Academic literature on the topic 'Tinguely'

AbstractTinguelys gesamtes Œuvre scheint vom Vanitas-Motiv grundiert: seine sinnlosen Maschinen aus Schrott, sich selbst vernichtenden, ephemeren Artefakte, die in Form von Flügelaltären stattfindende Auseinandersetzung mit dem Tod und erst recht der eine barocke Tragikomödie referierende Cenodoxus. Dass dieser Eindruck trügt, zeigt sich sobald das scheinbar Evidente mit den frühneuzeitlichen Spielarten der Vanitas konfrontiert wird. Dennoch adaptiert und inszeniert Tinguely das Motiv mit dem melancholischen Gestus des seines Heilshorizonts verlustig gegangenen Subjekts.

Following a long mercenary tradition, Switzerland had to build in the 19th century its own military tradition. In Cantons that have provided many officers and soldiers in the European Foreign Service, the French military influence remained strong. This article aims to analyze the development of sabre fencing in the canton of Fribourg (and its French influence) through the manuals of a former mercenary (Joseph Bonivini), a fencing master in the federal troops (Joseph Tinguely), and an officer who became later a gymnastics teacher (Léon Galley). These fencing manuals all address the recourse to fencing as physical training and gymnastic exercise, and not just as a combat system in a warlike context.

The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion and movement. Rodchenko and Calder belong to the common abstract artistic trend in 20th century sculpture. But their works served as the basis for the two different traditions: minimalist conceptual and geometric art of Donuld Judd on one side and spontaneous mechanisms of Jean Tinguely on the other.

L'objet de cette thèse est l'étude de la part métaphysique dans l’oeuvre sculptée de Jean Tinguely (Fribourg 1925 - Berne1991). La problématique majeure est celle de l'aspect contradictoire d'une oeuvre à la fois anti-académique issue de l'influence dadaïste mais dont la dimension métaphysique la rapproche d'une tradition spéculative de l'art. L'étude de lasculpture de Jean Tinguely se fait sous deux axes principaux : l'art comme jeu plaisant et l'art comme pourvoyeur devérité
The topic of this PhD thesis is the study of the metaphysical aspect of the sculptural work of Jean Tinguely (Fribourg 1925 –Bern 1991). The main argument is the contradictory conception of a work which is anti-academic in the dadaist attitude,but which metaphysical dimension makes it close to the speculative tradition in art. The study of the sculptural work of JeanTinguely follows two main perspectives: art as pleasant game and art as purveyor of truth

La sculpture occidentale a toujours, ou presque, été immobile et silencieuse. Les années 60 en Europe voient apparaître une nouvelle forme de réalisations plastiques qui mêlent sculpture et dimension sonore, parfois accompagnées de mouvement, qui fait appel à la participation du spectateur, au hasard, au jeu, et qui semble dépasser les catégories artistiques, mises à mal par le Romantisme et le Gesamtkunstwerk de Richard Wagner. L’objectif de cette thèse est de rechercher les sources et les origines de la sculpture sonore. Quels mécanismes, quelles influences ont poussé les plasticiens à introduire la dimension sonore dans leurs sculptures. Peut-on encore réellement parler de sculpture ? Comment définir cette pratique au regard des autres pratiques artistiques qui lui sont contemporaines ou des instruments de musique ? Comment qualifier les sons produits ? Le son peut-il être considéré comme un matériau de l'art ? L'approche proposée est celle d'une réflexion historique qui privilégie deux pistes principales. D'une part, le monde moderne, le progrès scientifique et le paysage sonore ont connu des bouleversements sans précédents au tournant du XXe siècle, qui font du quotidien un réservoir de bruits, de matériaux et de théories dans lequel les artistes, peintres, sculpteurs ou musiciens, vont puiser leur inspiration. D'autre part, les interactions entre la musique et les arts plastiques, qui apparaissent comme des sources évidentes et sont au cœur de cette problématique de la sculpture sonore et de ses sources, connaissent un engouement sans précédent dans l'histoire de l'art. La sculpture occidentale a toujours, ou presque, été immobile et silencieuse. Les années 60 en Europe voient apparaître une nouvelle forme de réalisations plastiques qui mêlent sculpture et dimension sonore, parfois accompagnées de mouvement, qui fait appel à la participation du spectateur, au hasard, au jeu, et qui semble dépasser les catégories artistiques, mises à mal par le Romantisme et le Gesamtkunstwerk de Richard Wagner. L'objectif de cette thèse est de rechercher les sources et les origines de la sculpture sonore. Quels mécanismes, quelles influences ont poussé les plasticiens à introduire la dimension sonore dans leurs sculptures. Peut-on encore réellement parler de sculpture ? Comment définir cette pratique au regard des autres pratiques artistiques qui lui sont contemporaines ou des instruments de musique ? Comment qualifier les sons produits ? Le son peut-il être considéré comme un matériau de l'art ? L'approche proposée est celle d'une réflexion historique qui privilégie deux pistes principales. D'une part, le monde moderne, le progrès scientifique et le paysage sonore ont connu des bouleversements sans précédents au tournant du XXe siècle, qui font du quotidien un réservoir de bruits, de matériaux et de théories dans lequel les artistes, peintres, sculpteurs ou musiciens, vont puiser leur inspiration. D'autre part, les interactions entre la musique et les arts plastiques, qui apparaissent comme des sources évidentes et sont au cœur de cette problématique de la sculpture sonore et de ses sources, connaissent un engouement sans précédent dans l'histoire de l'art. La sculpture occidentale a toujours, ou presque, été immobile et silencieuse. Les années 60 en Europe voient apparaître une nouvelle forme de réalisations plastiques qui mêlent sculpture et dimension sonore, parfois accompagnées de mouvement, qui fait appel à la participation du spectateur, au hasard, au jeu, et qui semble dépasser les catégories artistiques, mises à mal par le Romantisme et le Gesamtkunstwerk de Richard Wagner. L'objectif de cette thèse est de rechercher les sources et les origines de la sculpture sonore. Quels mécanismes, quelles influences ont poussé les plasticiens à introduire la dimension sonore dans leurs sculptures. Peut-on encore réellement parler de sculpture ? Comment définir cette pratique au regard des autres pratiques artistiques qui lui sont contemporaines ou des instruments de musique ? Comment qualifier les sons produits ? Le son peut-il être considéré comme un matériau de l'art ? L'approche proposée est celle d'une réflexion historique qui privilégie deux pistes principales. D'une part, le monde moderne, le progrès scientifique et le paysage sonore ont connu des bouleversements sans précédents au tournant du XXe siècle, qui font du quotidien un réservoir de bruits, de matériaux et de théories dans lequel les artistes, peintres, sculpteurs ou musiciens, vont puiser leur inspiration. D'autre part, les interactions entre la musique et les arts plastiques, qui apparaissent comme des sources évidentes et sont au cœur de cette problématique de la sculpture sonore et de ses sources, connaissent un engouement sans précédent dans l'histoire de l'art
The Western Sculpture has always, or almost always, been immobile and silent. In the 1960's appears in Europe a new form of arts that mixes sculpture and sound elements, sometimes accompanied by movement that appeals to participation of the viewer, by chance, by playing and that seems to cross the lines of artistic categories, challenging the Romanticism and the Gesamtkunstwerk of Richard Wagner. The aim of this thesis is to search for sources and origins of the sound sculpture. What mechanisms and what influences pushed artists to introduce the sound into their sculptures. Can we still really talk about it as sculpture? How can this practice be defined according to other contemporary artistic practices? How to designate the produced sounds? The proposed approach is a historical consideration that gives preference to two main tracks. On the one hand the modern world, the scientific advancement and the sound world knew unprecedented upsets at the turn of the XXth century that make daily live a reservoir of noises, materials and theories from which artists, painters, sculptors or musicians were inspired. On the other hand, the interactions between music and arts, appearing as an obvious source and being at the heart of this subject of sound sculpture and its sources, reaching an unprecedented craze in the history of art. At last, the sound sculpture is studied through the example of works by Tinguely, Schöffer, Takis or Soto, that allow a clear definition of the Baschet sound structures. Another question is if sound can be considered as an artistic material and what is its contribution to the sculpture in the way of freeing the main characteristics of this artistic practice. The Western Sculpture has always, or almost always, been immobile and silent. In the 1960's appears in Europe a new form of arts that mixes sculpture and sound elements, sometimes accompanied by movement that appeals to participation of the viewer, by chance, by playing and that seems to cross the lines of artistic categories, challenging the Romanticism and the Gesamtkunstwerk of Richard Wagner. The aim of this thesis is to search for sources and origins of the sound sculpture. What mechanisms and what influences pushed artists to introduce the sound into their sculptures. Can we still really talk about it as sculpture? How can this practice be defined according to other contemporary artistic practices? How to designate the produced sounds? The proposed approach is a historical consideration that gives preference to two main tracks. On the one hand the modern world, the scientific advancement and the sound world knew unprecedented upsets at the turn of the XXth century that make daily live a reservoir of noises, materials and theories from which artists, painters, sculptors or musicians were inspired. On the other hand, the interactions between music and arts, appearing as an obvious source and being at the heart of this subject of sound sculpture and its sources, reaching an unprecedented craze in the history of art. At last, the sound sculpture is studied through the example of works by Tinguely, Schöffer, Takis or Soto, that allow a clear definition of the Baschet sound structures. Another question is if sound can be considered as an artistic material and what is its contribution to the sculpture in the way of freeing the main characteristics of this artistic practice. The Western Sculpture has always, or almost always, been immobile and silent. In the 1960's appears in Europe a new form of arts that mixes sculpture and sound elements, sometimes accompanied by movement that appeals to participation of the viewer, by chance, by playing and that seems to cross the lines of artistic categories, challenging the Romanticism and the Gesamtkunstwerk of Richard Wagner. The aim of this thesis is to search for sources and origins of the sound sculpture. What mechanisms and what influences pushed artists to introduce the sound into their sculptures. Can we still really talk about it as sculpture? How can this practice be defined according to other contemporary artistic practices? How to designate the produced sounds? The proposed approach is a historical consideration that gives preference to two main tracks. On the one hand the modern world, the scientific advancement and the sound world knew unprecedented upsets at the turn of the XXth century that make daily live a reservoir of noises, materials and theories from which artists, painters, sculptors or musicians were inspired. On the other hand, the interactions between music and arts, appearing as an obvious source and being at the heart of this subject of sound sculpture and its sources, reaching an unprecedented craze in the history of art. At last, the sound sculpture is studied through the example of works by Tinguely, Schöffer, Takis or Soto, that allow a clear definition of the Baschet sound structures. Another question is if sound can be considered as an artistic material and what is its contribution to the sculpture in the way of freeing the main characteristics of this artistic practice

Latitudinaria* explores and critiques the ambivalence between current technological progress and the consequently depersonalised social structures and systems. I am using the development from mechanical Automata to mass production juxtaposed to Charlie Chaplin??s film and Jean Tinguelys kinetic art, as examples for the change of the social condition from the industrialisation to the current post-industrial era. The change of social condition I refer to as the ??depersonalisation?? or ??dehumanisation?? effect supported by my working experiences in the health system. The ??medicalisation of the life span?? and the discrepancy of creating a sustainable future less profit orientated are two indicators of how far we have been removed from our bodies. These observations are supported by the writing of Ivan Illich??s Medical Nemesis and Frank Schirrmachers?? analysis of the change of the social structure using the family configuration as an example. These conceptual ideas are visualised by a selection of kinetic art works and video installations. In the heart of this body of work is the process-orientated documentation of Zero AGL project. The project documents the journey of a discarded airplane that was re-assembled and reanimated by myself and a group of volunteers supported by local businesses. The struggle of the group of people stands as a metaphor for the current dilemma of the restricted usage of public space. Further it reflects on my own limitations dealing with the Australian outback culture and the transition of my own sculptural practice from small scale art works into the arena of life size public Art. Those experiences shaped the process and the direction of the project. The motivation for the creation of the body of kinetic sculptures and video installation is to highlight the absurdity of social constructed categories and controlling systems in a post-industrial society. The subject matter focuses on the social construction of the categories of the ??Norm?? and the limitations of failure. Latitudinaria gives the audience a lateral view on how human betterment is not always essentially connected to technological progress but on transforming ideas and enhancing it from a different point of view. * freedom from normal restraints, limitations and regulations.

博士
國立臺灣師範大學
美術學系
94
The Art and Idea of Jean Tinguely’s Machines Jean Tinguely entered the art action movement with his mechanical sculptures. Machines were the form of his art. Actions were the life of his art. Meta-mechanical sculpture (Mta-mcanique) in a shallow relief expresses an infinite changing of art forms. His Mta-mcanique not only confronted the ideas of abstract expressionists but also revealed an expressive, playful and spontaneous nature. Jean Tinguely challenged the audience to involve itself in the creation as well as the operation of his works of art. In so doing, he created democratic art and forged an idiosyncratic relationship between his spectators, his machines and himself. Jean Tinguely created his works by taking use ready-mades and objets trouvs such as junks, wheels, belts, motors to convert them into works of art which had no mechanical precision, were unpredictable and might fall apart at any moments. His works were like caricatures, using contrasts and comparisons to make people come to see the cruelty and absurdity of human life brought by modern society and technology. Instead of controlling the machine, men became slaves of machines. The ultimate result was an excess production and over-exploitation of natural resources. The concrete expression of the idea could be seen from his series works entitled Rotozaza. He created the work machine autodestructrice which addressed the crisis of the destruction of humanity and confronted the concept of museum collecting. The works in this series used action-spectacle as their form, fully expressing the spirit of Dadaism and conjuring with the rituals of religion and worship. His later works l’Autel and l”Enfer dealt with the themes of life and death. The titles suggested a new religious dimension to his work in which he avoided the elements of fearfulness and adopted those of playfulness, jubilant and ceremonial. Every machine sculpture that Jean Tinguely produced is like an actor who performed a unique action imbued with the spirit of Dadaism and Yves Klein’s idea non-material art. He organized sculpture, stage sets, performance, dancing and music into his machine sculptures which perhaps can be seen as the manifestos for art total which was the core of his art machine sculpture.

碩士
臺北市立師範學院
視覺藝術研究所
93
Jean Tinguely(1925-1991) is one of the major artists of European Kinetic art. The uncertainties involved in his distinctive “méta-mechanical” sculptures infused life and the spirit of freedom into the machines. Instead of concentrating on the development in technology, Tinguely revealed that machines can be clumsy and difficult to manipulate. The elements of Tinguely’s art are the arbitrary mechanical movement and the changeable visual and acoustic effects. As one of initial members of Nouveau Réalisme, Tinguely integrated art and life with unconventional materials and dynamic forms. The unpredictable motion of Tinguely’s machines satirized the chaos caused by modern technology. And his self-destructive sculptures expressed his unique sense of humor and turned kinetic art into performance art. Tinguely’s mechanical sculptures indicate an ironic and anti-discipline attitude to the world of machinery. Besides the enchanting and destructive power of mechanical devices, Tinguely also illustrated their weakness and ridiculousness. This thesis examines the philosophical, cultural and art historical context of Tinguely’s mechanical sculptures by summarizing the artist’s biographical information and his art works. Tinguely’s creation style is closely associated with his ideology and lifestyle, this thesis also takes into consideration the era he lived in and his personality and character while discussing the works of his different periods. Making references to the discussion on the relationship between technology and mankind proposed by Walter Benjamin and Jürgen Habermas of the Fankfurt School, this thesis investigates the social criticism implied by foresaid the absurd and fiendish mechanical sculptures.

The 2015 olfactory art exhibition Belle Haleine: The Scent of Art at Basel’s Tinguely museum included one contemporary picture: Louise Bourgeois’s 1999 drypoint, The Smell of the Feet, a work that juxtaposes a profile self-portrait with the bottom of a pair of feet under her nose. It seems that, as a child, she was made to remove her father’s shoes each evening, leaving the smell of his feet indelibly imprinted in her memory. Pictorial representations of the sense of smell are relatively infrequent in the history of the visual arts with the exception of cartoons and the older tradition of creating painting series portraying the five senses. In Western Europe, these series typically showed a female figure in a symbolic pose to suggest each scent, for example, an elegant young woman holding a flower to signify smell. In the famous ...

This chapter provides an analysis of the basic aspects of an “aesthetics of the machine”. It focuses on two pivotal moments in the twentieth century history of machine art, one being the 1968 exhibition “The Machine as Seen at the End of the Mechanical Age”, curated by Pontus Hultén. The other example is the opening scene of Filippo Marinetti’s first futurist manifesto, published in 1909, in which the advent of futurism is marked by a symbolically charged car accident that preceded Marinetti’s hymn to the new technical culture. From here, and drawing mainly on artistic examples from Hultén’s exhibition (incl. Francis Picabia, Marcel Duchamp and Jean Tinguely), the author highlights five distinct aspects that have characterized the “machine aesthetic” until the 1960s: the “associative” reference to the social meanings of technology, often used to make a provocative claim against the assumptions of artistic ingenuity; the “symbolic” reference to mechanics as a way to describe aspects of human culture and psychology; the “formalist” appraisal of the beauty of functional forms; the play with “kinetic” functions as a way to broaden the expressive potentials of sculpture; and the “automatic” operation of machines that underpins their functional independence and their existential strangeness.