Farah Al Qasimi, Lunch, 2018, Courtesy of the artist, The Third Line, Dubai and Helena Anrather Gallery, New York
Amuse-bouche. The Taste of Art
19 February – 26 July 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.
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 lively sequence of unusual pictures carried by his impertinent and absurd spirit. Vacuum cleaner robots move in the air like insects; lights flicker continuously on the screens and sounds are emmited; a theatre without spectators awaits the visitors.
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.
With her works, the Berlin-based multimedia artist Katja Aufleger (born 1983 in Oldenburg) seeks the simultaneity of possibilities to pose existential questions – sculptural and filmic, visual and auditory. The seductive aesthetic of her works surprises with unexpected, dangerous, or profound twists. Such interconnections are created, for example, when Aufleger brings a glass pendulum construction into the exhibition space, which stimulates viewers to contemplate setting it in motion. In addition to the obvious fragility of the glass flasks, the components of nitro-glycerine are also found in the thus literally explosive museum installation. With such ambivalence, the artist exercises institutional critique, questioning power structures and systems. In Aufleger’s world, it is only at second glance that one becomes aware of both the fleetingness of a moment and its complexity.
Jean Tinguely and Claude Lalanne, Impasse Ronsin, approx. 1960, photo: Hansjörg Stoecklin
Impasse Ronsin. Murder, Love, and Art in the Heart of Paris
16 December 2020 – 29 August 2021
More than a hundred years, from around 1864 until 1971 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 220 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.