{"version":"1.0","type":"rich","provider_name":"Context XXI","provider_url":"http:\/\/contextxxi.org","title":"Discourse on Industrial Painting and a Unitary Applicable Art\n","author_name":"Molly Klein (translation) \u25aa \nGiuseppe Pinot-Gallizio","width":"1200","height":"800","url":"https:\/\/licra.at\/discourse-on-industrial-painting.html","html":"\u003Ch4 class='title'\u003E\u003Ca href='https:\/\/licra.at\/discourse-on-industrial-painting.html'\u003EDiscourse on Industrial Painting and a Unitary Applicable Art\n\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003ELast Thursday, the day of the preview of the Paris Biennale, on the little esplanade that separates the two buildings of the Museum of Modern Art, below Avenue de Pr\u00e9sident-Wilson, a curious machine \u2013 a painting machine \u2013 shuddered into motion. Set on a tripod with casters, from afar its silhouette appeared strikingly similar to that of a Calder mobile. On closer inspection, however, it consisted of a tangled series of pullies that driving a small motor at top speed. As long roll of \u003Ca href=\"..\/discourse-on-industrial-painting.html\" class=' pts_suite'\u003E(...)\u003C\/a\u003E\u003C\/blockquote\u003E\n"}