尚·丁格利全部影视作品
首发于 qinglite.cn，统计截止日：2024-11-20
 铃木（广岛） | 963年2月，尚·丁格利抵达东京，准备在米纳米画廊举办一场展览。按照他的习惯，这位艺术家使用他在日本发现的材料，在日本现场执行他的雕塑作品，尤其是为了展览。因此，他使用的部分涉及东道国。廷格利在东京的垃圾场里搜寻他能用在雕塑上的作品，然后把它们放在画廊里。他热情地给他的朋友庞图斯·胡尔滕写信说：“伊特·德伊克巴纳斯（J'ai fait des ikebanas stabilis_s）”。他称他的新雕塑为“木浆”、“晶晶”、“本田”和“铃木”。在“巴鲁巴”和前几年的其他野生雕塑之后，这些机器以更平静、更温和的节奏移动。然而，一次强有力的、猛烈的喷发似乎随时都有可能发生。在将他所感受到的日本影响转化为他在东京创作的作品时，他隐约地表现出他作为“同性恋者”的角色，在不同文化之间玩耍和调停，并借助机器和技术将它们联系起来。东京车展出版了一份目录，其中附有一张唱片集，专辑中有一首由日本前卫音乐家Toshi Ichiayanagi创作的“刺耳的声音”。 |
| 第1号倒三角形 | - |
| 盘旋 (运动) | - |
| 莫茨2号 | - |
| 无线电雕塑 | Sound takes on a whole new dimension in Tinguely’s radio sculptures. It is no longer merely the motor or machine making noise; nor do the sounds come from the machine-driven striking of pots or drums. These are fully new, always up-to-the-minute original sounds produced by the radio. The world of communication and rapid news underpins the declamatory sculptures with their loudspeaker faces. Daily life is brought into the realm of art, not as a depiction, but rather dismembered into sentence or music fragments. |
| 巴鲁巴人 | In his “Balubas”, executed from autumn 1961 to spring 1963, Tinguely lets a vast abundance of the detritus of civilisation and consumer rubbish perform a wild and provocative dance. Alongside pieces of iron and wire, there are plastic fragments, brightly coloured feathers, rubber bands, furs, toys - banal everyday objects that Tinguely puts together into fragile assemblages. The juxtaposition of numerous individual pieces that were never meant to go together generates a bizarre and irritating effect.Starting in October 1960, Jean Tinguely lived with artist Niki de Saint Phalle in his studio on Impasse Ronsin. Inspired by her work, he integrated coloured feathers into the “Balubas” that give them an exuberant, high-spirited air. The improvisational look of the structure of iron wire, which is twisted together in only a few places and is hastily taped in others, gives the impression of a rapid and intuitive work process. Some “Balubas” possess a fragile equilibrium and look as though Tinguely had quickly sketched them in space. |
| 拉卡斯夫人的鞋子 | In “Le Soulier de Madame Lacasse“ Tinguely plays pranks with the machine and its mechanics, showing traits not normally connected with them: random and absurd activities. Moreover, he juxtaposes here utterly disparate objects in new relationships and reanimates them by means of violent movements, making them seem alien to the viewer but at the same time drawing his attention to these normally unremarkable things.Instead of a pedestal, a rusty iron table serves as base. Atop it the artist sets an elaborate construction made of wheels, V-belts and axes, which, driven by an electric motor, moves parts of a motorcycle yawing and clamouring up and down. Tinguely’s “Soulier de Madame Lacasse“ is an anti-machine that wastes its energy on an optical and acoustic spectacle instead of putting it into productive work.When the motor is switched on, a worn-out shoe that once belonged to Madame Lacasse, the wife of a Belgian artist who, like Tinguely, had his studio in the Impasse Ronsin in Paris, is catapulted through the air accompanied by the deafening noise of the machine. On another long iron wire flaps an ultramarine cardboard panel from Tinguely’s artist friend Yves Klein, who wanted to revolutionise the world with the deep blue colour he had developed. |
| 向纽约致敬 | Swiss artist Jean Tinguely was best known for his 1960 performance piece entitled Homage to New York. This work involved the self-destruction of a huge sculpture in front of an audience at the Museum of Modern Art in New York. In collaboration with other artists/engineers, among them Billy Klüver and Robert Rauschenberg, he produced a self-destroying mechanism that performed for 27 minutes during a public performance for invited guests. In the end, the public browsed the remnants of the machine for souvenirs to take home. The work only partially auto-destructed before the fire department stepped in and put a stop to it all much to the dismay of the crowd.Pieces of the work were kept as mementos, however the majority of it was thrown away.This hommage to the energy of a city that keeps rebuilding itself time after time is a wonderful example of the different and sometimes conflicting conceptions of artists and engineers on how machines should work–and as such an early collaborative effort that foreshadowed the events staged by E.A.T.—as well as a document on the 60s with the rise of happening and performance. |
| 参与-自动机器6号 | - |
| 元机械 | - |
| 喧嚣 | - |
| 无线电15号 | - |
| 穷人的芭蕾 | In March 1961, the important travelling exhibition “Bewogen Beweging” opened in Amsterdam, giving the public its first comprehensive overview of kinetic art from the Futurists to Alexander Calder. Among the 72 artists, Jean Tinguely was represented with no less than 28 works. For the show’s second venue, the Moderna Museet in Stockholm, Tinguely built two new machine sculptures. One of these is “Miramar”, which the artist later renamed “Ballet des pauvres” (Ballet of the Poor) due to the reactions of museumgoers.Pathetic-looking, ragged, defective and discarded objects from our everyday lives hang on wires and rubber bands from the ceiling, immobile. Underneath them is a nightgown, a prosthetic leg sporting a red stocking, a pot without a bottom, a shabby fox fur and a silver-coloured serving tray. All of these cast-offs are affixed via a suspended ceiling to camshafts and nine lever arms connected to a motor that is switched on by a timer. Suddenly and without warning, this sad array of consumer refuse bursts into explosive and spastic motion before the eyes of the non-suspecting observer, shaking and gyrating chaotically. The individual shapes and materials are dissolved in the high-speed whirl to form an indefinable whole. Accompanying the spectacle is a loud clattering generated by the collisions of the metal objects.Tinguely deliberately deployed the feeling of uncertainty provoked in the viewer and the surprise effect as artistic means of expression. More than hardly any other work of that era, “Ballet des pauvres“ attests to the continual expansion of Jean Tinguely’s artistic vocabulary at the beginning of the 1960s. The movements and materials with which he works become increasingly expressive, wilder and more chaotic, departing significantly from the mainly geometric and constructive reliefs he executed in the 1950s. Tinguely would continue to pursue the idea of unbridled, “free-flowing“ machine sculptures in 1961 with his “Balubas”. |
| 桑塔纳 | - |
| 螯虾 | - |
| 冻结箱 | In contrast with many other works by Jean Tinguely, we have little information on “Frigo Duchamp”, knowing only that the refrigerator was a gift to him from Marcel Duchamp. The work was executed between autumn 1960 and September 1962, when it was on view in the New York gallery of Sidney Janis. According to the artist, the piece was thereafter stored for twenty years in a friend’s garden, where it presumably remained nearly unchanged over the years. |
| 惊人的机器 - 元-康定斯基 一号 | - |
| 凸起的蓝色-黑色-白色自动机器 | - |
| 从鸡蛋中凸起的牛角2号 | - |
| 参与-自动机器14号 | The portable and hand-driven “Méta-Matic No. 14” emphasises the happening aspect even more dramatically than the other drawing machines. Here it becomes particularly obvious that it is the moment of drawing, the interaction between art viewer (art user) and machine sculpture that actually constitutes the artwork, and that the drawing produced in the process is more like a document of a lived interaction than an artwork in its own right. |
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