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19 September 2008 – 1 February 2009
This autumn, the Museum Tinguely presents the largest donation ever made to the museum since its inauguration 12 years ago: the donation by Christoph Aeppli comprises all 43 bronze heads by Eva Aeppli, as well as works by Niki de Saint Phalle and an important early relief by Jean Tinguely.
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22 October 2008 – 18 January 2009
Jürg Hassler constructs chessboards and chessmen; he thereby reinvents the old game of chess and gives it back the ludic component that he finds missing in today’s chess game. The basic interest of the game lies in “having no obligation to prove anything to anyone, giving free rein to the pleasure of the game, not in order to win but in order to reinvent ever renewed forms of dialectic contrasts, giving priority to form over colour.”
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28 May – 14 September 2008
At once painter, draughtsman and an installation artist, Pavel Schmidt documents in this exhibition his interest in the manner in which our society appropriates for itself masterpieces of western art in order to transform them into misleading copies and objects of consumption. The exhibition presents the artist’s sculptures, paintings, drawings and installation. Some of his monumental works refer directly to the architecture of and to the art within the Museum Tinguely – Niki de Saint Phalle in- as well as outdoors.
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24 May – 10 August 2008
The exhibition is being prolonged by one week, until Sunday, August 17, 2008.
Josef/Sepp/Sep(p)i Imhof was for many years Jean Tinguely’s assistant and since the inauguration of the Museum Tinguely, in charge, as Chief Conservator, of the upkeep as well as installation and de-installation of the Swiss artist’s machine-sculptures, as well as numerous other duties. In May, Sepp is leaving to enjoy his well-earned retirement.
As a parting present he has “carte blanche” to have a showing of his choice in the Museum.
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5 March – 29 June 2008
In general, we assume that artists make art – but what happens, if machines produce art? Do artists then become engineers? What is the meaning of the apparent withdrawal of artists from the creative act and what consequences does this have for the artwork’s originality and uniqueness? And what is an artwork in the first place: the machine, the product, or the act of its production? What role is granted the viewer in the course of production: interaction or exclusion? Starting with Jean Tinguely’s drawing machines from the 1950s, the exhibition jointly organized by the Schirn Kunsthalle Frankfurt and the Museum Tinguely will present art machines from different ages and contexts through to the present day.
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16 January – 4 May 2008
The exhibition on Hannah Höch (1889–1978), developed in cooperation with the Berlinische Galerie, residence of the Hannah Höch-Archives, and for the venue at Basel enriched by important loans from German and Swiss collections, is the first comprehensive showing in Switzerland of the work of the sole female member of the Berlin Dada group: It assembles the early collages and paintings of her Dada-period right after the First World War, the works of the 1930s and 40s, long kept secret because of their encoded criticism of the Nazi dictatorship, and the less known, late works that manifestly anticipated Pop Art by their motifs and bright colours, and were Höch’s reaction to scientific discoveries of the day.
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