{"id":86003,"date":"2015-05-22T14:22:42","date_gmt":"2015-05-22T18:22:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=86003"},"modified":"2015-05-22T14:57:09","modified_gmt":"2015-05-22T18:57:09","slug":"youre-going-to-see-real-madness","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/05\/22\/youre-going-to-see-real-madness\/","title":{"rendered":"You\u2019re Going to See Real Madness"},"content":{"rendered":"

\"tinguely\"<\/a>

MK III<\/i>, 1964.<\/p><\/div>

\"tinguely1\"<\/a>

Drawing for MK III.<\/i><\/p><\/div><\/p>\n

 <\/p>\n

From \u201cThe Designs for Motion,\u201d a portfolio and interview with the Swiss sculptor Jean Tinguely from our Spring-Summer 1965<\/a> issue. \u201c<\/em>Today we can no longer believe in permanent laws, defined religions, durable architecture or eternal kingdoms,\u201d Tinguely said in the fifties. \u201cImmutability does not exist. All is movement. All is static.\u201d He speaks here to Laura Mathews; this was her first published work.<\/em><\/p>\n

If you were in my place, what questions would you ask?<\/strong><\/p>\n

\u2026 I would ask first of all: why do things move in your work? It\u2019s the most simple, and also the most complicated, question. And I answer: things move because if they didn\u2019t move, they might<\/em> move; that is, in trying to make static things I have tried what everyone tries, and I\u2019ve found that one petrifies situations, the phenomena that one is trying to seize. And finally one finds that as you try to seize these things, the things tell you something. In our time, things race and revolve automatically; industry and automation dominate us and impose a rhythm on us. Faced with that kind of thing, my work must move to remain vital, to avoid obsolescence \u2026 one doesn\u2019t admit it, but one knows very well that in moving machines one is faced with life against death. Movement is so natural and so forceful that it is a fundamental dynamism. And anyway, one wants machines to move \u2026 <\/p>\n

They have the form of motion, and it\u2019s odd to see them not move.<\/strong><\/p>\n

There is something which is not made with the machine, which one can\u2019t see until it moves. When it is still, one knows it\u2019s going to move because something is missing. When it moves, one knows it\u2019s completed. Immobility in a machine must make the phenomenon of motion imminent \u2026 In the machine for my last exposition, I found that when I had built it well, when it was what I wanted plastically, it didn\u2019t run as I had wanted it to. When it ran well, it didn\u2019t look like I had wanted it to. So I changed the rhythms, the speeds, to integrate these two plastic phenomena: that is to say the mass of the machine and its less controllable phenomenon of movement, of coming and going. You see, this machine is shut inside itself; it\u2019s condemned to move in its own place. In working in its own place it evokes\u2014for me\u2014the myth of Sisyphus, the man who is condemned to push a stone up a mountain eternally, only to have it fall back to the bottom again. There is a new way to evoke this uselessness of function, but this time, with a serious and mechanistic mode of expression.<\/p>\n

It\u2019s a little like this tape recorder, or any machine, isn\u2019t it?<\/strong><\/p>\n

It\u2019s terrifying how we don\u2019t realize how the machine has come to dominate our age. We don\u2019t realize that your hair is treated by machine; that your stockings and your sweater and everything you\u2019re wearing were made by machines; and that the machines which do your hair and make your clothes were made by other machines. What happens at the base of our civilization is incredible. We go round in circles, there\u2019s no question about that. But insofar as it\u2019s dynamic, we advance. This domination by machine has produced an America that is a mad circus of automated, industrial machinery, such as we\u2019ve not yet seen in Europe. Yet even here we\u2019ve grown oblivious to the fact that in Paris there is such a mass of machinery in the street that one hardly moves. But it will get worse: you\u2019re going to see real madness! This kind of madness preoccupies me, and I think that with my machines I point out the stupidity of the machine; the enormous uselessness of this gigantic effort.<\/p>\n

\"tinguely2\"<\/a>

Moulin M\u00e9ta-M\u00e9canique<\/i>, 1954.<\/p><\/div>

\"tinguely3\"<\/a>

Drawing for Eureka, Lausanne Fair<\/i>, 1964.<\/p><\/div>

\"tinguely4\"<\/a>

Eureka, Lausanne Fair<\/i>, 1964.<\/p><\/div>

\"tinguely5\"<\/a>

Installation view from a show at Iolas Gallery, Paris, 1964.<\/p><\/div>

\"tinguely6\"<\/a>

M\u00e9ta-Matic #9<\/i>, 1964.<\/p><\/div><\/p>\n

Read the whole interview in Issue 34<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

  From \u201cThe Designs for Motion,\u201d a portfolio and interview with the Swiss sculptor Jean Tinguely from our Spring-Summer 1965 issue. \u201cToday we can no longer believe in permanent laws, defined religions, durable architecture or eternal kingdoms,\u201d Tinguely said in the fifties. \u201cImmutability does not exist. All is movement. All is static.\u201d He speaks here […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1188],"tags":[33,35,1132,18221,18219,18222,9615,18220,964],"class_list":["post-86003","post","type-post","status-publish","format-standard","hentry","category-from-the-archive","tag-archives","tag-art","tag-interviews","tag-issue-34","tag-jean-tinguely","tag-laura-mathews","tag-machines","tag-motion","tag-sculpture"],"acf":[],"yoast_head":"\nDesigns for Motion: Jean Tinguely\u2019s Useless Machines<\/title>\n<meta name=\"description\" content=\"An interview with the artist from our Spring-Summer 1965 issue.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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