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Catalogo-Tinguely.Pdf HERMANNGEIGER a cura di Alessandro Schiavetti Col patrocinio di HERMANNGEIGER Catalogo realizzato in occasione della mostra JEAN TINGUELY – I FILOSOFI Dal 27 giugno al 20 settembre 2015 Sala esposizioni, Fondazione Culturale Hermann Geiger Piazza Guerrazzi 32, Cecina (LI) Mostra e catalogo a cura di Alessandro Schiavetti Testi in catalogo di: Federico Gavazzi Andres Pardey Alessandra Scalvini Alessandro Schiavetti Ricerche e documentazione: Giulia Santi Graphic Design e impaginazione: Fabrizio Pezzini Fotografie delle opere in mostra: © SchPhoto Editing testi e traduzioni: Daria Cavallini e David Eickhoff Ufficio Stampa: Spaini & Partners Tutte le opere esposte in mostra e fotografate nel catalogo sono state gentilmente concesse in prestito dal Museum Tinguely di Basilea. Bandecchi & Vivaldi – Editore ISBN: 978-88-8341-611-8 In copertina: Jean Tinguely, Jean-Jacques Rousseau, 1988 In quarta di copertina: Jean Tinguely, Knokke-le-Zoute, 1986. Eric Préau © Eric Préau/Sygma/Corbis Copyright 2015 Fondazione Culturale Hermann Geiger La Fondazione Culturale Hermann Geiger, esperite le pratiche per acquisire rimane a disposizione di quanti avessero comunque a vantare ragioni in proposito. tutti i diritti relativi alla riproduzione del corredo iconografico della presente opera, HERMANNGEIGER Indice 4 Introduzione 1130 I FilosofiFILOSOFI di Jean Tinguely 44 APPENDICE 46 Jean Tinguely ̶ Biografia 5356 NikiTutto de si Saint muove. Phalle L’immobilità ̶ Biografia non esiste 62 Arte e movimento. Le avanguardie, Calder, Munari e Tinguely 6869 BibliografiaRingraziamenti scelta HERMANNGEIGER Introduzione Come ex-artista dilettante si scopre, solo molti anni dopo, che si è già di gran lunga dei professionisti, purtroppo, si ha allora la no- stalgia del dilettantismo: si ha anche questa malattia, per essere se 1 stessi. Ma questa è una bella malattia . Le prime sculture mobili di Jean Tinguely erano attivate non da un motore ma da una manovella che trasmetteva loro il movimento; con queste prime opere l’artista scopriva una fonte inesauribile, il cui scopo divenne l’antiprecisione critica, attraverso una meccanica del caso. Il caso, evento avvenuto nel non-lineare, opera nel disequilibrio, quindi genera il «nuovo», il «nuovo in azione». L’arte, secondo Jean Tinguely, doveva prima o poi staccarsi dalla sua implacabile staticità, cercando di giungere verso una nuova prospettiva di movimento attraverso lo stesso «caso in azione». Lo scopo era realizzare quanto gli altri avevano solamente pensato e mai messo in pratica: la relatività in atto, senza un Negli anni Cinquanta, l’arte in generale è caratterizzata perlopiù da disfattismo e passività, mentre le operevero e diproprio Tinguely inizio, si mettono senza una in fine, luce un (e passatoin movimento) e un futuro, grazie ma alla solo passione realizzando maturata opere dall’artistain eterna mutazione. per l’arte cinetica e tutti i suoi sviluppi, in cui si modellano, con rispettosa centralità e modernità, gioia, dinamica e ironia attraverso un approccio costruttivista. Prende ispirazione da artisti come Vasarely, Soto e da opere d’arte compiute, come quelle di Alexander Calder, che gli spalancano una porta facendogli comprendere le grandiosità e la potenzialità del movimento. Rimane sempre molto vicino al dadaismo. Lui stesso ammette e allora mi sono reso conto di quanto grande fosse il mio interesse per Dada»2. Impiega nelle sue opere materialidi esserne di sempre scarto, meccaniciinfluenzato, e diperché derivazione «i dadaisti industriale mi hanno cercando voluto dibene, mettere si sono sempre interessati in discussione al mio lavoro, il pre- dominio delle macchine sull’uomo, rivoluzionando il sistema e forgiando macchinari senza senso alcuno e - senza funzionalità, ricchi e permeati di humour, goffi e ironici. È uno dei primi artisti in assoluto a pensare daidi non musei. dover Sequenziava «museificare» infatti alcune e sminuzzava sue opere così inserendo, la costante nelle temporale, stesse, sostanze rendendola indefinite minima. come Come fumo, diceva esplo lo stessosioni, odori Tinguely, e luci, l’opera in modo «doveva da far passare,risultare essere la stessa sognata, composizione discussa come ed è tutto, passante, il giorno filante dopo e non non recuperabile restava più niente»3. L’arte di Tinguely si basa sul principio della ruota, il cui movimento rappresenta una ripetizione conti- nuativa mutevole e variabile nel tempo, in costante rinnovamento; attraverso le ruote dentate che girano sconnesse senza regolarità si giunge senza fatica a un disordine meccanico, in un costante moto circolare perfettamente poetico e antisociale che stride sotto le dentellature del meccanismo stesso che, bloccandosi, ricomincia come in un moto perpetuo e cadenzato ad agire, ma in maniera imprevedibile. Le sue sculture si trasformano quindi in un attimo in creature prive di qualsiasi fondamento razionale, in cui la sua meccanica diviene meta-meccanica. Le sue macchine sono anti-macchine; non rappresentano un bel- lo estetico né si ispirano a canoni di leggiadria. Sono congegni allegri, spiritosi e perfettamente inutili, perché volutamente si contrappongono alle macchine funzionanti. Libere e prive di ogni regola determinata, le opere di Tinguely si ispirano a liberi pensieri rivoluzionari, elaborati da uomini che lo stesso artista ha stimato e le cui teorie mettevano al centro gli esseri umani e il loro benessere attraverso un equilibrio all’interno della società. 1 Intervista di Daniel Spoerri a Jean Tinguely, in «Lotta Poetica», n. 1, terza serie, gennaio 1987, p. 3. 2 Tinguely parla di Tinguely, in (a cura di), Una magia più forte della morte: Jean Tinguely (catalogo della mostra a Palazzo Grassi, Venezia), Bompiani, Milano 1987, p. 350 (estratto della registrazione «Notre Monde», tavola rotonda organizzata da Jean-Pierre Van Tieghem, Radio Télévision Belge de la Communauté française, Bruxelles, 13 dicembre 1982).p. hultén 3 Ibid. 4 HERMANNGEIGER Nel 1988 Tinguely realizza il gruppo dei Filosofi, in concomitanza con la terza tappa della mostra itine- rante retrospettiva allestita dal dicembre 1988 al marzo 1989 al Musée National d’Art Moderne del Centre Georges Pompidou di Parigi. Queste 29 sculture meccaniche rappresentavano i pensatori che lo avevano in- Ogni Filosofo ritraeva l’uomo convinto delle sue idee, con semplicità e irriverenza costruttiva; un assem- blaggiofluenzato antiautoritario durante la sua da giovinezza. contrapporre al modo tradizionale di intendere l’architettura delle macchine. Fra - traverso catene da sciacquone sospese, come marionette non libere e «incatenate», obbligate tutte a piegar- questi, ad esempio, Engels, padre fondatore insieme a Marx del socialismo scientifico, è rappresentato at all’uomosi al ritmo corrotto scandito dalla dall’economia. quotidianità Rousseau, della società invece, vivente. si identifica Tutta una con serie il copricapo di pensatori di piumei quali portano,indiano posto negli ingranaggisull’opera, che movimentanospicca e si staglia rottami come di «buon ogni genere selvaggio», con suoni individuo-identità macabri e metallici, che lo le stesso loro idee filosofo rivoluzionarie opponeva La Fondazione Hermann Geiger presenta parte di questa collezione attraverso un percorso composto dae filosofiche. nove Filosofi da cinque creazioni di Niki de Saint Phalle, seconda moglie di Tinguely, compagna d’arte e musa ispiratrice dello scultore svizzero. appartenenti Attraverso alla collezione questa esposizione del Museum viene Tinguely messa di in Basilea, mostra sculturel’idea temporale affiancate di in Tinguely mostra e della compagna, cioè quella di cercare di ispirare il presente attraverso un impegno social-rivoluzionario, attraverso l’amore e attraverso la follia, ma soprattutto attraverso i rottami, mezzi di comunicazione intesi come fondamentali nonostante il loro inutilizzo. I rottami vengono visti infatti da Tinguely come un surplus scultore, mezzi necessari per assemblare le «méta», ovvero l’idea dello scherzo e dell’inesattezza, della non-produttività.prodotto in quantità eccessiva dalla società, residui che divengono efficaci in quanto semplici, anima dello Alessandro Schiavetti Direttore Artistico Fondazione Culturale Hermann Geiger 5 HERMANNGEIGER Einleitung Als ehemaliger Amateurkünstler entdeckt man erst viele Jahre später, dass man leider schon längst ein Profi ist. Dann bekommt man Sehnsucht nach den Tagen des Dilettantentums. Man hat die- se Krankheit, und es geht darum, zu versuchen, man selbst zu sein. 1 Doch ist dies eine gute Krankheit . Kein Motor, sondern eine Kurbel, übertrug die Bewegung auf die ersten beweglichen Skulpturen Jean Antipräzision vermittels eines Zufallsmechanismus werden sollte. Tinguelys.Der Zufall, Mit dieses ihnen entdeckteGeschehnis, der das Künstler sich im einen Nicht-Linearen unerschöpflichen ereignet, Quell, wirkt dessen im Ungleichgewicht, Bestimmung die bringt kritische da- rum das „Neue“ hervor, das „Neue in Aktion“. Die Kunst, so dachte Jean Tinguely, musste sich früher oder später von ihrem unversöhnlichen statischen Charakter lösen und versuchen, über den „Zufall in Aktion“ eine neue Sichtweise auf die Bewegung zu gewinnen. Ziel war es, das wahrzumachen, was die anderen nur gedacht, aber nie in die Praxis umgesetzt hatten: die vollzogene Relativität – ohne wahren Anfang, ohne Ende, ohne Vergangenheit und ohne Zukunft, allein durch das Schaffen von Werken in ewigem Wandel. Die Kunst im Allgemeinen ist in den Fünfzigerjahren zum größten Teil von Defaitismus und Passivität geprägt. Tinguely, hingegen, rückt
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