by Dieter Roth/Björn Roth/Oddur Roth/Einar Roth/Bjarni Grimsson
Until September 2020, the Museum Tinguely presents the extraordinary Roth Bar.
First conceived by Dieter Roth together with his son Björn in the early 1980s, the Bars are dynamic, ever-changing installations that also represent a constant within the Roths’ cross-generational practice. The bar, comprised of scavenged materials, is a central motif in Dieter Roth’s oeuvre. The Roth Bar has been shown and operated in various exhibitions since 2005, most recently in Zurich in 2015 and subsequently at Hotel Les Trois Rois (Basel).
Courtesy Dieter Roth Estate and Hauser & Wirth.
The sense of taste is traditionally said to be triggered by direct physical contact and sensory stimulation. Experienced directly with mouth and tongue, it literally gives us a ‘taste’ of the sensuousness of the world we inhabit. Many questions relating to the anatomy of taste and how it actually works remain unanswered even today. The truth is we know very little about the specific properties of the various chemical substances that function as codes for different gustatory sensations. What is not in doubt is that our sense
of taste is a highly developed sensory channel. Scientists in recent years have been able to prove that in addition to the five basic tastes – sweet, salty, sour, bitter and savory (umami) – we also possess receptors that react to fat and water.
As vast as the range of flavours that we can differentiate is, our ability to describe them and to put them into words is very limited.
The emotions, memories and associations evoked by taste are both subjective and culturally determined and hence liable to change over time. While one particular taste might delight us, another might equally well disgust us, even conjuring up images of putrefaction. There is far more to taste than culinary experience alone.
Our exhibition Amuse-bouche. The Taste of Art to be shown from 19 February to 17 May 2020, will explore our sense of taste both as a fascinating aspect of our multisensory experience of the world and as scope for aesthetic perception. It will also break with standard museum practice by stimulating more than just the visitor’s sense of sight.
13 June - 17 September 2017
Three-channel HD video installation, color, sound, 6’03’’
Traces, Nevin Aladağ’s video installation of 2015, was created in Stuttgart, the city in which she grew up. It makes use of musical instruments such as those also used by local musicians and buskers to fill the city – its playgrounds, popular sights, and all those central locations where people meet and do business – with music. The orchestra in this piece, however, consists not of human players, but of movables and of the texture and structure of the city, whose movement and interaction, steered in part by chance, generate music and sound. The absent, yet somehow present body conveys not only the solidity of the city’s architecture, but also the ephemerality and the fluidity, as well as the connectedness of sound and music, making for a carefully choreographed, visual and musical composition.
Aladağ (b. 1972) spent her childhood and youth in Stuttgart. She completed her study of sculpture at the Munich Academy of Fine Arts in 2000 and now lives and works in Berlin. She combines her exploration of cultural identities and forms of expression and of the public space as a social and political domain with a special interest in dance and music in order to produce multi-layered works in a wide range of media.