Jean Tinguely

seconde édition. Armand Colin, avril 2017.
Cet essai est consacré au montage au cinéma. Outre un rappel de la façon dont il est envisagé par différents cinéastes (l' ouvrage propose une analyse de ses objectifs et de son langage. La « théorie du montage » développée ici est construite comme une théorie scientifique, avec comme postulat de départ l'existence d'une énergie de l'image, portée par les plans d'un film et polarisée par le montage. Cette approche originale permet de saisir toute l'essence du montage, au-delà des considérations syntaxiques, narratives et plastiques. L'auteur illustre son propos de nombreux exemples issus de l'histoire du cinéma.

Cette théorie propose de reconsidérer la problématique du montage (les liaisons comme les disruptions, la dépendance comme l’indépendance des plans) à partir d’un principe générateur. Il s’agit de saisir son essence au-delà des fonctions syntaxiques, sémantiques, narratives, discursives, rythmiques ou plastiques ; au-delà des contingences historiques, géographiques, des critères de genre et des politiques d’auteurs. Son horizon : comprendre ce qui se joue entre les images, quelles que soient les formes de montage, des plus communes aux plus singulières, des toutes premières aux plus contemporaines.
L’hypothèse de départ est simple et douée d’une force heuristique : les plans sont porteurs d’une énergie – dont les manifestations sont variées – que le montage prend en charge, actualise, active, polarise. Ceci implique l’analyse des forces en action dans les plans et les transformations et métamorphoses qui en découlent.

In 1961 Niki de Saint Phalle emerged like a shooting star from relative obscurity into the center of the international art world with her dramatic Tir, a work that balanced child-like games with ritualistic and symbolic acts of violence calling up contemporary politics. By 1962 she had established an art practice grounded in the duality of her Franco-American identity mixed with references to popular culture, religious kitsch, children’s toys, and the drama of autobiography. Much of the imagery (such as weapons and monsters) as well as material (discarded children’s toys, knives and guns) that animated her large scale tableaux at this time was already present in her work of the fifties. What changed and made them different from their clearly Art Brut and CoBrA inspired origin was their turn to an openly performative—and eventually theatrical—production that made the viewer an active and complicit participant in ritualistic acts of creation and violent destruction. It was Saint Phalle’s rebellious attitude and acute commitment to a politically intellectual tradition that allowed her to manipulate and craft such distinctly public forms as sculpture and theatre into a practice of her own that matured in three idiosyncratic, spectacular and temporal works that have since been destroyed or largely forgotten: Hon-en katedral (1966), Lysistrata (1966), and ICH [All about Me] (1968).

This paper examines three exhibitions at the Stedelijk
Museum in Amsterdam that are related through their ludic
art and exhibition tactics: Die Welt als Labyrinth (1960,
canceled before it opened), Bewogen Beweging (1961), and
Dylaby (1962). Despite never having been realized, Die Welt
als Labyrinth provided a basis for experimental exhibition
strategies that focused on artistic intervention in the
Stedelijk’s galleries; subsequent ludic exhibitions built upon
their predecessor’s innovations. By narrowing the focus on
one institution over a short period of time, we can survey the
development of playful exhibition strategies, as well as
reveal a glimpse of the social, historical, and political
conditions of Amsterdam in the early 1960s. In this article, I
will turn my attention to audiences’ responses to the
exhibitions, largely drawing upon contemporary reviews. My
aim is to understand how ludic exhibitions operated at the
Stedelijk Museum in Amsterdam, exploring the meaning and
resonance of this practice. The exhibitions demonstrate the
limitations of play: viewers and critics can misread them as
mere amusement lacking any value as social commentary. I
argue that the ludic exhibition is paradoxical in that it
presents critique indirectly, making it palatable, but its
implicit critique risks misinterpretation.

This essay sheds light on some of the
historical conditions of the late fifties and
early sixties that made it possible for an
individualist anarchist like Pontus Hulten to
use Stockholm’s Moderna Museet to reassemble
the post-war avant-garde towards a
more »open« definition of movement in art.
With a clearer idea of Hulten’s agenda in 1961
we might get a better understanding why
Ro¨relse i konsten was so important and
different from its New York relative The Art
of Assemblage curated that same year by
William Seitz at The Museum of Modern
Art. While both these exhibitions were designed
to canonically account for the heterogeneous
range of aesthetic directions that had
come to characterize the contemporary art
THE ART OF RE-ASSEMBLAGE 191
scene globally, and while both exhibitions
situated Marcel Duchamp at the centre of this
breakdown of traditional boundaries separating
painting and sculpture, it is the philosophical
differences at stake in these two
exhibitions that have piqued my interest.

Récits en ordre dispersé, 1953-1979

- La rencontre de la petite fille aux allumettes et de l'homme qui plantait des arbres
- La piste du Bombyx
- La femme de Loth
- L'atelier comme un Merzbau organique
- La revanche de l'oignon
- Explosante-fixe
- La becquée
- Anémographomètre
- Petit précis d'alchimie quotidienne
- Être-fleur
- Ne pas conclure
- Ne pas conclure - la suite

Some posthumanists see the potential in forthcoming enhancement technologies to alter human beings so much that we would no longer recognize them as members of our species. One sort of enhancement technology are prosthetic devices that would replace or increase normal human functioning, for example computer chips implanted in the brain or robotic arms controlled with our minds. On account of neuroplasticity, our brains would gradually reconfigure themselves so that we may use the prosthesis as though it were biologically a part of us. And, if our bodily organs can be replaced by mechanical counterparts, then piece-by-piece, as our body ages and its malfunctioning parts are replaced, one might gradually become less a human and more a machine, and one with extraordinary non-human abilities. There are even developments in brain simulation that could allow a computer to handle the functioning of large parts of one’s brain, opening the possibility that one’s whole brain might be “uploaded” to continue performing its functions on a computer connected to a robotic body. If the process of body-part replacement were slow and gradual enough that our minds and bodies always have ample opportunity to adjust to the new prosthetic devices, is it not conceivable that we could make a complete and continuous transition from human to machine using these technologies? Andy Clark’s and David Chalmers’ “extended mind hypothesis” provides a theoretical account for our bodily and cognitive extension into external technologies, and Clark as well as therapeutic prosthetic researchers draw from Merleau-Ponty’s philosophy of the body to explain how such devices become a part of our body schemas. But, is Merleau-Ponty’s “organic” view of the body really the best theoretical framework to explain how our bodies are becoming more and more robotic? I will argue instead that Deleuze’s and Guattari’s “machinic” model is a more promising theoretical basis for the notion of posthuman enhancement and also for successful therapeutic prosthesis usage.

La popularisation du chocolat, notamment à partir du développement de la société de consommation dans la seconde moitié du siècle, a contribué à en faire un matériau à part entière pour les néo-avant-gardes et jusqu'à aujourd'hui. Si l'aliment peut être instantanément associé à des gourmandises enfantines ou des dégustations sucrées, certains artistes, de Marcel Duchamp à Paul McCarthy en passant par Dieter Roth, Karen Finley, Sonja Alhäuser ou Véronique Boudier, ont choisi d'en faire usage en assumant la métaphore excrémentielle.

Im Zentrum der Dissertation über "Das plastische Ereignis. Das Zusammenspiel von Objekt- und Ereignishaftigkeit in der kinetischen Plastik am Beispiel von Jean Tinguelys 'Maschinentheater'" stehen die kinetischen Plastiken des Schweizer Künstlers Jean Tinguely (1925-1991), die in aktiviertem Zustand zwischen statischer Skulptur und ephemerem Geschehen oszillieren und zu „Ereignis-Objekten“ avancieren. Die Beschreibung der Ereignishaftigkeit, die die bewegte Skulptur charakterisiert, stellt jedoch nach wie vor ein Desiderat dar. Diese Lücke wurde hier durch eine empirische Untersuchung der Plastiken Tinguelys geschlossen, welche die Materialität, Räumlichkeit und Zeitlichkeit, das Verhältnis zwischen Objekt und Betrachter sowie den situativen Kontext und die Aufführungspraxis einbezog. Die Ereignishaftigkeit der Skulpturen wurde aus produktions-, rezeptions- und wahrnehmungstheoretischer Perspektive untersucht und unter Rückgriff auf Jacques Derridas philosophische Studie zum Ereignisbegriff sowie die medienphilosophischen, theaterwissenschaftlichen und rezeptionstheoretischen Konzepte zum Ereignisbegriff von Dieter Mersch, Erika Fischer-Lichte und Martin Seel bestimmt.

Im Rahmen der Dissertation wird zudem erstmals der für das Werkverständnis wichtige Zusammenhang von Tinguelys Interesse für die darstellenden Künste und seinem bildhauerischen Œuvre aufgezeigt. Darüber hinaus wird der Ereignis-Begriff für die Skulpturtheorie fruchtbar gemacht, um die bewegte Skulptur der 1960er Jahre über den Begriff der kinetischen Plastik hinausgehend zu präzisieren und ihren Einfluss auf die zeitgenössische, bewegte Skulptur zu offenbaren. Auf der begrifflichen Grundlage des plastischen Ereignisses wurden so die Entwicklungslinien von Jean Tinguelys Aktionsskulpturen zu jenen der nachfolgenden Generationen aufgezeigt.

Kunsthistorisches Institut, Freie Universität Berlin (2009 – 2015)

Abschluss: Magna Cum Laude (20.07.2015)

If you are curious about the cultural scene of 1960s/70s: fashion, art, pop music, the sexual and feminist and protest movements in London, the heart of hippie Swinging Sixties but also in Paris, New York, San Francisco then consider reading this first-hand account and memoir of that impressionist implosions and cultural revolution by a Canadian woman who became a part of that ever changing scene. She became known as one of the world's best known textile designers and later her international fashion forecasting office in Paris was cited by Time Magazine as one of the worlds best fashion forecasting services. In 2018 her memoir Technicolour Dreamin’ in her own fashion was published in England and this month Chasing the Stars and Hoping to Shag the Moon, the follow up book in on the book shelves, a true dialogue of two graphically brilliant souls, not just a compilation of congenial exchanges but a true confrontation. This rich delving into the past half century will be nostalgic and enlivening for those who lived through those years and inspirational and fascinating for those who didn’t!

At the height of the Cold War, artists, writers and filmmakers in America turned to the desert as a space in which notions of ‘the end’ could be articulated. Unpacking the desert’s associations with nuclear apocalypse and environmental ruination, this paper explores works of art and film – by Jean Tinguely, Michelangelo Antonioni and Robert Smithson – in which the end is imagined to be immanent, repetitive and entropic.

“Den öppna konsten” är ett begrepp som i Sverige associerats till Moderna
Museet i Stockholm på 60-talet. Begreppet dök upp för första gången 1963, men det tankegods det betecknade fanns redan på banan sedan något år. Kanske kan utställningen Rörelse i konsten på Moderna Museet i Stockholm 1961 utgöra ett slags prematur födelse av den öppna konsten. Moderna kom att symbolisera den moderna och förmodat tillgängliga spjutspetskulturen i Sverige under den andra fasen av vad som har kallats för “rekordåren”, från andra världskriget och fram till oljekrisen i början av 1970-talet, den efterkrigsperiod då den svenska ekonomiska utvecklingen gick på högvarv. Det berodde delvis på att dess chef Pontus Hultén (1924-2006) lyckades göra Moderna till en betydande institution och inte minst på hans effektiva marknadsföring. Men vad stod det öppna för, egentligen?

Le présent travail d’édition et traduction d’un choix de poèmes de Fausta Squatriti donne au public français l’occasion de connaitre un des aspects principaux de la créativité de cette artiste qui s’exprime dans plusieurs langages, arts plastique, poésies, romans, éditions d’art.
Squatriti débute encore jeune, dans les années 1960 : elle a exposé ses œuvres en Europe et Amérique à coté de celles de Alexandre Iolas et Denise René a Paris. Ses ouvres font partie des collections du Centre Pompidou et du Musée d’Art Moderne de la ville de Paris.
Son travail dans le domaine des éditons d’art numérotées l’a conduite a nouer des liens d’amitié avec les protagonistes de la recherche artistique du ‘900, Man Ray, Max Ernst, Jean Tinguely, Niki de Saint Phalle et les autres représentants du Nouveau Realisme, ainsi qu’avec Lucio Fontana, Louise Nevelson, Cy Twombly, Arturo Schwarz, Giulio Carlo Argan, pour ne rappeler que quelques noms .

Il s’agit d’un choix qui s’étend sur un demi-siècle et qui dresse son parcours selon un critère (le seul qui me paraissait justifiable), celui des images, pour mieux dire des figures, si chères au travail de Fausta Squatriti en tant qu’artiste visuelle. Le terme broderies m’a été suggéré par la préface de Roberto di Marco au recueil De la discorde et de son Credo, Milan, Scheiviller 1994. Nous pouvons sans aucun doute étendre cette définition à l’ensemble du travail poétique de Fausta Squatriti:

Ses broderies sont des trames linguistiques, nouées avec un soin rigoureux, à relier les fils apparemment déliés de l’existence, en transformant les contraires dans une texture nouvelle, organique, soufferte, dans une forme linguistique apparemment aseptique, polie, tendue à faire émerger, sous les yeux de son style, les contrastes déchirants du réel. 

Il faut cependant préciser que nulle place trouve dans sa poésie l’idée d’une broderie féminine : il s’agit plutôt de ciseler les images avec une exactitude froide, sans scrupules ni bavures. Ses broderies sont des objets parfaits, élégants, essentiels et purs, car purgés de tout exhibitionnisme.

Abstract: This paper addresses auto-destructive artworks by Jean Tinguely, Homage to New York (1960) and Study for an End of the World No. 2 (1962), to explore a changing consciousness of time in a period of technological transition from modern industrial machines towards the domestication of televisual devices. One effect of these is works is a contribution to a turbulent consciousness of time by orchestrating new perceptions of temporality with mechanical and tele-communicational media. Tinguely’s kineticism is useful for articulating how different technologies can be used to rationalize time in different ways and highlight an incompatibility between the expression of time as an unfolding duration with mechanical media, and the temporal demands of televisual broadcast media.

CONTINUOUS PAGE: SCROLLS AND SCROLLING FROM PAPYRUS TO HYPERTEXT - Research Forum, the Courtauld Institue of Art, London.

Beyond the medium used (may it be parchment or papyrus), the ancient rolls share with the virtual scrolling of our contemporary touch-screen tools an elementary function: both provide the human being with the best solution to quickly store and visualise extensive information in a narrow space. On the contrary, after World War II a number of scrolled paintings were created to challenge the established culture and languages of art. Several cases of “unrolled” or “scrolled” paintings may be detected around the very topical turning point from modern to contemporary art: 1960.
In 1959 Giuseppe Pinot Gallizio presented his 74-metre-long roll of Industrial Painting in his exhibition, The Cave of Antimatter, at the René Drouin Gallery in Paris. In the same year, at the Paris Biennale, Jean Tinguely exhibited Méta-Matic n. 17, a motorized machine which was able to draw on a continuous strip of paper. In 1960, Manzoni realised his dream of an almost endless line, scrolling and painting on a 72 metres long paper in Herning, Denmark. Using these and other case studies as a starting point, the paper will argue for the concept of continuous page at the beginning of the contemporary age.

Nouveau Réalisme, 1960s France, and the Neo-avant-garde provides the first in-depth historical analysis of the "New Realism" movement and the critical and theoretical debates it engaged. This text makes available a new corpus of material – the rich historical and theoretical analysis as well as the fascinating photographic documentation of artists and works – from one of the most significant French art movements of the post-World War II period, whose literature has up to now been dominated by the terms of its founder, Pierre Restany.
Source: Ashgate Publishing