Round table talk

Monday, 11 April 2022, 4 pm

Round table talk

Jean-Jacques Lebel |  Party for Öyvind 
Free admission, no booking required, in English


In the context of the two current special exhibitions Party for Öyvind and Jean-Jacques Lebel, Museum Tinguely cordially invites you to a Round table talk:

Udo Breger (author, translator, editor),
Harald Falckenberg (art historian, collector),
Gunnar Lundestam (curator, collector),
Barbro Schultz Lundestam (curator, video historian),
Peter Weibel (artist, curator) and Jean-Jacques Lebel (artist, writer, activist)
talk about Duchamp the anartist, Nietzsche, Tinguely and the Happening L'enterrement de la Chose, Öyvind Fahlström as well as the philosophical connections between the artists, anarchism, political involvement, etc.

Moderated by Andres Pardey
Free admission, no registration, in English

 

 

Programm:

16:00: Round 1: Nothing is true, everything is permitted

Participants:

JJLebel

Udo Breger

Barbro Schultz-Lundestam

Andres Pardey

Topics

Art of the Sixties

Music, literature (William S. Burroughs...)

Development of performance and happenings

The artists - the image of women / cult of Venus - les Avatars

etc

 

ca. 17:00: Preview Lebel, Apéro

 

ca. 18:00: Round 2: Total art is not a dogma but the determination to change life by whatever means we find poetic

Participants:

JJLebel

Peter Weibel

Gunnar Lundestam

Harald Falckenberg

Andres Pardey

Topics

Duchamp, Fahlström, Lebel, connections between artists, Erró...

Political art / anti-colonialism / anti-imperialism

Anti-Procès

Anarchism as a drive

etc


13 April - 18 September 2022

Jean-Jacques Lebel «La Chose» de Tinguely, quelques philosophes et «Les Avatars de Vénus»

Jean-Jacques Lebel, a pioneer of action art, was the author of the first Happening in Europe on 14 July 1960: L’enterrement de la Chose de Tinguely. His passion for Nietzsche and Bakunin – among other philosophers – meets Tinguely‘s passion for Kropotkin and Bergson. With his video installation Les Avatars de Vénus, he addresses the question of the collective memory of archetypes, which overdetermines the history of the arts from one era to the next and from one culture to the next.


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