Art@Site Robert Rauschenberg Bicycle Revival VI

Robert Rauschenberg


Bicycle Revival VI

Akebonocho, Tachikawa-shi
Perpetually biking
A bicycle is within everyone's reach.
Advertising is for everyone.
Robert Rauschenberg uses this for Bicycle Revival VI as basic material. The neon lights wants us all to wrap the bike. This is because the bicycle brings us all everywhere without difficulty.
What would it be a liberation if we could reach everything. That there is no material or physical barrier. Honestly I see the world often through negative glasses: there are always limitations, obligations, difficulties.
I plan to promote more often Bicycle Revival VI by Robert Rauschenberg: let us go cycling and we can accomplish anything together.
By Theo,

Altijd tijd voor de fiets
Een fiets is voor iedereen bereikbaar.
Reclame is er voor iedereen.
Robert Rauschenberg gebruikt dit bij Bicycle Revival VI als basismateriaal. De neonverlichting wil dat wij allemaal de fiets pakken. Dit omdat de fiets ons allemaal zonder moeite overal naar toe.
Wat zou het een bevrijding als wij alles zouden kunnen bereiken. Dat er geen materiele of fysieke belemmeringen zijn. Eerlijk gezegd zie ik de wereld vaak door een negatieve bril: er zijn altijd beperkingen, verplichtingen, moeilijkheden.
Ik neem mij vaker voor Bicycle Revival VI van Robert Rauschenberg te promoten: laten wij samen gaan fietsen en wij kunnen alles bereiken.
By Theo,
Working with relative freedom, many of Rauschenberg’s stage designs echoed his contemporaneous artistic production. For Minutiae (1954),
Rauschenberg ultimately created a freestanding Combine with fabric and collage elements on a wooden structure that resembled his Red Paintings (1953–54).
In Aeon (1961), the kinetic machine made of scrap metal and stroboscopic lights reflected Rauschenberg’s interest in the relationship between art and technology. Other set designs featured typical Rauschenbergian visual elements.
In a later collaboration with Cage and Cunningham, Rauschenberg’s monumental set for Travelogue (1977), titled Tantric Geography (1977), features a row of chairs, a bicycle wheel, and colorful silk fans that resemble the recurring color wheels in Rauschenberg’s work and his Jammer series (1975–76). The decor for Interscape (2000), titled Interscape Mirage (2000), consists of a similarly characteristic montage of visual imagery.
Was Robert Rauschenberg’s 1964 visit to Tokyo a case of cultural exchange or of cross-cultural discommunication? The question is central to this account of Gold Standard, a 'combine' that Rauschenberg created during an event at Tokyo’s S?getsu Art Center in November of that year.
He came to Japan as the set and costume designer for the Merce Cunningham Dance Company’s first world tour, which started in Paris in June and ended in Tokyo in November 1964, stopping in thirty cities in twelve countries in Europe and Asia.
At the time of his arrival in Tokyo, Rauschenberg’s fame in Japan was at its zenith: in addition to the critic T?no Yoshiaki’s enthusiastic promotion of post–Abstract Expressionist art since 1959,1 Rauschenberg had just won the Venice Biennale’s Grand Prize, a first for an American artist.
The artist Shinohara Ushio2 described his first impression of the American artist in Tokyo this way: 'Gilt-edged sunglasses and a khaki jacket. He’s such a cool Yankee that he doesn’t quite look like a modern master. He’s dressed so well that the wannabe Ivy Leaguers in Ginza would immediately want to imitate his look.'3 Rauschenberg was thus an object of adoration as a figure who embodied not only the cutting edge art of New York but also the trendy pop culture of America.
Robert Rauschenberg (1925 – 2008) was a groundbreaking Pop Artist whose visionary work profoundly revolutionized the course of American and European art. From Texas, Rauschenberg had a voracious appetite for limitless experimentation with new techniques and unique materials, which broke all artistic boundaries. Embracing the arts of silk screening, digital imagery and set design, his most acclaimed creations were 'combines,' giant three-dimensional works that paired paint with objects he found on the street, such as scraps of clothing, tires, furniture and cardboard. Rauschenberg’s work re-established the beauty of cast-off items, and solidified him as a pivotal figure in the Pop Art movement.