Meditationsmühle, c. 1968
Chargesheimer
Meditationsmühle, c. 1968
Since the mid-60s, Chargesheimer almost exclusively focused on his kinetic objects. Some contemporaries understood these objects as a reminiscence of the machine, and especially of the satellite Sputnik orbiting the earth. Others saw in them a modern version of Buddhist prayer mills that, being actuated, enable spiritual contemplation and transcendence. “Chargesheimer’s last work group, the so-called “meditation mills,” of which he built about thirty, is a testimonial of utmost concentration and self-contemplation.”
A friend of him remembered the artist presenting the kinetic objects to him: “He was the director. The machines had their own sequences. Sitting in front of it (or standing),the adventure begins: His adventure. He had staged around me a whole ballet of spotlights […] These “mills” have interior lighting. You darken the room, and the play of movement and light begins. One can also play with changing lights and changing light intensities, from the inside as well as from the out-side. He was tireless in it, and we spent whole evenings practically without words –apart from the expressions of my astonishment.”
Artists
Artworks of Artist
Chargesheimer
Henri Cartier-Bresson während der Eröffnung der Magnum Ausstellung auf der Photokina Köln
Chargesheimer
Figürliche Komposition, 1949 (Zwischenvorhang zu dem Ballett "Der wunderbare Mandarin" von Béla Bartók an den Städtischen Bühnen Köln)
