to the essential factors of a work of art. To a limited space in connection with the authenticity of the artist's handwriting, the cultural origin in which the artwork was created in accordance with the environment, leading to new modifications and interpretations. The viewer chooses the form with which he is able to recognize and explain the artistic work.

Actuism can be seen as a form of minimal art, although the biggest difference is in the implementation - not in the theoretical background. The composition, the surface and the artist's handwriting are the main components of Actuism. The number of ways to arrange the three lines is infinite, even if it seems repetitive; it is not! Each artist has his own rhythm which he follows unconsciously. Each work is like a signature, where with every stroke and every movement of the hand it becomes an artistic confession; it becomes visible what the work of art wants. (lat. actus: action, movement)

Marius D.Kettler

Actuism | Theory

lat. actus: action, movement
The A. tells about action, reveals something about the performers - those who move something, who throw the first stone - about artists. Every work of art contains a piece of A. in itself. The story that an artist tells is always his story. The A. goes to the root of all artistic expression. Everything is compressed and the essential factors are focused. One's own personality, temperament, experiences and will make the work of art become what it becomes.
Even in the reproduction is the ego of the creator. The realization is the theme. Minimalist or monumental, it does not matter. The viewer chooses the form with which he is able to explain or recognize the work of art. Actuistic works create space in the self-chosen restriction. Only essentials tempt to digress in the set frame. The more reduced the form of execution is chosen, the clearer the origin of all creation becomes. Recognition after immersion in an artistic work awakens "feelings of home" in the viewer and brings the work closer to him. The A. is a basis-oriented art-theoretical summary of different currents of the respective cultural area, in which the artist works. The A. deals with the handwriting of the artist, with the origin in art, with changes in the environment, with the resulting variations and interpretations.
The actuistic works will undergo a development in a set time frame. Beginning with contrasting compositions with a seemingly simple task of arrangement in the environment, through the relationship of contrasts to non-contrasts (polychrome paintings and sculptures), to the disembodied exhibitions that become visible only through the viewer. The same with the sculptural works, which make visible spatial affiliation and proportions through the artist. Arriving in sound-imported spatial sculptures, in which rooms leave the room.

Core themes are handwriting and implementation by the artist, and the resulting product. By following the development, the viewer becomes part of the whole. The A. can be seen as a form of Minimal Art. The biggest difference is probably in its implementation, not in its theoretical background. The basic condition of the detailed pictures is the set arrangement of the three strokes, which are in the relationship to the environment chosen by the artist. The extension of the shown picture consists only of a detail of the original picture. With the prior knowledge and imagination of the viewer, the invisible part of the image is completed. This image of the imagination is equal to the image that we want to recognize as a story in a real picture. The foreknowledge decides the impression that remains. Once we have become involved in the image of the three strokes, it will never be the same again.
The surface and the handwriting are components in a game called art. The number of possibilities to arrange the three strokes is infinite. If there seems to be repetition, it is only because the artist has his rhythm, which he follows unconsciously. The work is like a signature: with each stroke, with each movement that the tool leads, the artist signs a confession. What makes the magic of a composition? Is it the cultural roots that make a work seem familiar to us, or is it what we have learned?

Marius D. Kettler