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 – 9 May 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.
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 and have given form a distinct family cosmos. Featuring works by all members of the family, the exhibition offers a picture of this special universe.
le Définitif – c’est le Provisoire New presentation of Museum Tinguely’s collection
From 10 March 2021 onwards
DIY art, limelight, broken glass – in Jean Tinguely’s multi-facetted oeuvre one encounters everything from machine performances to multisensory spectacles to critiques of consumer culture. Works and documents show his early successes, theatre projects and correspondence. Playfully interactive elements guide the audience through the exhibition, including a presentation of the rarely-shown bottle smasher «Rotozaza No. 2» twice a week. In addition, insights are offered into restauration processes and into the materiality and functioning of the works.
Territories of Waste On the Return of the Repressed
5 June – 5 September 2021
The entire ecosphere – the oceans, the air, our food, the soil, even the Antarctic – contains residues, particles and chemicals derived from our consumer culture. The extraction of raw materials leaves behind destroyed landscapes and toxic spoil. Waste is everywhere. The group show at Museum Tinguely brings together art that deals with this issue, both works by contemporary artists with their global, geopolitical and ecological perspective and works from the second half of the twentieth century that reflect the move towards a throwaway society and environmental destruction that emerged from the 1960s.
Declarations of love, angry letters, erotic messages, journal-like notes or utopian stories: these texts by Art Brut artists 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. The works presented come from more than ten museums and private collections in several countries.