Samuelis Baumgarte Galerie Niki De Saint Phalle Jean Tinguely

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Samuelis Baumgarte Galerie Niki De Saint Phalle Jean Tinguely SAINT PHALLE NIKI DE NIKI DE JEAN SAINT PHALLE TINGUELY TINGUELY JEAN DIE IRONIE DER DINGE DIE IRONIE ODER WELTBILDER WELTBILDER ODER DIE IRONIE DER DINGE SAMUELIS BAUMGARTE GALERIE SAMUELIS BAUMGARTE GALERIE NIKI DE JEAN SAINT PHALLE TINGUELY 09. MAI – 30. JUNI 2018 WELTBILDER ODER DIE IRONIE DER DINGE SAMUELIS BAUMGARTE GALERIE NIKI DE JEAN VORWORT SAINT PHALLE TINGUELY REINHARD SPIELER SPRENGEL MUSEUM HANNOVER NIKI & JEAN SIE WAREN EINES DER SCHILLERNDSTEN PAARE, das die geprägt. Beide hatten zahlreiche andere Partner und gingen Kunstgeschichte kennt, „Bonnie und Clyde der Kunstwelt“, auch künstlerisch jeweils eigene Wege, ohne je voneinan- wie NIKI DE SAINT PHALLE sie gerne nannte. Mehr als 30 der loszukommen, und je forcierter das jeweils eigene Tun, Jahre, von 1960 bis zum Tod JEAN TINGUELYS 1991 währte umso intensiver folgte darauf wieder der gemeinsame Weg. die Beziehung zwischen Niki und Jean, und sie umfasste Diese einzigartige Verbindung hielt bis zu TINGUELYS Tod, alle Höhen und Tiefen einer Liebesbeziehung genauso wie auch wenn sie zu diesem Zeitpunkt längst kein Paar mehr ein faszinierendes Spektrum gemeinsamen künstlerischen waren. Die gemeinsamen künstlerischen Projekte reichen Schaffens. Schon rein optisch waren die beiden ein spek- von den Schießbildern über Aktionen wie diejenige für takuläres Paar, auch wenn sie kaum unterschiedlicher sein Salvador Dalí in Figueras, wo sie einen Stier aus Papp- konnten. Die bildschöne, oft elegant und modisch geklei- machée zur Explosion bringen, gemeinsamen Filmen wie dete Niki, Covergirl von LIFE (1949) und VOGUE (1952), und Camelia ou Le rêve plus long que la nuit (1975) bis hin zu der bärbeißige, meist im Blaumann anzutreffende, gleich- zahlreichen gemeinsamen Skulpturen. wohl unerhört attraktive JEAN TINGUELY hätten in jedem An zahlreichen Projekten von Niki war Tinguely beteiligt – Film der Zeit mitspielen können. Als sie sich 1955 das erste so etwa an ihrer legendären begehbaren Vagina Hon 1966 in Mal begegneten, waren sie beide noch mit jeweils anderen Stockholm oder an Nikis Lebensprojekt, dem Tarot-Garten Partnern verheiratet: NIKI DE SAINT PHALLE mit dem ame- im italienischen Garavicchio (1979 - 2002). 1967 gestalteten rikanischen Schriftsteller Harry Mathews, JEAN TINGUELY die beiden ihre Beziehung als skulpturalen „Liebeskrieg“ auf mit der Künstlerin Eva Aeppli. Nur kurz nach der Trennung dem Dach des französischen Pavillons für die Weltausstellung von ihren jeweiligen Partnern zogen Niki und Jean 1961 in Montréal (Le Paradis Fantastique). Ihr wohl bekanntestes in Paris zusammen. Intensive künstlerische Phasen der gemeinsames Projekt ist die großartige Fontaine Strawinsky Zusammenarbeit u.a. mit Robert Rauschenberg und Jasper in Paris, die 1983 vor dem Centre Pompidou aufgestellt Johns begannen, beide treten im gleichen Jahr noch der wurde: ein grandioses Spektakel aus Spaß und Bewegung, Bewegung der Nouveaux Réalistes mit Arman, Yves Klein, aus Anziehung und Abstoßung, aus Schwarz und Bunt, aus Daniel Spoerri, César, Christo und vielen anderen bei; die Untertauchen und Herausspritzen – ein fröhliches, buntes ersten Schießbilder, „Tirs“, entstanden gemeinsam mit und anarchistisches Treiben, das jedem Besucher des Centre Tinguely, Rauschenberg und Mitgliedern der Nouveaux Pompidou ein Lächeln ins Gesicht zaubert; ein ähnlicher Réalistes – ein spielerisch-anarchistischer Angriff auf die Brunnen entstand fünf Jahre später noch einmal für das bürgerliche ( Kunst- )Welt, ebenso lust- und spaßbetont Chateau-Chinon. wie spektakulär. IN MATERIAL UND AUSDRUCKSFORM sind die beiden absolute KUNST UND LIEBE DER BEIDEN waren gleichermaßen von Antipoden. Auf der einen Seite Nikis bunte, kraftvolle und Intensität und Leidenschaft wie auch von Freiheitsdrang überbordende, voluminöse Figurenwelt, auf der anderen 3 WELTBILDER ODER DIE IRONIE DER DINGE NIKI DE JEAN VORWORT SAINT PHALLE TINGUELY REINHARD SPIELER SPRENGEL MUSEUM HANNOVER Seite TINGUELYS filigrane, metallene Maschinenwelt aus Recycling-Material, die ständig in Bewegung und Unruhe ist. In der unbändigen Lebensfreude und -gier, die beide in Person und Werk ausstrahlten, trafen sie sich. ÜBER ALL DIE ANEKDOTEN, die sich schier endlos über die beiden berichten lassen, geht manchmal ein wenig ihre Bedeutung für die Kunstgeschichte unter. Das betrifft vor allem NIKI DE SAINT PHALLE, aber auch das gemeinsame Werk mit TINGUELY. So gut wie alle Strömungen der Kunst seit 1960 finden in ihrem Werk ihren Niederschlag – von der Pop Art über den Nouveaux Réalisme bis hin zu Fluxus; sie ist zusammen mit Yves Klein eine der ersten, die den Autor vom Werk trennt, die den Zufall zum integralen Faktor der Bildproduktion macht. Sie wagt den „Ausstieg aus dem Bild“ (Laszlo Glozer) wie Robert Rauschenberg und blies gleichzeitig zur Attacke auf das Bild wie Lucio Fontana oder Alberto Burri. Gleichzeitig mit der Gruppe Zero fanden Be- wegung und Mechanik Eingang in ihre Bildwelten. Wie Andy Warhol und auch zur gleichen Zeit setzte sie gezielt Medien- strategien der Selbstinszenierung als Teil ihrer Kunst ein. Und nicht zuletzt ist NIKI DE SAINT PHALLE ein früher Meilenstein der feministischen Kunst, der es gelungen ist, ihr persönliches Trauma des Missbrauchs im Bild vom Pro- totyp der starken, lebensbejahenden, fröhlichen, kreativen und Leben schenkenden Frau zu überwinden: der Nana, die längst zu einer echten Weltmarke geworden ist. Alles gute, ja beste Gründe, das Werk einer faszinierenden Person und Künstlerin, eines spektakulären Künstlerpaares neu zu entdecken. 4 VORWORT 5 WELTBILDER ODER DIE IRONIE DER DINGE NIKI DE JEAN INTRODUCTION SAINT PHALLE TINGUELY REINHARD SPIELER SPRENGEL MUSEUM HANNOVER NIKI & JEAN THEY WERE ONE OF THE MOST FLAMBOYANT COUPLES that untrammeled liberty. Both had numerous other partners art history ever knew. “The Bonnie and Clyde of the art and followed their own artistic ways without ever getting world,” as NIKI DE SAINT PHALLE liked to call them. This free of each other. The more forceful each went his/her Niki-Jean relationship lasted more than 30 years, from own way, the more intense were their subsequent com- 1960 to JEAN TINGUELY’S death in 1991, and went through mon ventures. This singular alliance was maintained up to all the heights and depths of romantic love as well as the TINGUELY’S death, even if, at the time, they had long been a fascination of collaborative artistic creativity. Even from a separated couple. Their mutual art projects range from the purely optical standpoint, they were a spectacular couple, shooting canvases via actions such as those for Salvador though they could hardly have been more different. The Dalí in Figueras, where they exploded a steer made of papier lovely, often elegant and fashionably dressed Niki, a cover mâché, joint films such as “Camelia ou Le rêve plus long girl for LIFE Magazine (1949) and VOGUE (1952) and her que la nuit” (1975) up to the many sculptures they created mostly barefoot counterpart in blue overalls but, despite all, together. with exactly this tremendously attractive JEAN TINGUELY TINGUELY contributed to many of Niki’s projects: for they could have played a couple in any of the era’s films. instance to the legendary walk-in vagina Hon 1966 in When they met in 1955 for the first time, they were both Stockholm or Niki’s lifetime project The Tarot Garden in married to other partners: NIKI DE SAINT PHALLE with Garavicchio, Italy (1979 - 2002). In 1967 they devised their re- the American writer Harry Mathews, JEAN TINGUELY lationship as a sculptural “competition of love” on the roof with the artist Eva Aeppli. Not till 1961, shortly after their of the French pavilion in Montréal (Le Paradis Fantastique). separation from each of their partners, did Niki and Jean Their probably best known collaborative work is the mag- move to Paris together. After intense artistic phases of nificent Fontaine Stravinsky in Paris that was installed in collaboration, which included Robert Rauschenberg and 1983 before the Centre Pompidou, a grandiose spectacle Jasper Johns, etc., both in the same year became members of fun and movement, of attraction and repulsion, of black of the Nouveaux Réalistes movement with Arman, Yves and bright color, of diving down and gushing out: joyful, Klein, Daniel Spoerri, César, Christo, and many others. color-rich, anarchic goings-on that conjure a smile on the The first shooting canvases or “Tirs” came into being in a face of every visitor to Centre Pompidou. A similar fountain common effort with TINGUELY, Rauschenberg and mem- was created five years later for the Chateau Chinon. bers of the Nouveaux Réalistes, a playful and anarchic assault on the bourgeois (art)world, just as lusty and fun- loving as it was spectacular. THEIR ART AND THEIR ROMANCE were simultaneously in- formed by intensity and passion as well as by a desire for 6 INTRODUCTION IN THE MATERIAL THEY USE and their form of expression they are absolute antipodes. On the one hand, Niki’s bright, powerful and exuberant, voluminous figural-world, on the other TINGUELY’S filigree metal machine-world from recycled material that is constantly in (com)motion. The two meet up in their unbridled joy in, and greed for, life that both radiate in their work and their person. FROM ALL THE ANECDOTES that can be reported sheer endlessly about the two, their significance for art history gets at times downplayed. This especially concerns NIKI DE SAINT PHALLE, but also her collaborative work with TINGUELY. As good as all the art trends since the 1960s are reflected in her work, from
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