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Artworks

Artworks Public Culture 10(2): 451–456 Copyright © 1998 by Duke University Press Public Culture collection of sculptures by Basel artist Jean Tinguely (1925 – 1991), including several collaborations with his wife, Niki de Saint Phalle. Tinguely’s obsession with mega structures and chaos, and the rhythms, gestures, and mechanics of movement in his art, make this museum one of the most unique in the world. Some of the sculptures such as “Grosse meta Maxi-Maxi Utopia” (1987) are large enough to climb through, swallowing the viewer in a labyrinth of brightly painted wheels, discarded scrap metal, and other disparate objects such as a carousel horse or flowerpot complete with geraniums. As in his other sculptures, the piece is set in motion by various systems of pulleys and motors; the result is lively, noisy, and, well, chaotic. The main floor of the museum displays this and other of the more musical works in the Méta-harmonie series; “Méta-harmonie IV” (1985) utilizes electronic keyboards, percussion instruments, and, of course, the Swiss cow bell. For practical purposes, the sculptures are activated only periodically, and often the musical texture is sparse. The mezzanine level displays the Méta-méchanique relief series of the 1950s and works of the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Public Culture Duke University Press

Artworks

Artworks
Public Culture , Volume 10 (2) – Jan 1, 1998
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Publisher
Duke University Press
Copyright
Copyright 1998 by Duke University Press
ISSN
0899-2363
eISSN
1527-8018
DOI
10.1215/08992363-10-2-451
Publisher site
See Article on Publisher Site

Abstract

Public Culture 10(2): 451–456 Copyright © 1998 by Duke University Press Public Culture collection of sculptures by Basel artist Jean Tinguely (1925 – 1991), including several collaborations with his wife, Niki de Saint Phalle. Tinguely’s obsession with mega structures and chaos, and the rhythms, gestures, and mechanics of movement in his art, make this museum one of the most unique in the world. Some of the sculptures such as “Grosse meta Maxi-Maxi Utopia” (1987) are large enough to climb through, swallowing the viewer in a labyrinth of brightly painted wheels, discarded scrap metal, and other disparate objects such as a carousel horse or flowerpot complete with geraniums. As in his other sculptures, the piece is set in motion by various systems of pulleys and motors; the result is lively, noisy, and, well, chaotic. The main floor of the museum displays this and other of the more musical works in the Méta-harmonie series; “Méta-harmonie IV” (1985) utilizes electronic keyboards, percussion instruments, and, of course, the Swiss cow bell. For practical purposes, the sculptures are activated only periodically, and often the musical texture is sparse. The mezzanine level displays the Méta-méchanique relief series of the 1950s and works of the

Journal

Public Culture – Duke University Press

Published: Jan 1, 1998

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