Sculpture de jean tinguely biography
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Toggle the table of contents. Jean Tinguely. Jean Tinguely, The artist Robert Rauschenberg also took part in the action with a small sculpture of his own. The invited guests looked on as the monumental machine Homage to New York auto-destructed before their very eyes. Almost nothing went according to plan, which appeared not to trouble Tinguely very much.
Rockefeller III. The work made Tinguely famous all over the United States literally over night and assured him of a place in the annals of art history.
Sculpture de jean tinguely biography
One particularly good example was a work that I demonstrated to the public in New York. The machine was simply there, without the culture establishment somehow having managed to absorb it, make it museum-suitable, frame it, conserve it. It was a gleaming work of art and it vanished. It had no value, no sense, a refined thing that was in no way commercial In no way was this a search for stability.
Total instability in vanishing, in smoke, and in the return to the trash can. To transport his works from the studio to the gallery, Tinguely recruited several friends and laid on a parade-like happening called simply Le Transport. It ended with the French flag parachuting back down to earth where, to the enthusiastic applause of the Danish audience, it was retrieved by Tinguely himself, elegantly clad in a dark suit and tie.
Tinguely staged his Study for an End of the World No. An NBC film crew followed the artist himself and Niki de Saint Phalle foraging for materials, building the contraption, and then transporting everything to the site of the happening: a dry salt lake 35 km south of Las Vegas. Not everything went according to plan during the half-hour-long performance, in the course of which numerous fireworks were set off and sticks of dynamite ignited.
The remote fuses worked only sporadically so that Tinguely had to do the job manually in some instances. His Studies for an End of the World must be viewed against the backdrop of the Cold War and imminent threat of nuclear war. The year saw some important changes for Tinguely in his personal life, too. Aeppli nevertheless remained an important person in the lives of both Tinguely and Niki de Saint Phalle.
Their aim was to set themselves apart from abstract art by returning to the reality of everyday life, their ultimate goal being a synthesis of art and life. The neo-avant-garde movement ended with the celebration of its tenth anniversary in Milan in It was his largest and most expensive machine to date, built mainly out of new, high-quality materials.
Everything is moving more than ever in the present age — totally and absolutely.
Clear: Jean Tinguely (– 30 August ) was a Swiss sculptor best known for his kinetic art sculptural machines (known officially as Métamatics) that extended the Dada tradition into the later part of the 20th century. [1].
What I mean is that movement is really something that we are now feeling in every way — through the machine and through the mechanisation of our age. Tinguely then took single elements of Heureka and built on them to create a series of independent sculptures called the Chars, whose martial movements are reminiscent of ancient war chariots.
The Chars also invite comparison with another subgroup of the black sculptures that Tinguely produced later on in the sixties, namely the Bascules, whose pendulum swings in defiance of gravity recall acrobats and trapeze artistes flying gracefully through the air. Tinguely made two contributions to Expo 67 in Montreal: one was a black, wall-mounted relief called Requiem pour une feuille morte for the Swiss pavilion and the other a sculpture garden called Le Paradis fantastique, created together with Niki de Saint Phalle for the French pavilion.
A game Another black monumental sculpture, Chaos No. Tinguely built Chaos No. The contraption, which weighs 7 tons, is pieced together out of numerous wheels and motors and even has a ball track supplied by conveyor belt with a steady stream of iron balls. One especially striking feature of the piece is the huge worm drill poking up into the air.
Chaos No. I have always tried to work together with other artists, if only to get beyond myself. I cannot do otherwise than what I do. Jean Tinguely thrived on intensive dialogue and collaboration with other artists. In the course of time, he also increasingly took on the role of co-curator of group shows of kinetic art.
Dylaby, the dynamic labyrinth that Tinguely co-curated in the autumn of , again at the Stedelijk, was a new kind of interactive installation set up over a period of just three weeks by Tinguely himself along with selected fellow artists: Niki de Saint Phalle, Per Olof Ultvedt, Robert Rauschenberg, Daniel Spoerri, and Martial Raysse. Like a fun fair, Dylaby comprised several different stations, each of which offered visitors a different kind of experience, whether optical, physical, acoustic, or psychic.
Visitors to Dylaby could shoot at a relief with bags of paint built into it, could grope their way through a blacked-out room full of objects, or could dance the Twist next to an inflatable pool.
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There was an anti-gravitational room by Spoerri and a room full of balloons by Tinguely. All these obstacles, and others like them, had to be overcome. After leaving school she worked initially as a model, but at the age of eighteen ran away with Harry Mathews. The couple married and moved to Paris, where they lived from They also had two children together.
The two artists were henceforth a couple, but married only in The first Nanas made of wool and fabric also date from this period. De Phalle at first described these figures as symbols of happy, liberated women, but later cast them rather as precursors of a new, matriarchal age. Her first retrospective took place at the Stedelijk Museum in Amsterdam in , the year in which she began making figures out of polyester.
De Saint Phalle later incurred serious respiratory problems as a result of her inhalation of polyester vapours and dust while making these works. De Saint Phalle and Tinguely worked together not only on large-scale projects like Dylaby, Hon, and Le Cyclop, in which several artists had a hand, but they also created numerous works involving just the two of them.
Their Le Paradis fantastique, for example, was a French government commission for Expo 67 in Montreal, while their Fontaine Stravinsky in Paris was unveiled in However, he was detained by the Swiss police at the border and sent back home. Tinguely's artistic career began as a decorator of store windows in Zurich, and later in Basel.
In , Tinguely moved to Paris with his wife. He participated in several joint exhibitions with Klein. In , Tinguely joined the group "New Realists". The Russian avant-garde of the s had a significant influence on Tinguely's work. Tinguely was intrigued by the effect of these moving constructions on the spectator and devoted the rest of his career to its exploration.
The resultant oeuvre , on both a small and large scale, in works that generated corollary works of art and those that self-destructed, instigated spectator reaction and forever challenged the concept of a static experience of viewing art. He was also a leader of many other artistic directions in his powerfully prolific, creative life. Tinguely used the term "Metamechanics" to describe how he set his assemblage sculptures into motion with some form of motor or system of mechanics.
The artist's development of this field, otherwise known as Kinetic art, is exemplified by Metamechanical Sculpture with Tripod. In this early example the artist assembles simple, found objects of the type elevated to artistic status by the Dada artists by whom he was influenced earlier.
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Wire wheels, to which are connected organically-shaped flat cardboard pieces, painted white on one side and black on the other, are strategically intertwined with stick-straight elements in an interlocking system. The assemblage is balanced above an iron tripod, whose legs echo the linearity of the straight elements assembled above, and the whole fragile assemblage is set into motion.
The piece stands nearly 7 feet tall, making its effect quite impressive. The idea to put assemblages such as this into movement was significant as it evoked an interactive relationship between the spectator and the object. No longer looking at a static collection from a fixed point but instead, moving around in order to get a better look at which parts of the construction were moving, the spectator's experience was actually integrated into the overall effect of the work itself.
Interestingly enough, although the work seems to laud the overall effect of mechanization, by expanding its effect on the spectator, there is some suggestion that instead, it exhibits Dada skepticism regarding the potential of technology to improve human life. By taking on human aspects, simulating limbs that move, for example, the mechanized assemblage itself challenges the concept that machines are necessarily superior to human beings, questioning whether mechanization is actually progress.
Steel, plastic, cardboard, mechanical motor - Collection of the Tate, United Kingdom. Metamatic, no. It is a sculptural work composed of a number of differently-shaped found objects, primarily black metal wires, wheels, belts, cogs and crank-shafts - all driven by a small engine. When mechanized, the elements - irregular in nature - rotate in different directions and at varying speeds; their movement is bumpy and jagged.
This work is an excellent example of Tinguely's Kinetic artwork and pushes even further his interest in involving the spectator. The viewer is invited to choose a drawing tool color, charcoal, or pencil and place it in the special holder mounted on the assemblage. Paper can be seen cascading down the side of the structure, suspended from above an elevated section of the work.
When put into motion, the turning wheels would activate the chosen drawing tool, moving it along a piece of paper. The result would be a work of art in itself. The artwork created was of a necessarily unforeseen nature, differing each and every time, and directly affected by the random movement of the asymmetrical mechanical device.
Tinguely's Metamatic, no. No longer just watching a process, the viewer, by choosing an artistic instrument, plays a role in the creation of an entirely new work of art. In effect, the artist's work challenged the centuries-old tradition of artistic creation: taking part of the art-making out of the hands of the artist and placing it in those of the spectator.
On March 18, , Tinguely unveiled what would later be considered his most famous work in the sculpture garden of the Museum of Modern Art in New York. A number of artists and engineers collaborated on the project, including Robert Rauschenberg. The massive sculpture stood twenty-seven feet tall, was twenty-three feet wide, and was painted primarily white.
Built out of various pieces of metal, bicycle parts, self-operating motors, a go-cart, a bathtub, a piano, all jutting out into space at odd angles and creating an absolute tangle of abstract forms. The original idea was to set the mechanized elements into motion, allow the audience to watch and figure out its changing path of movement, and then set off an explosion that would destroy it.
The work was to be a masterpiece of self-destructing Kinetic art. However, 27 minutes into the premiere, one of the processes within the moving parts misfired and sparked a flame that engulfed the entire machine in a blazing fire. The spectacle to which this esteemed audience including the Governor of New York was subjected became as much a part of the artistic experience as the original work itself.
The launch of this intricate, self-destructing sculpture changed the nature of Tinguely's art. Although he had already harnessed active viewer interaction in his Metamatics, this work's significance was to be even further enhanced by the experience of being present as it self-destructed. In total, the work was to assume an alternative symbolism, suggesting, for example the organic nature of New York City - known for both destruction and reconstruction, exhaustion and renewal.
A "fragment" of the original sculpture exists in the permanent collection of the MOMA. In Tinguely's Santana Bascule a thick, flat black wooden wheel attached at a point to a thin semi-circular metal piece take center stage. This sculpture is balanced by a special pedestal made of a compilation of concave metal strips that rocks from side-to-side while hurling around the central elements in an unpredictable fashion.
This work differs from the artist's earlier assemblages by abandoning the more colorful found-objects, previously seen in works by Dada artists and restricting itself to an entirely black palette.
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The result is a far more austere, minimalistic work. The resultant movement is also more focused in nature, limited to the pivot beneath and the spinning wheel above. Like his other mechanized assemblages this one again serves as commentary on the debate regarding the effects of mechanization on modern society.