Swiss sculptor (1925–1991) From Wikipedia, the free encyclopedia
Jean Tinguely (22 May 1925 – 30 August 1991) 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] Tinguely's art satirized automation and the technological overproduction of material goods.
Born in Fribourg, Tinguely grew up in Basel, and in 1941-1945 studied at the Kunstgewerbeschule.[2] He moved to France in 1952 with his first wife, Swiss artist Eva Aeppli,[3] to pursue a career in art. He belonged to the Parisian avant-garde in the mid-twentieth century and was one of the artists who signed the New Realist's manifesto (Nouveau réalisme) in 1960.[1]
His best-known work, a self-destroying sculpture titled Homage to New York (1960), only partially self-destructed at the Museum of Modern Art, New York City,[4][5][6] although his later work, Study for an End of the World No. 2 (1962), detonated successfully in front of an audience gathered in the desert outside Las Vegas.[7]
Tinguely married fellow Swiss artist Eva Aeppli in 1951.
In 1971, he married his second wife Niki de Saint Phalle with whom he collaborated on several artistic projects, such as the Hon – en katedral[8] or Le Cyclop.[9] Tinguely and Saint Phalle collaborated artistically for over three decades.[10]
Tinguely died of heart failure in 1991 at the age of 66 in the Inselspital in Bern.
Luminator (1991), on loan until 2014 to the EuroAirport Basel-Mulhouse
"Heureka" , (1964) "Zürihorn" at Zürichsee, Zürich Switzerland
Hon – en katedral
Hon – en katedral (Swedish: "She, a Cathedral") was an art installation made in collaboration with Niki de Saint-Phalle that was shown at the Moderna Museet in Stockholm in 1966. The exhibition consisted of a sculpture of a colorful pregnant woman lying on her back with her legs wide apart. The sculpture was 25–26 meters long, about 6 meters high and 11 metres wide. It was built of scaffolding and chicken wire covered with fabric and fiberglass, painted with brightly coloured poster paint. Through a door-sized entry in the location of the woman's vagina, visitors could go into the sculpture. Inside was a screen showing Greta Garbo films, a goldfish pond, and a soft drink vending machine. Johann Sebastian Bach's organ music played through speakers. The exhibition was created by Saint-Phalle, Tinguely, and Per Olov Ultvedt. It had 80,000 visitors during the exhibition period from 4 June to 9 September 1966.
1963 "Sounds of Sculpture", 7", Minami Gallery, Tokyo, Japan_[Tinguely's sculptures recorded by avant-garde composer Toshi Ichiyanagi during Japanese exhibition]
1972 'Méta', book+7_, Propyläen Verlag, Stockholm
1983 'Sculptures at The Tate Gallery, 1982'_, Audio Arts cassette
1983 'Meta-Harmonie H' incl. in 'Meridians 2_ compmqenan ate a pie
2001 'Relief Meta-Mechanique Sonore I' incl. in 'A Diagnosis' compilation, Revolver-Archiv für Aktuelle Kunst, Frankfurt am Main, Germany
In Arthur Penn's Mickey One (1965) the mime-like Artist (Kamatari Fujiwara) with his self-destructive machine is reminiscent of Tinguely[11]
Prominent kinetic sculptor Arthur Ganson described Tinguely as his "primary spiritual artistic mentor", and paid homage to him in his work "Tinguely in Moscow".[12]
Tinguely, Machines - Le Transport, early 1960s; scrap metal components
Tinguely, Gears, 1967; scrap old metal components (part of Le Paradis Fantastique)
Tinguely, Chaos I, 1971–72; scrap metal components
Tinguely, Large Spiral, 1971–73; steel-plates
Tinguely, Heureka, 1972–73; scrap metal components
Tinguely, detail of Heureka, 1972–73; old components
Tinguely, one piece of Carneval Fountain, 1977; location: in front of Museum Tinguely, Basel
Tinguely, title unknown, late 1970s; scrap metal components
Tinguely, Jo Siffert Fountain, 1984; scrap metal components
Chapter on Tinguely in Calvin Tomkins' The Bride and Her Bachelors.
K.G. Pontus Hultén: Jean Tinguely 'Méta'. London: Thames & Hudson, 1975 (original German version Frankfurt/M.: Ullstein, 1972)
G. Bischofsberger: Catalogue raisonné, 3 Vols. Basel, 1982.
Margit Hahnloser-Ingold: Pandämonium – Jean Tinguely. Bern: Benteli, 1988 (rather hagiographic, but with interesting personal memories and background material)
Heidi E. Violand: Jean Tinguely's Kinetic Art or A Myth of the Machine Age. Diss, New York University, 1990
Museum Jean Tinguely (eds.): Die Sammlung. (The collection) Bern: Benteli, 1996 (incl. an interesting biographical report by Margit Hahnloser: "Jean Tinguely und die Schweiz")
Museum Jean Tinguely (eds.): Jean le Jeune. Basel: Benteli, 2002 (incl. a biographical text by Jocelyn Daignes about Tinguely's early love of materials and machines, his pacifism, and his Catholicism, p.23-65).
"The Garden Party", report about Homage to New York (1960) by Billy Klüver, reprinted in: Pontus Hultén (ed.): The Machine as seen at the End of the Mechanical Age exhibition catalogue published by the Museum of Modern Art, New York, 1968, p. 168-171.
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