PIONEER GRAILS - ANDROMEDA

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/941ae68d-c289-4f73-b600-35579d1971f7

Andromeda

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/8669c692-fef4-48ce-9e5b-2aa2503715d8

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/12152c67-0c2e-4c7b-a606-716ce57e378e

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/354ddd29-0065-485b-a534-dc106dbecb6a

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/c7d64633-c85d-4692-9961-9498a0e735b5

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/96293817-20b5-4727-9bf2-7b3285147ec7

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/8814126e-dac2-4bb5-b3cc-0758e5cfa86a

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/d3d4f123-8d52-4916-ad19-fdc215d72e0e

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/cbaec7dd-264d-4e59-9f7b-ce288b73c85b

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/b8d89ed6-9726-4ce2-ab47-410d323ce62b

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/b7ccac65-a2ec-4cd1-9b00-a71449176bc3

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/13962773-c6eb-45d6-a3f3-0742069f476f

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/a0ffbdc2-4a5d-4dd7-bbde-c7369a03c3b2

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/0224e74a-ab30-4f05-a11d-d757b74ac217

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/fb22da6e-16fb-409a-a656-1e236f15e2a8

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/ebfed3e1-732a-4a7d-a7e3-488be29438a2

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/7c895ce6-8d53-481e-bafd-8bd5085d3466

ANDROMEDA by Heinrich Heidersberger is released as part of PIONEER GRAILS on the occasion of the exhibition THE THINKING MACHINE. PRESENTING PIONEERS, 1953-2023 at EXPANDED.ART in Berlin. In collaboration with ELEMENTUM.ART, curated by Anika Meier and Georg Bak. 

Heinrich Heidersberger"s black and white RHYTHMOGRAMS were created between 1953 and 1965 as design elements for a mural in a technical college. He developed the rhythmograms from simpler to increasingly complex, almost deconstructivist forms, some of which were created using photographic techniques such as reversal and solarization. Color was the next logical step. The archive contained colored foils measuring 6 x 6 cm, which Heidersberger assembled into five colored rhythmograms between 1960 and 1970. 

Finally, in 1973, Heidersberger screen-printed two color RHYTHMOGRAM posters (ANDROMEDA and ENERGY) in black-light active neon colors that were marketed internationally and were particularly successful in London.

Heidersberger also received recognition from artistic circles for his topicality. Jean Cocteau, for example, was impressed by the relevance of his work. It was very early on that the Frenchman bought a RYTHMOGRAM as a birthday present for Picasso.

As Heidersberger decided to pursue the art of photography in Paris at the end of the 1920s, more by accident and as a result of his insatiable curiosity than anything else, photographers were still known as lensmen, a name that really seemed to fit Heidersberger.

Verisart Certified: https://verisart.com/works/6e83594b-d77c-4381-a8b4-6692ac961fb8