Declarations of love, angry letters, erotic messages, journal-like notes or utopian stories: these texts by Art Brut creators were written behind closed doors, in silence and in secret. Composed in painstaking calligraphy or hastily scribbled, sometimes embroidered, carved into stone, or supplemented with images, they bear witness to an astonishing wealth of ideas. This exhibition, shown here for the first time, presents works by 13 artists whose visual impact is enhanced by their playful approach to grammar and spelling. Word and image are bound together. The works presented come from more than ten museums and private collections in several countries.
Et tout ceci est vrai, potocollage by Jean Tinguely, postcard 1956
Repro-photography: Hans Hammarskiöld
Et tout ceci est vrai! In Tinguely’s footsteps between Paris, Amsterdam, and Basel
20 October 2021 – 23 January 2022
«Everything is in motion. Nothing ever stands still.» Thus begins Jean Tinguely’s manifesto Für Statik of 1959. As part of its festivities to mark «25 Years of Moving Art» Museum Tinguely is showing an exhibition true to the same motto. The venue is a converted barge, scheduled to weigh anchor in the summer of 2021. Once back in Basel, the show will be open to the public from 20 October at the museum. The exhibition refers to the barge’s various ports of call, which were chosen for their relevance to Tinguely the artist, traveller, networker and friend.
The Cost of Life A perspective on health by Paddy Hartley
13 October 2021 – 23 January 2022
The notion of the ‹cost of life› is strongly related to that of risk, a central theme in medicine and research. Both concepts play key roles in the work of Paddy Hartley. His artistic comment on medical developments explores their (sometimes contradictory) consequences for humanity. This exhibition commissioned by Roche to mark its 125th anniversary takes place in cooperation with Museum Tinguely and the Pharmacy Museum of Basel University.
Bruce Conner (1933–2008) is as legendary for his critical attitude to the art world as he is for his role as the father of the video clip. His work in many media is political and subversive, with an immediate sensuality that goes straight under the skin. The exhibition centres on his film works, including CROSSROADS (1976) that assembles footage of the first U.S. underwater atomic bomb tests at Bikini Atoll in 1946 into a 36-minute study on the horror and sublimity of this apocalyptic event.
The Leu family is well-known among tattoo fans worldwide. In the late 1960s and 1970s, Felix and Loretta Leu used their tattooing skills to fund extensive travels with their four children Ama, Aia, Filip and Ajja. These years on the road were nourished by artistic curiosity, forming the basis for a distinct family cosmos. Featuring works by all members of the family, the exhibition offers a picture of this special universe.
Birthday Party – 25th anniversary of Museum Tinguely
25 – 26 September 2021
The weekend of 25–26 September 2021 will mark the culmination of our silver jubilee activities. Setting the stage for our celebrations will be Solitude Park, the museum itself and the exhibition barge at anchor right next to our institution. Our countless activities, workshops, shows and varied culinary offering will be embedded in a dynamic labyrinth that everyone will be invited to explore. Saturday evening will be devoted to concerts and DJ sets. The programme has been conceived as a kind of ‹Best of› the museum’s many different activities of the past twenty-five years. Be sure to check out our social media channels for the latest updates on our programme.
To mark its 25th anniversary, Museum Tinguely embarks on a major cruise, travelling by river barge from Paris via Antwerp, Maastricht and Amsterdam up the Rhine via Gelsenkirchen and Düsseldorf to Basel. The converted cargo ship MS Evolutie drops anchor in places that played an important role in Jean Tinguely’s artistic career.
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.