Tribute to Israeli mobility artist Yaacov Agam globally celebrated as the father of the Kinetic Art movement.
By David E. Kaplan
Hearing of the sad passing of one of Israel’s most influential artists on the global stage brought back memories of my interview with him in 2018 at the then new Yaacov Agam Museum of Art (YAMA) in the city of his birth in Rishon LeZion. At the time, I was interviewing him as editor of Hilton Israel Magazine.
Before meeting with the artist, I ‘met’ his wife Clila – his late wife – without even realizing it, for from the moment you step onto the grounds of YAMA, one is engulfed into the rainbow world of the artist – surrounded by a sculpture garden of twenty multicolored pillars all dedicated to Clila. She remained so much part of his life, his world and his art.

Looking every inch an artist with long gray hair under a well-worn hat and a full beard, we sat down for over two hours of animated conversation. Abounding in energy despite being then 90-years-old – “I’m off to Paris in a few days’ time” – I came quickly to understand how this diminutive man was a giant in the art world, transforming city landscapes and people’s perspectives.
It was apparent from the answer to my first question that the interview would be as changeling as understanding the man’s art.
Constantly on the move – like his art – I began the interview with: “Where do you mostly live these days?”
“I live on my shoulders. As you can see, I am here now in Israel. Next week I will be in France. I live wherever I am AT THE MOMENT.”

The answer of “at the moment” incapsulated the character of the man, his art and the museum, which had welcomed me with the multicolored pillars that all changed as you walked by. The artist explained:
“Usually, when you see a painting in a museum, you stand in front, you look at it, and then you move on. With my work, you will never see everything at one movement. You have to keep moving. I want people who come to the museum to be able to see the paintings from every angle, so it’s also changing the way you look at it.”
The foremost pioneer of optical-Kinetic art, Agam encouraged spectator participation. When I revealed that I received a stiff rebuke when I stood too close to a painting in the Frick Gallery in New York, he replied:
“That will never happen here – I want people to physically connect with my art.”
It is little wonder why children love Agam’s art and why the artist honors children by appealing directly to them.
SPOT ON
The “Agam Method” for which the artist was awarded in 1996 the Jan Amos Comenius Medal for the non-verbal visual education of young children by UNESCO, teaches children to identify, analyze, and create with the visual building blocks that make up our world. Together, these building blocks – such as shapes, patterns, directions, and symmetry – form a universal “visual language”. The Agam Method has a long history of classroom implementation, research, and refinement dating back to the 1980s. Researchers at Israel’s Weizmann Institute of Science led experimental studies to determine its impact on young children’s learning. Data from 1990 through to 2007 indicate that children who engaged with the method, improved significantly in early geometry and visual-spatial skills, including shape identification and deconstruction, visual acuity, and mental rotation of objects. Children also demonstrated significantly higher problem-solving and school readiness skills, particularly in the areas of writing and math.
“Do you have any grandchildren?” Agam asked.
“Two,” I replied at the time in 2018.
On happily hearing that both were aged in months rather than in years, he asked:
“If I gave them a pencil, what do think they will do with it.”
All my answers wrong, Agam demonstrates grabbing a pencil and thrusting up and down making points on the table.
“Points is the most primary act of creation and is born out in the first drawings found in prehistoric caves.”
“What about the line?” I asked.
“Now you are talking evolution – that came much later; could be 1000 years later or even 10,000 years. We do not know. The line is the most significant advancement in the history of evolution.”
Following my rudimentary lesson in the history of art, we jumped many millennia forward to Agam’s ‘Fire and Water Fountain” in Tel Aviv’s recently rejuvenated Dizengoff Square. After decades of public outcry, the iconic site frequently referred to as the “Times Square of Tel Aviv” – finally returned in 2018 to its original glory. Originally constructed in 1986, the kinetic fountain celebrates life as well as unity-in-diversity, an important feature of Tel Aviv’s ethos, considered one of the most free and tolerant cities in the world.

CAROUSEL OF COLOR
So, what was Agam’s response to the major transformation of Dizengoff Square which in the 1930s was the fashionable hub of the city but as the years passed, became seedy? Many blamed it on the square’s elevation above the street below and so what gave the Hebrew slang verb “l’hizdangef” (“to Dizengoff”), coined to describe strolling down the Tel Aviv’s iconic north-south artery, by the 1980s exposed not only a disconnect from vehicular traffic, but a disconnect from people.
Reinstalled back to street level, with traffic proceeding around rather than beneath, Tel Aviv center was restored to living up to its image of change.
“What did you aim to express with your fountain at the very epicenter of Tel Aviv?” I asked.
“Firstly, the buildings surrounding the square are German – designed by architects fleeing the Nazis in the 1930s – and I wanted to brand the square distinctly Israeli with vibrant colors expressing life to contrast with the stark utilitarianism of the Bauhaus architecture. This I achieve with over 1000 colors visible through the water!
No other artist in the world has combined water and fire together. It was once said in the Knesset (Israeli parliament) during a tough debate:
“If Agam can make fire and water, what’s the problem?”

Agam explains how the fountain comprises several big jagged wheels – colored geometric shapes, which are perceived as different images from different angles. A technological mechanism automatically activates at different times of the day and night that turns the wheels on their hinges, shooting fire and water upwards accompanied to music.
The artist’s vision is for people across the globe to be able to activate the fountain through an app. “I don’t want it simply like before; we have to move forward with technology – combining science and art making it globally accessible.”
As to why global interest was so important, Agan replied:
“Because the fountain’s message is universal. I believe it provides Dizengoff with gravitas; the miracle of fire and water with over 1000 colors, ‘reflects’ diversity. The fountain sends a message to the people of the world that although we are different, we are one.”

ON RELIGION AND REVELATION
To my question what influence his father, a rabbi, had on his art and life, Agan responded:
“My father was an orthodox rabbi and a Kabbalist; I am a visual rabbi and every work of mine is a visual prayer.”
Thinking this might explain why symbols like the rainbow are integral in the artist’s work, Agan continued:
“After the flood, God promised Noah never to destroy the earth again, and placed the rainbow in the sky as a symbol of that covenant. It is a visual prayer of peace, reminding that everyone is a party to the covenant to protect our environment.”
Showing me a painting of a rainbow, Agam continued:
“The rainbow is one of the loveliest sights in God’s creation as the colors stand out individually and yet merge with the color next to it, reflecting unity in diversity.”
“Does the visual trump words in our understanding of reality?” I asked, to which Agam replied:
“If the message of the rainbow was only in words, only those who understood the language would understand – some would understand, others would not. Words divide us, sight unites us. Children are born into a world of seeing before speaking. When they start to talk, that introduces separation and disunity. Seeing is so important that when God wanted us to understand him, he provided visions and so when the Torah was given on Mount Sinai, it is written that the People of Israel “SEE” not only hear the word of God.”

Is it the same with the vision of the rainbow – the need to SEE rather than read of God’s communication with man?
“Yes; following the flood, it is written in Genesis that whenever the rainbow appears in the clouds, “I will SEE it and remember the everlasting covenant between God and all living creatures of every kind on the earth.” The problem today is that people do not know how to see; they rely too much on language to understand – and the soul of reality alludes them.”
THROUGH THE PRISM OF PRISON
While Agam trained at the Bezalel Academy of Arts and Design in Jerusalem before moving to Zurich, Switzerland in 1949 where he continued his education at the Kunstgewerbe Schule, he revealed how “the unexpected” and “unplanned” was no less instructive in his education as an artist.
Who would have thought that such education included prison?
In 1946, Agam was imprisoned by the British in the Latrun detention camp after being arrested on suspicion of being a member of the Jewish underground. His detention occurred during Operation Agatha (often referred to as “Black Sabbath”), when British authorities conducted mass roundups to suppress Jewish insurgent movements in Mandatory Palestine. And who should he meet there other than Moshe Sharett who would later become Israel’s second Prime Minister. “He taught me Hebrew and grammar and he told me over and over that while there is a past and a future, there is no present in Jewish thinking. The present is fleeting; gone forever in a flash. Through our discussions, I formulated a perspective of time that is at the core of my art that is mobile; in a state of constant change – nothing is static. I met all the great artists at the time such as Marc Chagall, Pablo Picasso and Jean Arp but they were all stuck in the past, and the past does not exist. I prefer to be in the state of becoming, like the true meaning of Shabbat (Sabbath) – resting to prepare for the coming week.”
I interrupted and suggested that Marcel Duchamp’s famous Nude Descending a Staircase (no 2) painted in 1912, is not static, that it captures the movement of a figure in descent.
“So why, one hundred years later, is she still descending the stairs?”
I had no answer!

MOVING WITH THE TIMES
“Like Abraham leaving his father to create a nation,” Agam too felt he was creating “something new; a new way of thinking different to the other artists,” a far cry from the early 1950s then with his young wife in Paris “we literally starved and had to go to the Salvation Army for food.” In 1953, he had his first one-man show and sold his first panting to the famous surrealist artist Max Ernst.
When Robert Lebel (1901–1986), the famous French art critic and writer, “saw my work, he said, “We have a new prophet.”
He was not wrong.
Victor Vasarely, the Hungarian-French artist, widely accepted as a “grandfather” and leader of the op art movement, “told me you have no right make static work. Young artists, particularly from South America were attracted to my style and started to imitate me.”
In time, Agam’s art would attract the attention of President Pompidou of France. “When he was the Prime Minister, he went to see my show. I later received a call from the Secretary General of Artistic Creation who asked me, “What did you do to our PM. He stepped backwards and forwards in front of your painting; he could not understand it but was fascinated.”

Later, when he became President, “he wanted a sculpture in his office and asked for a presentation of modern sculptures without the names of the artists. “I will decide,” he said. He chose mine because he could move it.” This led to a commission by the President of a moving salon environment at the Élysée Palace in 1972, where the environment shifted according to the viewer’s position. Enjoying tea with President Pompidou, “He revealed to me that he guided Queen Elizabeth through the salon and that she said she loved it.”

Asked to make a work commemorating the peacemaking efforts of the president of Egypt, Anwar el-Sadat and Israeli Prime Minister Menachem Begin, Agam created in 1978 a mesmerising Star of Peace. A kinetic sculpture, it appears from one direction to be the five-pointed star of Islam, from another, the six-pointed Star of David, and from a third – a new star formed from their fusion.
Other public projects include a 1987 memorial at the Western Wall for the victims of the Holocaust, and the world’s largest menorah: a 32-foot, 4000-pound structure at Fifth Avenue and 59th Street in Manhattan and based on the original menorah in Jerusalem’s Holly Temple, “not the fake version you see on the Arch of Titus in Rome.”
Concluding the interview, I ask:
Is there any one of your works you prize most?
“It’s impossible. My art is about movement and you can’t have all movement in one work of art. It’s like prayers in Judaism; there is no one prayer but many.”
Fair enough but is there at least one artist that influenced you the most?
“Yes, the Almighty!”
*Feature Picture: Yaacov Agam surrounded by his art at the Yaacov Museum of Art (YAMAT) in Rishio LeZion.
While the mission of Lay of the Land (LotL) is to provide a wide and diverse perspective of affairs in Israel, the Middle East and the Jewish world, the opinions, beliefs and viewpoints expressed by its various writers are not necessarily ones of the owners and management of LOTL but of the writers themselves. LotL endeavours to the best of its ability to credit the use of all known photographs to the photographer and/or owner of such photographs (0&EO).






























































