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

Actuism
lat. actus: action, movement
 Actuism tells of action, reveals something of the performers - those who make things happen, who throw the first stone - of artists.
Every work of art contains a piece of actuism. The story an artist tells is always his story. Actuism goes to the root of all forms of artistic expression. Everything is condensed and the essential factors are focused on. One's own personality, temperament, experiences and intentions allow the work of art to become what it becomes.
Even the reproduction contains the ego of the creator. The realization is the theme.
Minimalist or monumental, that is not important.
The viewer chooses the form with which he is able to approach the work of art. Actuistic works create space in the self-imposed restriction in which the expanse lies.
Only what is essential tempts the viewer to go into excess within the set framework. 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. Actuism is a basis-oriented art-theoretical summary of various currents of the respective cultural area in which the artist works. Actuism is concerned with the artist's signature, with the relationships to each other and with the origin in art as well as with the changes in the environment, with the resulting modifications and interpretations.
The actuistic works will experience a development within 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 only become visible through the viewer. The same applies to the sculptural works, which make spatial affiliation and proportions visible through the artist. Arriving in sound-imported spatial sculptures in which spaces leave the room.

The core themes are the artist's handwriting and realization, and the resulting work. By following the development, the viewer becomes part of the whole.
Actuism can be seen as a form of Minimal Art. The biggest difference probably lies in its realization, not in its theoretical background.
The basic condition of the detailed pictures is the set arrangement of the three strokes, which stand in the relationship chosen by the artist to the surroundings. The extension of the picture shown consists of only one detail of the original picture. With the viewer's prior knowledge and imagination, the invisible part of the picture is completed. This image of the imagination is the same as the image that we want to recognize as a story in a real picture. Prior knowledge determines the impression that remains. Once we have become involved with 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 for arranging the three strokes is infinite. If there seems to be repetition, it is only because the artist has a rhythm that he unconsciously follows. The work resembles a signature: with every stroke, with every movement that the tool makes, the artist signs a confession. What makes a composition so appealing? Is it the cultural roots that make a work seem familiar to us, or is it what we have learned?

Marius D. Kettler