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Journal articles on the topic 'Tinguely'

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Published: 4 June 2021
Last updated: 1 March 2023

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1

Soriano, Paul. "Jean Tinguely et ses machines insensées." Médium 30, no. 1 (2012): 162. http://dx.doi.org/10.3917/mediu.030.0162.

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2

Korff-Sausse, Simone. "Les machines de Tinguely. Danser avec la mort." Champ psychosomatique 44, no. 4 (2006): 21. http://dx.doi.org/10.3917/cpsy.044.0021.

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3

Flemming, Victoria von, and Monika Flacke. "Jean Tinguely: Vanitas und die Kunst des Ephemeren." Paragrana 27, no. 2 (January 28, 2019): 75–96. http://dx.doi.org/10.1515/para-2018-0038.

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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.
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4

Bek, Reinhard. "CONSERVING JUNK AND MOVEMENT: MACHINES BY JEAN TINGUELY." Studies in Conservation 49, sup2 (September 1, 2004): 44–48. http://dx.doi.org/10.1179/sic.2004.49.s2.010.

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5

Rescia, Laura. "F. Tinguely, La lecture complice. Culture libertine et geste critique." Studi Francesi, no. 182 (LXI | II) (August 1, 2017): 354. http://dx.doi.org/10.4000/studifrancesi.9934.

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6

Laks, Déborah. "Récit, imagination et postérité graphique : la Vittoria de Tinguely réinventée." Marges, no. 19 (October 1, 2014): 50–60. http://dx.doi.org/10.4000/marges.945.

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7

Monod, Stéfanie, and Chantal Grandchamp. "[i]Notre[/i] système de santé : une machine de Tinguely ?" Revue Médicale Suisse 18, no. 793 (2022): 1616. http://dx.doi.org/10.53738/revmed.2022.18.793.1616.

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8

Roelofsen, Mathijs, and Dimitri Zufferey. "Sweat and Blood: Swordsmanship and sabre in Fribourg." Acta Periodica Duellatorum 6, no. 2 (October 20, 2020): 103–24. http://dx.doi.org/10.36950/apd-2018-009.

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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.
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9

AKPINAR, Alpaslan. "TINGUELY VE WARHOL ÜZERİNDEN SANAT ESERİ ÜRETİMİNDE TEKNOLOJİYE YAKLAŞIM MAKİNE YAPMAK VE MAKİNE OLMAK." Diyalektolog - Ulusal Hakemlin Sosyal Arastirmalar Dergisi 10, no. 20 (January 1, 2019): 227–44. http://dx.doi.org/10.22464/diyalektolog.278.

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10

Lavrentiev, Alexander N. "AVANT-GARDE DIALOGUES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 104–8. http://dx.doi.org/10.36340/2071-6818-2021-17-5-104-108.

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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.
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11

Mastroianni, Michele. "Frédéric Tinguely, Le voyageur aux mille tours. Les ruses de l’écriture du monde à la Renaissance." Studi Francesi, no. 175 (LIX | I) (April 1, 2015): 137. http://dx.doi.org/10.4000/studifrancesi.411.

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12

Dowell, Erika. "MARCEL DUCHAMP: THE BACHELOR STRIPPED BARE: A BIOGRAPHY. Alice Goldfarb MarquisMARCEL DUCHAMP. Museum Jean Tinguely Basel." Art Documentation: Journal of the Art Libraries Society of North America 22, no. 1 (April 2003): 54–55. http://dx.doi.org/10.1086/adx.22.1.27949241.

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13

Usher, Phillip John. "Le voyageur aux mille tours: les ruses de l’écriture du monde à la Renaissance par Frédéric Tinguely." French Review 89, no. 4 (2016): 236–37. http://dx.doi.org/10.1353/tfr.2016.0159.

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14

Reichler, Claude. "Frédéric Tinguely, L’Écriture du Levant à la Renaissance. Enquête sur les voyageurs français dans l’Empire de Soliman le Magnifique." L'Homme, no. 163 (June 21, 2002): 252–54. http://dx.doi.org/10.4000/lhomme.12511.

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15

Cecchetti, Dario. "La Renaissance décentrée, «Actes du Colloque de Genève, 28-29 septembre 2006», publiés sous la direction de Frédéric Tinguely." Studi Francesi, no. 158 (LIII | II) (July 1, 2009): 378–79. http://dx.doi.org/10.4000/studifrancesi.7860.

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16

Dongho Kim. "Hybrid Formative Art Combined with Analogue and Digital Technology- Focused on Works by Jean Tinguely, Rebecca Horn, Bruce Nauman, Rosemarie Trockel -." Journal of Korea Design Forum ll, no. 16 (August 2007): 83–92. http://dx.doi.org/10.21326/ksdt.2007..16.008.

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17

Thorndike, Oliver. "Joseph J. Tinguely, Kant and the Reorientation of Aesthetics: Finding the World New York: Routledge, 2018 Pp. 246 ISBN 9781138081970 (hbk) $140.00." Kantian Review 24, no. 3 (August 9, 2019): 492–96. http://dx.doi.org/10.1017/s1369415419000244.

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18

Barthe, Pascale. "Le voyageur aux mille tours: Les ruses de l’écriture du monde à la Renaissance. Frédéric Tinguely. L’Atelier des voyages 10. Paris: Honoré Champion, 2014. 244 pp. €45." Renaissance Quarterly 68, no. 3 (2015): 1074–76. http://dx.doi.org/10.1086/683926.

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19

Williams, W. "L'Ecriture du Levant a la Renaissance: enquete sur les voyageurs francais dans l'empire de Soliman le Magnifique. By Frederic Tinguely. (Les Seuils de la modernite). Geneva, Droz, 2000. 302 pp." French Studies 55, no. 3 (July 1, 2001): 374–75. http://dx.doi.org/10.1093/fs/55.3.374.

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20

Brandl, Werner. "Ammann-Tinguely, C. & Sahli Lozano, C. (Hrsg.). (2020). Selbst organisiertes Lernen auf der Sekundarstufe I. Grundlagen und Umsetzung. hep. ISBN 978-3-0355-1619-7; 288 Seiten; € 33,00, https://www.hep-verlag.ch/selbst-organisiertes-lernen." Verantwortung für das eigene Lernen übernehmen 10, no. 2-2021 (June 8, 2021): 120–23. http://dx.doi.org/10.3224/hibifo.v10i2.08.

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21

Günther, Kurt K. "Studemann, D., Landolt, P., Sartori, M. & Tomka, I. (1992): Ephemeroptera. Insecta Helvetica, Fauna 9 (Deutsche Ausgabe). - 175 S., 394 s.-w. Abb., 33 Farbfotos. Preis: 48,- sFr. Imprimerie Mauron + Tinguely & Lachat SA, Fribourg." Deutsche Entomologische Zeitschrift 41, no. 1 (April 22, 2008): 154. http://dx.doi.org/10.1002/mmnd.19940410115.

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22

Günther, Kurt K. "Studemann, D., Landolt, P., Sartori, M. & Tomka, I. (1992): Ephemeroptera. Insecta Helvetica, Fauna 9 (Deutsche Ausgabe). – 175 S., 394 s.-w. Abb., 33 Farbfotos. Preis: 48,- sFr. Imprimerie Mauron + Tinguely & Lachat SA, Fribourg." Deutsche Entomologische Zeitschrift (neue Folge) 41, no. 1 (March 4, 1994): 154. http://dx.doi.org/10.1002/mmnd.4810410115.

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23

Herres, Jürgen. "Harald Dickerhof (Hg.): Görres-Studien. Festschrift zum 150. Todestag von Joseph von Görres; Joseph Görres: Die Wallfahrt nach Trier. Gesammelte Schriften. Bd. XVII/4: Schriften zum Kölner Ereignis; Albert Portmann-Tinguely: Görres im Bild - Görres-Bilder. Görres-Bilder, -Büsten, -Fenster, -Denkmäler: Versuch einer Bestandsaufnahme." Geschichte in Köln 50, no. 1 (December 2003): 264–67. http://dx.doi.org/10.7788/gik.2003.50.1.264.

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24

Holden, Susan. "The kinetic architecture of Jean Tinguely’s culture stations." Journal of Architecture 24, no. 1 (January 2, 2019): 51–72. http://dx.doi.org/10.1080/13602365.2018.1527385.

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25

박윤조. "The Expended concept of Ready-made in Jean Tinguely’s Works." Journal of History of Modern Art ll, no. 21 (June 2007): 41–84. http://dx.doi.org/10.17057/kahoma.2007..21.002.

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26

Isgro, Marina. "Modernism in Motion: Jean Tinguely’s Meta-Mechanical Reliefs, 1954–59." Art Journal 79, no. 2 (April 2, 2020): 6–23. http://dx.doi.org/10.1080/00043249.2020.1765550.

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27

Bois, Yve-Alain. "Letters from Paris." October 169 (August 2019): 38–64. http://dx.doi.org/10.1162/octo_a_00359.

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From 1957 to 1964, Annette Michelson wrote over seventy-five columns and reviews from Paris for the International Herald Tribune, Arts Magazine, and Art International. As Yve-Alain Bois demonstrates, Michelson's subject matter as an art critic during this time was varied, but her tone remained consistent and inimitable, characterized by erudition, irony, and attention to formal detail. Bois quotes from her self-confident appraisals of contemporary painting, traces her burgeoning interest in film, and highlights her particular interest in sculpture, from Daumier's modeled busts to Matisse's small bronze nudes to Tinguely's kinetic machines.
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28

Ramiro, Enric. "Mortadel·lo i Filemó, una gran ocasió. Reflexions i recursos sobre com introduir el còmic a l'aula de forma agradable." Comunicació educativa, no. 13 (February 15, 2015): 48. http://dx.doi.org/10.17345/comeduc200048-50.

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<p>Les historietes són realment una eina quotidiana per introduir la descodificació visual d’una forma senzilla agradable i fàcilment acceptada per l’alumne, principi fonamental perquè sigui significatiu el seu aprenentatge, amb tot el que comporta de durador en el temps i constructor de conceptes.</p><p>Aquest article també ens proposa quinze activitats diverses en continguts, nivells i àrees per anar fent boca amb aquells materials de contes que tinguem més a prop.</p>
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29

Melnick, Burton. "“To This Favor She Must Come”: Tinguely’s Cow and Hamlet’s Mother." American Imago 68, no. 1 (2011): 49–57. http://dx.doi.org/10.1353/aim.2011.0011.

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30

Chau, Christina. "Movement and Time in the Nexus between Technological Modes with Jean Tinguely’s Kineticism." Arts 3, no. 4 (December 11, 2014): 394–406. http://dx.doi.org/10.3390/arts3040394.

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31

Sari, Novi Engla, and Dadan Suryana. "Thematic Pop-Up Book as a Learning Media for Early Childhood Language Development." JPUD - Jurnal Pendidikan Usia Dini 13, no. 1 (April 30, 2019): 43–57. http://dx.doi.org/10.21009/10.21009/jpud.131.04.

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The challenge for early childhood educators to be able to provide a touch of education that is creative, innovative, smart, and fun to develop children's intelligence optimally. This study aims to develop Thematic Pop-Up Book products as learning media for the development of Early Childhood languages. The research subjects were 15 participants in class B6 of Khaira Ummah Islamic Kindergarten in the City. The research and development used data analysis using descriptive statistical analysis techniques. The results of the validity test and the practicality of the development of Pop-Up Book media at Khaira Ummah Islamic Kindergarten in Padang City were declared valid by media experts with an average score of 95%. Media Thematic Pop-Up Books, about Healthy and Unhealthy Foodstuffs were also declared valid by material experts with an average score of 95%. The results of the trial of thematic Pop-Up book products in Khaira Kindergarten Islamic Ummah were stated as a practical medium for children with a percentage increase in the test reaching 96%. Based on these results indicate that Pop-Up Book media products get a positive response from children and teachers. Media Pop-Up Book for further research can be used as a medium to improve children's cognitive, and interest in reading. Key Words: Thematic Pop-up Book, Early Childhood Education, Language Development References Arsyad, A. (2017). Media Pembelajaran. PT Raja Grafindo Pursada. Beceren, B. Ö. (2010). Determining multiple intelligences pre-school children (4-6 age) in learning process. Procedia - Social and Behavioral Sciences, 2(2), 2473–2480. https://doi.org/10.1016/j.sbspro.2010.03.356 Berman, R. A. (2018). Language Development and Literacy. Encyclopedia of Adolescence, (October), 2093–2103. https://doi.org/10.1007/978-3-319-33228-4_19 Chaparro-Moreno, L. J., Reali, F., & Maldonado-Carreño, C. (2017). Wordless picture books boost preschoolers’ language production during shared reading. Early Childhood Research Quarterly, 40, 52–62. https://doi.org/10.1016/j.ecresq.2017.03.001 Dato, A., & Radmilovic, V. (2010). Interactive Book With Detachable, Pop-Up Device. Patent Application Publication, 1(19), 20–25. https://doi.org/US 2007/0293118A1 Helmawati. (2015). Mengenal dan Memahami PAUD. Bandung: PT Remaja Rosdakarya. Lin, R. (2012). Creative Thinking for Picture Book Creation. IERI Procedia, 2, 30–35. https://doi.org/10.1016/j.ieri.2012.06.047 Montag, J. L., Jones, M. N., & Smith, L. B. (2015). The Words Children Hear. Psychological Science, 26(9), 1489–1496. https://doi.org/10.1177/0956797615594361 Nazaruddin, M. A., & Efendi, M. (2018). The Book of Pop Up Augmented Reality to Increase Focus and Object Recognition Capabilities for Children with Autism. Journal of ICSAR, 2(1), 9–14. https://doi.org/10.17977/um005v2i12018p009 Obiweluozo, E. P., & Melefa, O. M. (2014). Strategies for Enhancing Language Development as a Necessary Foundation for Early Childhood Education. Journal of Education and Practice, 5(5), 147–155. Retrieved from www.iiste.org Ponitz, C. C., McClelland, M. M., Matthews, J. S., & Morrison, F. J. (2009). A Structured Observation of Behavioral Self-Regulation and Its Contribution to Kindergarten Outcomes. Developmental Psychology, 45(3), 605–619. https://doi.org/10.1037/a0015365 Putra, N. (2011). Research & Development. Jakarta: Raja Grafindo Persada. Rahmawati, D. I., & Rukiyati, R. (2018). Developing Pop-Up Book Learning Media to Improve Cognitive Ability of Children Aged 4-5 Years. Atlantis Press, 249(Secret), 60–69. https://doi.org/10.2991/secret-18.2018.10 Ros, R., & Demiris, Y. (2012). Human Behavior Understanding, 7559, 40–51. https://doi.org/10.1007/978-3-642-34014-7 Safitri, D., & Hartati, T. A. W. (2016). Kelayakan Aspek Media dan Bahasa Dalam Pengembangan Buku Ajar dan Multimedia Interaktif Biologi Sel. Florea, 3(2), 9–14. Retrieved from https://www.google.com/url? Sahlan, Asmaun, Angga, & Prastyo, T. (2016). Desain Pembelajaran Berbasis Pendidi-kan Karaker. Yokyakarta: Ar-Ruzz Media. Sari, S. A. (2017). The Development of Pop-up Book on the Role of Buffer in the Living Body. European Journal of Social Sciences Education and Research, 10(2), 213. https://doi.org/10.26417/ejser.v10i2.p213-221 Sudjana, N., & Rivai, A. (2011). Media Pengajaran. Bandung: Sinar Baru Algensindo. Walter-Laager, C., Brandenberg, K., Tinguely, L., Schwarz, J., Pfiffner, M. R., & Moschner, B. (2017). Media-assisted language learning for young children: Effects of a word-learning app on the vocabulary acquisition of two-year-olds. British Journal of Educational Technology, 48(4), 1062–1072. https://doi.org/10.1111/bjet.12472 Wilcox, M.J., M., K.M, Bacon, C. K., & Thomas, S. (2001). Enhancing Children ’ s Language Development in Preschool Classrooms Using Literacy to Target Verbal Language Goals Enhancing Children ’ s Language Development in Preschool Classrooms Encouraging Complex Verbal Reasoning. Arizona. Retrieved from http://icrp.asu.edu Wiyani, & Ardy, N. (2016). Konsep Dasar PAUD. Yokyakarta: Gava Media. Yu, X. (2009). Levels of meaning and children: An exploratory study of picture books’ illustrations. Library and Information Science Research, 31(4), 240–246. https://doi.org/10.1016/j.lisr.2009.07.003
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32

Jorro, Anne, and Yann Mercier-Brunel. "Les gestes évaluatifs de l’enseignant dans une tâche de correction collective." Mesure et évaluation en éducation 34, no. 3 (May 5, 2014): 27–50. http://dx.doi.org/10.7202/1024794ar.

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La correction collective est une pratique évaluative commune dans le quotidien d’une classe de cycle 3. Elle est, à ce titre, rarement remise en question par les enseignants qui y ont recours, et elle obéit la plupart du temps à des routines qui en conditionnent le déroulement. Or, les séances correctives importent du point de vue de la qualité de la régulation des apprentissages. L’agir professionnel de l’enseignant et, en particulier, ses gestes évaluatifs déterminent l’entrée des élèves dans de tels processus. Si de nombreuses recherches ont mis en évidence l’impor - tance des processus de rétroaction dans l’apprentissage, il reste que la mise en oeuvre de ceux-ci est encore peu documentée. La présente recherche vise à dis - tinguer et à caractériser les gestes évaluatifs de l’enseignant en situation corrective ainsi que leurs incidences sur la posture des apprenants.
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33

Fuguet Busquests, Joan. "La transferència de la formació permanent del professorat. Estudi de casos." Universitas Tarraconensis. Revista de Ciències de l'Educació 1, no. 1 (June 30, 2014): 139. http://dx.doi.org/10.17345/ute.2014.1.442.

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La nostra experiència professional en la docència i en la direcció d’una escola d’Infantil i Primària, i sobretot en l’àmbit de la formació permanent com a assessor i formador del Departament d'Ensenyament i de l'Institut de Ciències de l’Educació de la Universitat Rovira i Virgili (URV), fa que tinguem la percepció que els esforços que es dediquen curs rere curs, per part dels equips de docents dels centres educatius, en l’elaboració i posterior participació en els plans de formació del professorat del centre i el cost econòmic dels recursos que s’inverteixen per part de l’Administració Educativa en la constitució i formació d’equips de formadors per tal que exerceixin la seva docència o assessorament en els centres educatius, no incideixen d’una manera prou eficaç i amb garanties de perdurabilitat en la pràctica docent a les aules.L’interès en aquest camp ja ha tingut un precedent en la realització del treball de fi d’estudis del màster de “Formació de Professionals de la Formació”, que tenia com a objectiu principal saber quina era la percepció que tenen els docents d’Infantil i Primària de dues escoles públiques de Tarragona sobre la transferència de la formació permanent a la seva pràctica educativa a l’aula i la incidència que tenia en el seu desenvolupament professional.
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Lévesque, Jean. "DE TINGUY, Anne (dir.). L'Ukraine, nouvel acteur du jeu international. Bruxelles/Paris, Bruylant/LGDJ, 2000, 322 p." Études internationales 33, no. 2 (2002): 388. http://dx.doi.org/10.7202/704428ar.

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Aklaku, E. K., E. N. K. Sowley, and M. Ofosu. "Incidence of fungi and aflatoxin contamination of maize in Tolon-Kumbungu district of Ghana." African Crop Science Journal 28, no. 2 (July 27, 2020): 195–202. http://dx.doi.org/10.4314/acsj.v28i2.5.

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Maize (Zea mays L.) is an important staple food crop and a source of income to farmers, as well as foreign exchange earner in most countries in sub-Saharan Africa. Its production is hampered by fungal diseases, which also cause contamination with mycotoxins, especially aflatoxin and its associated health hazards. This study sought to isolate and identify aflatoxigenic fungi, as well as detect the presence of Aflatoxin B1 (AfB1) in maize samples obtained from farmers in the Tolon-Kumbungu district in the northern region of Ghana. Twenty farming communities were randomly selected for the study in consultation with the district office of the Ministry of Food and Agriculture (MoFA). Samples were collected from 200 randomly selected maize farmers by the composite sampling technique, for isolation of aflatoxigenic fungi by the agar plate method and the detection of aflatoxin. Aflatoxin was detected in maize samples with the Black light, rapid screening and immunoassay methods. Aspergillus flavus had the highest percentage of occurrence (63.7%); followed by A. niger (16.5%), Rhizopus stolonifer (9.3%), Penicillium spp. (6.9%) and Fusarium oxysporum (3.7%). Farm samples had more aflatoxin than those from stores and markets. Samples of maize from farms in Gbirimani community had the highest aflatoxin contamination of +60 ppb. Concentrations of Afb1 at or above +20 ppb were recorded in all the communities, except in Tinguli. Apart from Voggu, all market samples were free from aflatoxin contamination. Key words: Aflatoxigenic fungi, postharvest, Zea mays
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Rabkin, Yakov M. "Tinguy, Anne de. Les relations soviéto-américaines. Paris : Presses universitaires de France, Coll. « Que sais-je? », no 2348, 1987, 128 p." Études internationales 19, no. 4 (1988): 776. http://dx.doi.org/10.7202/702450ar.

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37

Paquet, Martin. "WIHTOL DE WENDEN, Catherine et Anne de TINGUY (dir.). L'Europe et toutes ses migrations. Bruxelles, Complexe, (Coll. « Espace international ») 1995,173 p." Études internationales 27, no. 4 (1996): 939. http://dx.doi.org/10.7202/703690ar.

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Dumoulin, André. "DE TINGUY, Anne (dir.). L'effondrement de l'Empire soviétique. Bruxelles, Établissements Emile Bruylant, Coll. « Organisations internationales et relations internationales », Bruxelles, 1998,500 p." Études internationales 30, no. 4 (1999): 871. http://dx.doi.org/10.7202/704120ar.

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39

O’Neil, Daniel J. "The Fall of the Soviet Empire20001Anne De Tinguy (Editor). The Fall of the Soviet Empire. Boulder, CO, USA: Eastern European Monographs 1997. 452 pp." International Journal of Social Economics 27, no. 2 (February 2000): 160–68. http://dx.doi.org/10.1108/ijse.2000.27.2.160.1.

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40

Michael, Androula. "Jean Tinguely ‘60." Critique d’art, December 6, 2017. http://dx.doi.org/10.4000/critiquedart.27328.

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41

Michael, Androula. "Jean Tinguely : Méta-Harmonie." Critique d’art, December 6, 2017. http://dx.doi.org/10.4000/critiquedart.27329.

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42

Cavaillé, Jean-Pierre. "Libertine slow reading ou lectio difficilior potior." Acta Juin 2017 18, no. 6 (June 19, 2017). http://dx.doi.org/10.58282/acta.10367.

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43

"Eurêka: une intervention tarifaire «à la Tinguely»." Bulletin des Médecins Suisses 98, no. 17 (April 26, 2017): 511. http://dx.doi.org/10.4414/bms.2017.05613.

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44

Burleigh, Paula. "Ludic Labyrinths: Strategies of Disruption." Stedelijk Studies Journal 1 (2018). http://dx.doi.org/10.54533/stedstud.vol007.art05.

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Dylaby (1962), an exhibition organized by Stedelijk director Willem Sandberg in collaboration with the artist Jean Tinguely, transformed the museum into an immersive labyrinth. At times dark and disorienting, the participating artists—Tinguely with Niki de Saint Phalle, Daniel Spoerri, Per Olof Ultvedt, and Robert Rauschenberg—cluttered the galleries with physical obstacles that required visitors to navigate raised platforms, climbing structures, and false stairways amidst a cacophony of noise. A celebratory atmosphere likely tempered any frustration generated by the deliberate lack of clarity in the exhibition layout, as visitors gleefully fired BB guns and danced in a sea of floating balloons. Scholars have noted that Dylaby anticipated major trends that defined art of the 1960s and beyond: active participation supplanted passive spectatorship, and both experience and environment took precedence over the autonomous art object.[1] Less frequently discussed, however, is the actual structure of Dylaby, which gave the exhibition its title—an abbreviated form of “dynamic labyrinth.” Dylaby was far from the only exhibition to foreground the labyrinth as a central motif, metaphor, and organizing principle. Following World War II, the labyrinth experienced a revival in popularity throughout Europe, evident in works by collectives like the Letterist International, the Situationist International, and the Nouveaux Réalistes, which counted Tinguely, Saint Phalle, and Spoerri among its members.[2] This essay situates Dylaby within this larger revival of the labyrinth, which I argue functioned as a space of temporal collisions and play.[3] Both its confusion of time—gesturing simultaneously back to a mythic past and forward to a utopian future—and its ludic character were strategies of disruption, which artists mounted against stultifying conventions that governed the city and the museum.
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45

"Heureka – oder der Tarifeingriff an einer „Tinguely-Maschine“." Schweizerische Ärztezeitung 98, no. 17 (April 26, 2017): 511. http://dx.doi.org/10.4414/saez.2017.05613.

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46

Renaud, Michel. "Indocti discant et ament meminisse periti." Acta Mai 2022 23, no. 5 (May 16, 2022). http://dx.doi.org/10.58282/acta.14489.

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Cet article est un compte-rendu du livre : Frédéric Tinguely (éd.), avec la collaboration de Jérôme David et Radu Suciu, Le Festin critique. Hommage à Michel Jeanneret (1940‑2019), Droz, coll. « Travaux d'Humanisme et Renaissance », 2021, 250 p. EAN : 9782600062992 ; Sandrine Bédouret‑Larraburu, David Diop, Valérie Fasseur, Hans Hartje, Nadine Laporte, Marie‑Françoise Marein (éd.), avec la collaboration de Christiane Albert, La Littérature et l'esprit. Hommage à Jean‑Yves Pouilloux, Droz, coll. « Histoire des idées et critique littéraire », vol. 517, 288 p. EAN : 9782600062753.
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Schavemaker, Margriet, and Dorine de Bruijne. "Lose Yourself – Editorial." Stedelijk Studies Journal 1 (2018). http://dx.doi.org/10.54533/stedstud.vol007.art01.

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A logical sequence of bright-lit, white-walled spaces has become the dominant architectural model of presenting modern and contemporary art and design around the globe. However, since its first appearance in the early decades of the twentieth century, the introduction of this “white cube” model has been paired with its disruption: artists and curators have created chaotic structures in which the art breaks out of its increasingly sanitized cage and visitors are asked to engage physically, getting lost in what can best be described as labyrinthine exhibitions that often meander, both inside and outside the vicinity of the museum territory. Multiple layers instead of optical clarity, immersion instead of spectatorship, proximity as opposed to distance, chance versus rationality; these are some of the dichotic terms that come to mind when considering the relationship between the labyrinthine exhibition and its white cube alter ego. The theme of this issue of Stedelijk Studies digs deeper into both the history and topicality of labyrinthine exhibitions as curatorial model. Renewed interest in this topic arose in conjunction with the large-scale retrospective of Jean Tinguely organized in 2015–2016 by the Kunstpalast in Düsseldorf and the Stedelijk Museum Amsterdam. In the Stedelijk’s version of the exhibition several rooms were dedicated to the exhibitions Tinguely had (co-)curated at the Stedelijk and the Moderna Museet, Stockholm, in close collaboration with museum directors Willem Sandberg (Dylaby) and Pontus Hultén (HON), as well as artists such as Martial Raysse, Robert Rauschenberg, Niki de Saint Phalle, Daniel Spoerri, and Per Olof Ultvedt. The first exhibition, Bewogen Beweging (Rorelse Konsten), the lively overview of kinetic art which traveled from the Stedelijk to Moderna Museet and the Louisiana Museum in Humlebaek in 1961/1962, was overwhelming, chaotic, and participatory. The two following exhibitions, Dylaby (1962) in the Stedelijk Museum and HON – en katedral (1966) in the Moderna Museet, have become truly remarkable exhibitions in the history of curating. Walking into a large vagina, shooting paint, gazing at the stars in a planetarium, dancing the twist, plowing a path through a room filled with balloons… the exhibitions might easily be considered more as theme park attractions than serious art shows, comprising theatrical props instead of works of art.
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Booth, Paul J. "Mashup as temporal amalgam: Time, taste, and textuality." Transformative Works and Cultures 9 (March 30, 2012). http://dx.doi.org/10.3983/twc.2012.0297.

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The mashup video is examined as a specific textual component of remix culture. Mashup videos represent one particular type of remix and require an intricate base of knowledge to understand and appreciate the complex reworking of textuality engendered by the form. The mashup video becomes a key symbol of the engaged 21st-century media creator because it speaks to a media-literate and active audience. If we are to particulate in a fully autonomous media environment as scholars and as practitioners of participatory media, then it behooves us to speak not just to the salience of the mashup through a particular methodology, but also with a Media Studies 2.0 knowledge base. The temporal fluidity of the mashup video is explored as it relates to the concept of social and cultural taste. Analyses of the mashup videos "Virgin O'Riley" (Mark Vidler), "Vogue" (Luminosity), and "The Grey Video" (Fauchere and Tinguely) show how mashup videos remix new genres of cultural activity.
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Trapani, Roberta. "Une architecture du désir. L’offensive surréaliste contre le modernisme." Déméter, no. 8 | Été (September 15, 2022). http://dx.doi.org/10.54563/demeter.902.

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Promoteurs de l’imagination contre le réel, les surréalistes fantasment une demeure qui, étant une figure de la poésie, ne peut pas exister dans le monde réel. Par leurs regards, ils offrent pourtant un horizon inverse à celui du modernisme, relevant d’une approche à la fois onirique et organique de l’architecture. Ils enrichissent ainsi la pensée architecturale de l’époque par le recours au mythe, au sacré, à l’irrationnel, au grotesque, au spontané. Ils travaillent d’ailleurs à établir une contre-tradition architecturale qui fera sortir de l’ombre des antécédents bannis par la rhétorique fonctionnaliste, ainsi que l’œuvre d’autodidactes ayant décoré leur espace de vie. Le délire rocailleux de Cheval et les formulations organiques de l’Art Nouveau auront une place centrale dans cette contre-histoire qui réhabilite l’ornement et donne une impulsion au mouvement de l’architecture-sculpture, influençant l’œuvre de créateurs atypiques comme Etienne-Martin, Asger Jorn, Jean Tinguely, Niki de Saint-Phalle ou encore Jean-Luc Johannet.
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Hanru, Hou. "Video: Hou Hanru." Stedelijk Studies Journal 1 (2018). http://dx.doi.org/10.54533/stedstud.vol007.art15.

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Hou Hanru begins his talk by shifting the conversation away from the idea of the labyrinth and instead initially refocuses it on the idea of movement. Jean Tinguely once paradoxically described movement as static, because “it is the only immutable thing—the only certainty, the only unchangeable.” To Hanru, this idea of movement as the most stable, static form of existence is highly inspiring. He sees movement as a sign of both modernity and liberty, connected to the idea of the labyrinth through their shared role in exploring the limits of the museum as an institution, and of exploring the institution’s capacity for change. Hanru outlines how the themes of the labyrinth, movement, and limits are all pertinent to his project Cities on the Move, curated in collaboration with Hans-Ulrich Obrist. Cities on the Move explores Asian models of modernity and development, as expressed through its urbanization. The project traveled to seven cities around the world, changing every iteration with each instance—each new labyrinth, as it were—and representing a different reimagining in condensed form of what an Asian city might be. The project did not merely address urban form, it also grappled with social contexts and new ideas on how to form relationships between individuals, collectives, and different societal arenas.
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