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.