5000 Moving Parts

November 21, 2013 – January 19, 2015

Melding art, science, history and technology, 5000 Moving Parts featured sculptures by Anne Lilly, John Douglas Powers, Takis, Rafael Lozano-Hemmer, and Arthur Ganson in collaboration with sound artist Christina Campanella.

The exhibition looked at the wide range of kinetic art being made now, from work that’s concerned entirely with motion and unpredictability, to sculptures that engage with contemporary political topics, to work that brings ancient myth into contemporary life.

Arthur Ganson, whose work has long been exhibited at the MIT Museum, collaborated with sound artist Christina Campanella to include an audio component, entitled BREATHE, in his piece titled Machine with Breath.

Anne Lilly shows three sculptures, including To ConjugateTo Caress, and Eighteen Eighteen, which are carefully engineered and elicit a connections between visitors’ exterior physical space, and their own private psychological domain.

Rafael Lozano-Hemmer’s piece Please Empty Your Pockets asks visitors to do just that while they contemplate the meaning of captured imagery, memory and political interference with some of the most basic aspects of one's life.

John Douglas Powers created Ialu and Haliades, with beautiful waves of moving parts that mesmerize viewers with their accuracy and simplicity.

Takis makes invisible physical forces visible in his influential work, Electro-Magnetic I, created in 1968 while he studied at MIT.

This “year of kinetic art” at the MIT Museum—in addition to the exhibition, includes robust public programs including: meet the artist events, the 16th annual Friday After Thanksgiving chain reaction extravaganza led by Arthur Ganson, yoga in the gallery, demonstrations and more.


Process Gallery

In this space, visitors are encouraged to explore the creative process of the three artists featured in 5000 Moving Parts. Trace the artistic and engineering development of one of Anne Lilly's works, build sculptural additions to a spinning base, experiment with the effects of changing the speed of art works, and engage in a variety of other hands-on activities directly connected to the artists' work.

The Process Gallery was developed in collaboration with the artists.