Tadeusz Kantor (left), performance of «Où sont les neiges d'antan» in Paris, 1982, photo: Jacquie Bablet

Tadeusz Kantor (left), performance of «Où sont les neiges d'antan» in Paris, 1982 © Maria Kantor & Dorota Krakowska / Tadeusz Kantor Foundation, photo: Jacquie Bablet

Tadeusz Kantor: Où sont les neiges d’antan

9 October 2019 – 5 January 2020

With the exhibition, «Tadeusz Kantor : Où sont les neiges d'antan», Museum Tinguely presents one of Poland’s most important theatre and visual artists of the 20th century with one of his expansive works for the stage. Tadeusz Kantor’s (1915-1990) independent underground theatre, devoted to the reality of everyday life and often critically concerned with Poland's suppressed history, is still influential for a young generation of theatre artists today. At Museum Tinguely, from 9. to 20. October, the exhibition Kantor’s show of objects, drawings, film- and photo documentation is accompanied by the Virtual Reality-simulation Cricoterie (2019), by Auriea Harvey & Michaël Samyn. Visitors are invited to be the hands directing a virtual stage filled with a cast of uncanny characters and props, inspired by Kantor’s Theatre of Death and simultaneously, the audience watches as things get out of hand.


#tadeuszkantor #wearetaleoftales #cricoterie #cricoteka #culturescapes

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Len Lye, Rainbow Dance, 1936, 5’, 35mm, Filmstill © Courtesy of the Len Lye Foundation and the British Postal Museum and Archive

Len Lye, Rainbow Dance, 1936, 5’, 35mm, Filmstill © Courtesy of the Len Lye Foundation and the British Postal Museum and Archive

 

Len Lye – motion composer

23 October 2019 – 26 January 2020

 

Len Lye (1901–1980), a native of Christchurch, New Zealand, was one of the most important experimental filmmakers of the 1930s to 1950s. At the same time, living initially in New Zealand and Australia, from 1926 in London and from 1944 in New York City, he created a fascinating body of work embracing all artistic disciplines large parts of which – including his kinetic sculptures – have yet to be discovered. The exhibition will showcase the work of Len Lye in all its variety and breadth, paying special attention to the relationships between the different media that he set in motion.

#lenlye #motioncomposer

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Janine Antoni, Mortar and Pestle, 1999 C-print, 121,9 x 121,9 cm © Janine Antoni; Courtesy of the artist and Luhring Augustine, New York

Janine Antoni, Mortar and Pestle, 1999
C-print, 121,9 x 121,9 cm © Janine Antoni; Courtesy of the artist and Luhring Augustine, New York

Amuse-bouche. The Taste of Art

19 February – 17 May 2020

Is the taste of art sweet, sour, bitter, salty or even umami? What role does our sense of taste play in social interactions and as an artistic material? Museum Tinguely continues its series on the senses in the arts with a group show bringing together work by international artists who address our sense of taste as a possibility for aesthetic perception. Featuring works by, among others, Janine Antoni, Marisa Benjamim, Otobong Nkanga, Emeka Ogboh, Shimabuku, Andy Warhol, Tom Wesselmann and Elizabeth Willing.

#amusebouche #geschmackderkunst #legoutdelart #thetasteofart

Pedro Reyes, Disarm (Xylophone), 2016 (detail) © Pedro Reyes

Pedro Reyes, Disarm (Xylophone), 2016 (detail)
© Pedro Reyes

Danse Macabre IV:
Pedro Reyes. Return to Sender

15 April – 25 October 2020

Pedro Reyes (*1972, Mexico City) uses sculpture in projects that often expand into the social, incorporating processes of participation and elements that lead to collective and individual agency. Having worked with weapons in the past, he is interested in addressing the systemic problems of the arms industry within a pacifist framework. In the new production to be presented at Museum Tinguely alongside Disarm (2012 – present), he has repurposed gun parts to make music boxes that perform fragments of tunes from the countries where the guns were produced. Both establish a conversation with Jean Tinguely’s Mengele-Dance of Death from 1986.

#totentanz #pedroreyes #dansemacabre #musikmaschine #tinguely #danseofdeath #disarm

 

Taro Izumi, Great Nostril, 2017, Two-canal video installation © Taro Izumi, courtesy of Take Ninagawa, Tokyo

Taro Izumi, Great Nostril, 2017, Two-canal video installation © Taro Izumi, courtesy of Take Ninagawa, Tokyo

Taro Izumi. ex

10 June – 27 September 2020

The Japanese artist Taro Izumi (born 1976 in Nara) has a mischievous take on the world. He develops unclassifiable multimedia works that take the viewer on a journey to the limits of reality. For his first major solo show in Switzerland, Izumi has created a sequence of unusual pictures carried by his impertinent and absurd spirit. We encounter a giant cat, a washing machine on a pyramid, dirty robot vacuum cleaners, and people licking the floor.

#taroizumi

Jean Tinguely and Claude Lalanne, Impasse Ronsin, approx. 1960, photo: Hansjörg Stoecklin

Jean Tinguely and Claude Lalanne, Impasse Ronsin, approx. 1960, photo: Hansjörg Stoecklin

 

Impasse Ronsin. Murder, Love and Art in the Heart of Paris

21 October 2020 – 24 January 2021

For almost a hundred years, from around 1874 until 1970 the Impasse Ronsin in Paris was home to a warren of studios used by wide variety of artists with very different backgrounds and approaches. This curious cul-de-sac hidden away in Montparnasse served as home and atelier to some 250 artists, from academic sculptor Alfred Boucher to Argentine performance artist Marta Minujín. Amongst the best known were; Eva Aeppli, William Copley, André Del Debbio, Max Ernst, Jasper Johns, Claude and François-Xavier Lalanne, James Metcalf, Isamu Noguchi, Larry Rivers, Niki de Saint-Phalle and Jean Tinguely. If Constantin Brâncuși was its most famous resident – based there from 1916 until his death – it’s most infamous was Madame Steinheil, mistress and maybe murderer of the French President whose artist-husband also met a brutal end, turning the Impasse Ronsin into one of the most notorious crime scenes of the early 20th century.

#impasseronsin #montparnasse #tinguely #paris

Katja Aufleger, LOVE AFFAIR, 2017, (Filmstill), video, color, sound, 22 min. © Courtesy of the artist, STAMPA Galerie, Basel; Galerie Conradi, Hamburg

Katja Aufleger, LOVE AFFAIR, 2017, (Filmstill), video, color, sound, 22 min. © Courtesy of the artist, STAMPA Galerie, Basel; Galerie Conradi, Hamburg

 

Katja Aufleger. GONE

2 December 2020 – 21 February 2021

#katjaaufleger #followher #bang!