essay about authorbibliographyartist's influences
04. June 1943

Francisco Infante-Arana (1943, Vasilievka) is one of the most notable Russian Avant-garde artists and a Dvizhenie group member.

Following his childhood in Spain, Infante-Arana moved to Moscow and enrolled in the Surikov Art Institute and later in the Moscow College of Decorative and Applied Arts.

Infante-Arana was a member of the Dvizhenie group, founded by Lev Nussberg in 1962. It was a group of young artists (Lev Nusberg, Mikhail Dorokhov, Francisco Infante-Arana, Viacheslav Koleichuk, Anatolij Krivchikov, Viacheslav Scherbakov, Viktor Stepanov, Rimma Zanevskaya,  Vladimir Galkin, Juri Lopakov, Vladimir Akulinin, Galina Bitt, Tatiana Bystrova, Alexander Grigorjev, Natalia Prokuratova) with activities ranging from painting and sculpture to kinetic constructions, performance, installations and projects related to urban planning. Due to this diverse nature of their works, they collaborated with actors, musicians, chemists, engineers in radio-electronic and light-technology, psychologists, architects, physicists, poets and performing dancers. Nussberg wrote the group's manifesto, the Manifesto of Russian Kineticists in 1966. Dvizhenie was the first art group in the Soviet Union that worked with cybernetics. The group ceased to exist around 1978.

He left the group in 1970 due to tension with Nussberg. Infante-Arana then created the ARGO group with his wife Nonna Goriunova (artist) and Valerii Osipov (engineer). They aimed to develop artificial systems analogous to natural phenomena.

During his activity with the Dvizhenie group, Infante-Arana Explored the ways to capture movement in drawing, most notably in his Spirals series (1965). Infante-Arana designed installations with moving forms, kinetic constructions which sometimes included colour, light and sound. In the mid-1970s he started creating a series of mirror sculptures which he would place in the environment. These land artworks, called artefacts, mirrors transformed and interrupted the environment by their presence. The installations placed in nature, in forests, beach shores or plains are captured in photographs.