Maria Netter. Art critic and photographer

28 October 2015 – 7 February 2016

 

Museum Tinguely is showing a documentary presentation featuring approximately 100 extraordinary and hitherto largely unpublished reproductions of black-and-white photographs by the journalist and art critic Maria Netter (1917–1982), who resided and passed away in Basel. Maria Netter, who came from a Jewish family, left Berlin in 1936 in order to study in Basel. Following studies in Art History, she went on to become one of the most influential and courageous critics of the contemporary art scene in the German-speaking region. Self-taught photographer Maria Netter was rarely seen without her Leica M3 compact camera, which was introduced on the market in the early 1950s and which allowed her to take snapshots without a flash. Her artistic forays gave rise, among others, to photos of artists, gallery owners, collectors, museum curators and exhibiting institutions, but also of many friends. In multiple cases she used her own photographs to illustrate her texts.

>> Further reading


Maria Netter. Art critic and photographer

28 October 2015 – 7 February 2016

 

Museum Tinguely is showing a documentary presentation featuring approximately 100 extraordinary and hitherto largely unpublished reproductions of black-and-white photographs by the journalist and art critic Maria Netter (1917–1982), who resided and passed away in Basel. Maria Netter, who came from a Jewish family, left Berlin in 1936 in order to study in Basel. Following studies in Art History, she went on to become one of the most influential and courageous critics of the contemporary art scene in the German-speaking region. Self-taught photographer Maria Netter was rarely seen without her Leica M3 compact camera, which was introduced on the market in the early 1950s and which allowed her to take snapshots without a flash. Her artistic forays gave rise, among others, to photos of artists, gallery owners, collectors, museum curators and exhibiting institutions, but also of many friends. In multiple cases she used her own photographs to illustrate her texts.

>> Further reading

Marcel Duchamp, Prière de toucher. Vorderseite des Einbandes der nummerierten Edition des Ausstellungskataloges zu «Le Surréalisme en 1947», 1947  Sammlung Hummel, Wien © Succession Marcel Duchamp / 2016, ProLitteris, Zürich; Foto: Galerie Hummel, Wien

PRIÈRE DE TOUCHER – The Touch of Art

12 February – 16 May 2016

 

Can art be experienced by touch? What role has the tactile dimension in our experience of art? Museum Tinguely continues its series on the role of the human senses in the arts with a group exhibition presenting works focusing on the many facets of our haptic perception. The varied trail, encompassing many centuries, invites visitors to partake in direct tactile experiences and requires our ability of ‘embodiment’. Baroque allegories, the avant-garde with Marcel Duchamp, body-related art forms of the 1960s and 1970s (among others, Valie Export, Bruce Nauman), and contemporary positions (among others, Pipilotti Rist, Pedro Reyes, Ana Mendieta) form focuses of the exhibition.

>> Further reading


Marcel Duchamp, Prière de toucher. Vorderseite des Einbandes der nummerierten Edition des Ausstellungskataloges zu «Le Surréalisme en 1947», 1947  Sammlung Hummel, Wien © Succession Marcel Duchamp / 2016, ProLitteris, Zürich; Foto: Galerie Hummel, Wien

PRIÈRE DE TOUCHER – The Touch of Art

12 February – 16 May 2016

 

Can art be experienced by touch? What role has the tactile dimension in our experience of art? Museum Tinguely continues its series on the role of the human senses in the arts with a group exhibition presenting works focusing on the many facets of our haptic perception. The varied trail, encompassing many centuries, invites visitors to partake in direct tactile experiences and requires our ability of ‘embodiment’. Baroque allegories, the avant-garde with Marcel Duchamp, body-related art forms of the 1960s and 1970s (among others, Valie Export, Bruce Nauman), and contemporary positions (among others, Pipilotti Rist, Pedro Reyes, Ana Mendieta) form focuses of the exhibition.

>> Further reading

Michael Landy. Out of Order

8 June – 25 September 2016

 

Michael Landy (*1963) is one of the “ Young British Artists“ who made sensation from 1988 on. He appeared with installations in which fiction and real life conjoined in a troubling liaison. He became known to a wider public in 2001 with Break Down: In a shop in London, he drew up an inventory of all objects that belonged to him at that point in time, in order then to destroy them during a regulated process. Landy deals intensively with the function of art and artworks in society. Museum Tinguely is showing this artist’s first retrospective outside of the UK.

Photo: © Michael Landy

Photo: © Michael Landy

Michael Landy. Out of Order

8 June – 25 September 2016

 

Michael Landy (*1963) is one of the “ Young British Artists“ who made sensation from 1988 on. He appeared with installations in which fiction and real life conjoined in a troubling liaison. He became known to a wider public in 2001 with Break Down: In a shop in London, he drew up an inventory of all objects that belonged to him at that point in time, in order then to destroy them during a regulated process. Landy deals intensively with the function of art and artworks in society. Museum Tinguely is showing this artist’s first retrospective outside of the UK.

Jean Tinguely, Pandämonium, Méta-Harmonie III, 1984, 420 x 1100 x 350 cm © 2016 ProLitteris Zurich; Photo: Sezon Museum of Modern Art, Karuizawa, Japan

Music machines / Machine music

19 October 2016 – 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.


Jean Tinguely, Pandämonium, Méta-Harmonie III, 1984, 420 x 1100 x 350 cm © 2016 ProLitteris Zurich; Photo: Sezon Museum of Modern Art, Karuizawa, Japan

Music machines / Machine music

19 October 2016 – 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.