Academic literature on the topic 'Tinguely, Jean – 1925-'

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.