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611

Jean TinguelyPROLETKUNST Nr. 3Skulptur aus Eisen, Wurzel, Tierschädel, Holzrad u.a. sowie

In Contemporary Art

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Jean TinguelyPROLETKUNST Nr. 3Skulptur aus Eisen, Wurzel, Tierschädel, Holzrad u.a. sowie - Bild 1 aus 3
Jean TinguelyPROLETKUNST Nr. 3Skulptur aus Eisen, Wurzel, Tierschädel, Holzrad u.a. sowie - Bild 2 aus 3
Jean TinguelyPROLETKUNST Nr. 3Skulptur aus Eisen, Wurzel, Tierschädel, Holzrad u.a. sowie - Bild 3 aus 3
Jean TinguelyPROLETKUNST Nr. 3Skulptur aus Eisen, Wurzel, Tierschädel, Holzrad u.a. sowie - Bild 1 aus 3
Jean TinguelyPROLETKUNST Nr. 3Skulptur aus Eisen, Wurzel, Tierschädel, Holzrad u.a. sowie - Bild 2 aus 3
Jean TinguelyPROLETKUNST Nr. 3Skulptur aus Eisen, Wurzel, Tierschädel, Holzrad u.a. sowie - Bild 3 aus 3
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Köln
Jean Tinguely
PROLETKUNST Nr. 3

Skulptur aus Eisen, Wurzel, Tierschädel, Holzrad u.a. sowie Elektromotor. Ca. 138 x 99 x 100 cm, auf schwarz gefasstem Holzsockel 80 x 50 x 50 cm. - Mit leichten Altersspuren.

Bischofberger 873

Provenienz
Privatsammlung, Belgien; Privatsammlung, Nordrhein-Westfalen

Ausstellungen
Moskau 1990 (Haus der Kunst), Jean Tinguely

Jean Tinguelys Objekte sind eine köstliche Mischung aus kuriosen Einzelobjekten wie Fundstücken des Alltages, Metallabfällen, Elektroschrott, nostalgischem Trödel, Knochen und anderen „kunstfremden“ Materialen. Ein Motor bewegt mit einfacher Übersetzung Teile, wiegt sie hin und her, lässt sie tanzen, verbreitet Geräusche; das zusammengeschweißte Wunderwerk ist wie eine Karikatur auf ein technisches Relikt aus früherer Zeit, spiegelt Hektik und Chaos bis in unsere Tage und es fasziniert: im Zustand der Ruhe und in der Rastlosigkeit der Bewegung. Tinguelys funktionierende Werke sind Ausdruck einer neuen Idee von Kunst, und letztlich auch eine Parodie, die abhebt auf die traditionelle Ästhetik des Werkbegriffs. Elektromotoren und Räder werden zum Herz einer Konstruktion wider jegliche Ingenieurskunst, verkörpern die Utopie einer endlosen Bewegungswelt in allen Bereichen des Lebens unter der Maxime: Alles kann miteinander verbunden werden, jedes Material ist kunstwürdig und für nutzlose Maschinen dienlich. Der von Tinguely vorgetäuschte Perfektionismus findet in der Hässlichkeit und bisweilen Schäbigkeit der „kompliziert“ zusammengeschweißten Einzelteile seine Erfüllung. Das ist freilich zu kurz gedacht, denn in den Maschinen schwingt Humanes mit, etwas, was der Künstler seinen Werken zugrunde legt, wenn es darum geht, die Zusammenhänge unserer Welt als Maschine zu denken. Vorbilder gibt es deren viele. So sieht Marcel Duchamp „Die Braut“ in seinem Gemälde von 1912 als eine Maschine mit weiblichen Formen, sehen Max Ernst oder Francis Picabia in ihren dadaistischen Maschinenbildern um 1920 ihre Chance, die Bedeutungsebenen menschlicher Beziehungen hintergründig charmant zu formulieren. Tinguely irritiert und amüsiert zugleich mit seinen subversiven Maschinen, wenn die nackten Tierschädelknochen wackeln und die Maschine klappernde Töne produziert. Sie sind Ausdruck diebischer Freude.

MvL

Jean Tinguely
PROLETKUNST Nr. 3

Sculpture made of iron, root, animal skull, wooden wheel etc., and electric motor. Approx. 138 x 99 x 100 cm, on black wooden plinth 80 x 50 x 50 cm. - Minor traces of age.

Bischofberger 873

Provenance
Private collection, Belgium; private collection, North Rhine-Westphalia

Exhibitions
Moscow 1990 (Haus der Kunst), Jean Tinguely

Jean Tinguely's objects are a delightful mix of curious individual objects such as everyday finds, metal scrap, electric scrap, nostalgic bric-a-brac, bones, and other materials unfamiliar to art. A motor moves parts with a simple transmission, balances them to and fro, makes them dance, emits noises; this welded prodigy is like a caricature of a technical relic from earlier times, reflects turbulence and chaos even until today, and it is fascinating: whether immobile or in the restlessness of movement. Tinguely's functioning works are the expression of new conception of art and lastly also a parody emphasizing the traditional aesthetics of the concept of a work. Electric motors and wheels become the heart of a construction contrary to any engineering expertise and embody the utopia of an endless world of movement in all areas of life according to the maxim: anything can be connected, any material is worthy to become art and is useful for useless machines. The perfectionism simulated by Tinguely finds its fulfilment in the ugliness and sometimes shabbiness of the individual parts 'elaborately' welded together. Of course, this does not do his work justice as human aspects resonate in the machines, a fundamental point of the artist's work when it comes to contemplating the correlations of our world as a machine. There are many such role models. In his painting from 1912, Marcel Duchamp perceives 'The Bride' as a machine with female forms, while Max Ernst and Francis Picabia see their Dadaist machine pictures from around 1920 as an opportunity to formulate the levels of meaning of human relationships in a cryptically charming way. With his subversive machines, Tinguely both irritates and amuses the observer when the naked animal skull bones wobble and the machine produces rattling sounds. They are an expression of perverse delight.

MvL
Jean Tinguely
PROLETKUNST Nr. 3

Skulptur aus Eisen, Wurzel, Tierschädel, Holzrad u.a. sowie Elektromotor. Ca. 138 x 99 x 100 cm, auf schwarz gefasstem Holzsockel 80 x 50 x 50 cm. - Mit leichten Altersspuren.

Bischofberger 873

Provenienz
Privatsammlung, Belgien; Privatsammlung, Nordrhein-Westfalen

Ausstellungen
Moskau 1990 (Haus der Kunst), Jean Tinguely

Jean Tinguelys Objekte sind eine köstliche Mischung aus kuriosen Einzelobjekten wie Fundstücken des Alltages, Metallabfällen, Elektroschrott, nostalgischem Trödel, Knochen und anderen „kunstfremden“ Materialen. Ein Motor bewegt mit einfacher Übersetzung Teile, wiegt sie hin und her, lässt sie tanzen, verbreitet Geräusche; das zusammengeschweißte Wunderwerk ist wie eine Karikatur auf ein technisches Relikt aus früherer Zeit, spiegelt Hektik und Chaos bis in unsere Tage und es fasziniert: im Zustand der Ruhe und in der Rastlosigkeit der Bewegung. Tinguelys funktionierende Werke sind Ausdruck einer neuen Idee von Kunst, und letztlich auch eine Parodie, die abhebt auf die traditionelle Ästhetik des Werkbegriffs. Elektromotoren und Räder werden zum Herz einer Konstruktion wider jegliche Ingenieurskunst, verkörpern die Utopie einer endlosen Bewegungswelt in allen Bereichen des Lebens unter der Maxime: Alles kann miteinander verbunden werden, jedes Material ist kunstwürdig und für nutzlose Maschinen dienlich. Der von Tinguely vorgetäuschte Perfektionismus findet in der Hässlichkeit und bisweilen Schäbigkeit der „kompliziert“ zusammengeschweißten Einzelteile seine Erfüllung. Das ist freilich zu kurz gedacht, denn in den Maschinen schwingt Humanes mit, etwas, was der Künstler seinen Werken zugrunde legt, wenn es darum geht, die Zusammenhänge unserer Welt als Maschine zu denken. Vorbilder gibt es deren viele. So sieht Marcel Duchamp „Die Braut“ in seinem Gemälde von 1912 als eine Maschine mit weiblichen Formen, sehen Max Ernst oder Francis Picabia in ihren dadaistischen Maschinenbildern um 1920 ihre Chance, die Bedeutungsebenen menschlicher Beziehungen hintergründig charmant zu formulieren. Tinguely irritiert und amüsiert zugleich mit seinen subversiven Maschinen, wenn die nackten Tierschädelknochen wackeln und die Maschine klappernde Töne produziert. Sie sind Ausdruck diebischer Freude.

MvL

Jean Tinguely
PROLETKUNST Nr. 3

Sculpture made of iron, root, animal skull, wooden wheel etc., and electric motor. Approx. 138 x 99 x 100 cm, on black wooden plinth 80 x 50 x 50 cm. - Minor traces of age.

Bischofberger 873

Provenance
Private collection, Belgium; private collection, North Rhine-Westphalia

Exhibitions
Moscow 1990 (Haus der Kunst), Jean Tinguely

Jean Tinguely's objects are a delightful mix of curious individual objects such as everyday finds, metal scrap, electric scrap, nostalgic bric-a-brac, bones, and other materials unfamiliar to art. A motor moves parts with a simple transmission, balances them to and fro, makes them dance, emits noises; this welded prodigy is like a caricature of a technical relic from earlier times, reflects turbulence and chaos even until today, and it is fascinating: whether immobile or in the restlessness of movement. Tinguely's functioning works are the expression of new conception of art and lastly also a parody emphasizing the traditional aesthetics of the concept of a work. Electric motors and wheels become the heart of a construction contrary to any engineering expertise and embody the utopia of an endless world of movement in all areas of life according to the maxim: anything can be connected, any material is worthy to become art and is useful for useless machines. The perfectionism simulated by Tinguely finds its fulfilment in the ugliness and sometimes shabbiness of the individual parts 'elaborately' welded together. Of course, this does not do his work justice as human aspects resonate in the machines, a fundamental point of the artist's work when it comes to contemplating the correlations of our world as a machine. There are many such role models. In his painting from 1912, Marcel Duchamp perceives 'The Bride' as a machine with female forms, while Max Ernst and Francis Picabia see their Dadaist machine pictures from around 1920 as an opportunity to formulate the levels of meaning of human relationships in a cryptically charming way. With his subversive machines, Tinguely both irritates and amuses the observer when the naked animal skull bones wobble and the machine produces rattling sounds. They are an expression of perverse delight.

MvL

Contemporary Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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1. The art auction house, Kunsthaus Lempertz (henceforth referred to as Lempertz), conducts public auctions in terms of § 383 paragraph 3 sentence 1 of the Civil Code as commissioning agent on behalf of the accounts of submitters, who remain -anonymous. With regard to its auctioneering terms and conditions drawn up in other languages, the German version remains the official one.
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Henrik Hanstein, sworn public auctioneer
Takuro Ito, Auctioneer

 

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