Music Machines / Machine Music

19 October 2016 – 22 January 2017

 

Tinguely’s sculptures always have an acoustic dimension, which was consciously composed and balanced by the artist as part of the works. They generate noises, sounds, and apparently random music. This musical side reached a climax with the four Méta-Harmonie music machines between 1978 and 1985. The exhibition will provide the unique opportunity to experience these large-scale and versatile sound boxes, which are at home in Karuizawa (Japan), Vienna, and Basel, in dialog with one another. They will form the stage for a broadly defined program of events and concerts devoted to the theme of mechanical music.

>> Further reading


Music Machines / Machine Music

19 October 2016 – 22 January 2017

 

Tinguely’s sculptures always have an acoustic dimension, which was consciously composed and balanced by the artist as part of the works. They generate noises, sounds, and apparently random music. This musical side reached a climax with the four Méta-Harmonie music machines between 1978 and 1985. The exhibition will provide the unique opportunity to experience these large-scale and versatile sound boxes, which are at home in Karuizawa (Japan), Vienna, and Basel, in dialog with one another. They will form the stage for a broadly defined program of events and concerts devoted to the theme of mechanical music.

>> Further reading

Stephen Cripps. Performing Machines

27 January – 1 May 2017

 

The oeuvre of British artist Stephen Cripps (1952-1982) was highly innovative and experimental. His works developed out of an interest for kinetic sculpture and machines as well as from a fascination for the poetic potential of explosion and destruction. Until his early death Cripps built machines and interactive installations and realised pyrotechnic performances. With his performative and multisensorial artistic practices he focussed primarily on experiments with sound. He pushed the boundaries with his radical performances, many of which even now would be unthinkable due to their potential danger to the audience and their immediate surrounds. Cripps developed many of his projects in the medium of drawing and collage, which provide an insight into his rich and unconventional mindset. This exhibition provides an opportunity for a rediscovery of Cripps’ work which is presented on a large scale for the first time at Museum Tinguely. The exhibition is a co-operation with the Henry Moore Institute, Leeds.

>> Further reading


Stephen Cripps. Performing Machines

27 January – 1 May 2017

 

The oeuvre of British artist Stephen Cripps (1952-1982) was highly innovative and experimental. His works developed out of an interest for kinetic sculpture and machines as well as from a fascination for the poetic potential of explosion and destruction. Until his early death Cripps built machines and interactive installations and realised pyrotechnic performances. With his performative and multisensorial artistic practices he focussed primarily on experiments with sound. He pushed the boundaries with his radical performances, many of which even now would be unthinkable due to their potential danger to the audience and their immediate surrounds. Cripps developed many of his projects in the medium of drawing and collage, which provide an insight into his rich and unconventional mindset. This exhibition provides an opportunity for a rediscovery of Cripps’ work which is presented on a large scale for the first time at Museum Tinguely. The exhibition is a co-operation with the Henry Moore Institute, Leeds.

>> Further reading

Jérôme Zonder. The Dancing Room

7 June – 1 November 2017

 

To mark the opening of Tinguely’s Mengele-Totentanz (Mengele Dance of Death) in the Museum Tinguely’s new exhibition space, the young French artist Jérome Zonder will rouse the undead with a series of mischievous images snatched from real life. His installation of drawings assembles interpretations of Paul McCarthy’s The Walking Dead – with scenes of violence or the aftermath of accidents and disasters masquerading as innocuous children’s games. It is the first in a series of replicas adding further chapters to Basel’s Dance of Death.


Jérôme Zonder. The Dancing Room

7 June – 1 November 2017

 

To mark the opening of Tinguely’s Mengele-Totentanz (Mengele Dance of Death) in the Museum Tinguely’s new exhibition space, the young French artist Jérome Zonder will rouse the undead with a series of mischievous images snatched from real life. His installation of drawings assembles interpretations of Paul McCarthy’s The Walking Dead – with scenes of violence or the aftermath of accidents and disasters masquerading as innocuous children’s games. It is the first in a series of replicas adding further chapters to Basel’s Dance of Death.

Wim Delvoye

14 June 2017 – 1 January 2018

 

The Museum Tinguely is to dedicate a major solo exhibition to the Belgian artist Wim Delvoye in the summer of 2017. In addition to his best known works, the Cloaca, which are machines that simulate human digestion and produce excrement that is visually indistinguishable from human excrement, the show will also feature pieces such as Chantier (1992), a construction site carved entirely out of wood and the huge Cement Truck (2016) in its original size. With a hefty shot of irony, wit and humour, this conceptualist provocateur often combines the decorative with the quotidian and by doing so casts doubt on consumer society’s conventional value systems.

In collaboration with MUDAM, Luxembourg.


Wim Delvoye

14 June 2017 – 1 January 2018

 

The Museum Tinguely is to dedicate a major solo exhibition to the Belgian artist Wim Delvoye in the summer of 2017. In addition to his best known works, the Cloaca, which are machines that simulate human digestion and produce excrement that is visually indistinguishable from human excrement, the show will also feature pieces such as Chantier (1992), a construction site carved entirely out of wood and the huge Cement Truck (2016) in its original size. With a hefty shot of irony, wit and humour, this conceptualist provocateur often combines the decorative with the quotidian and by doing so casts doubt on consumer society’s conventional value systems.

In collaboration with MUDAM, Luxembourg.