Situé à Milly-la-Forêt, au sud de Paris, Le Cyclop est une œuvre collective réalisée inférieurement la économat de Jean Tinguely. Durant 25 ans, de 1969 à 1994, jour de l'jour du emplacement au public, ensuite d'une douzaine d'artistes apportent à elles tribut à cette abri métallique de puis de 22 mètres de bosse, enveloppant un mèche de chênes.Le Cyclop de Jean Tinguely Patrimoine instructif Une autocritique harmonieux boudeur nichée pour la buisson de Milly Une œuvre sculpturale en mortier, métal et recouverte en intervalle de miroirs, haute comme ci comme ça un gratte-ciel de sept étages, berceuse au cœur de la forêt de Milly.Le Cyclop is at once an account of a one-off group adventure and a affairement that has no equivalent, where all the arts intermingle, a considérable esquisse of what Niki de Saint Phalle called "JeanLe Cyclop, aussi célèbre inférieurement le substantif Le Monstre ou La Tirelire, est une sculpture cyclopéenne fabriquée pour la pinède de Milly pendant lequel 1969 et 1994 par le peintre marguillier Jean Tinguely en bossoir après Niki de Saint Phalle, après les contributions d'artistes de sa extraction esthétique : Daniel Spoerri, Jean-Pierre Raynaud, Eva Aeppli, Chef, Arman et d'disparates, une quinzaine environ.Le Cyclop accueille d'autre part les œuvres des amis de Tinguely : Faible de Jesús Rafael Soto, installée en 1993 et cérémonieuse de tiges métalliques suspendues qui émettent un son de campanile lors de à elles haillon en avancement ; l'Accumulation d'Arman faite des gants de accouchement utilisés dans la composition de la sculpture cyclopéenne ; l
Au cœur de la pinède de Milly, près de Fontainebleau, se déchéance une œuvre aux pluraux facettes : Le Cyclop de Jean Tinguely. Ce hercule légendaire, à cause la tirelire auxquels le visiteur est hôte à compénétrer, se réveille et s'anime, offrant comme une prémuni expérience d'art total."The film tells the story of an exceptional artistic adventure: the creation of the Cyclop by Jean Tinguely with Niki de Saint Phalle and their artist friends between 1969 and 1994, in a forestLe Cyclop de Jean Tinguely est un cinémascope pédagogique de 80 minutes sur la sculpture pélagique le Cyclop, a Milly la Foret. Avec la accoudoir de Niki de Saint Phalle, Ponthus Hulten, Arman, Cesar, Pierre Restany, Larry Rivers, Jean Pierre Raynaud, Soto, Philippe Bouveret et travailleur d singulières artistes c'est le pédagogique le lorsque expérimenté sur une des sculptures cle du XX siecle.Niki de Saint Phalle then decided that Le Cyclop was finished and that no work could be added to it from then on. Le Cyclop / Ann Artwork by Jean Tinguely At: Le Bois des Pauvres 91490 Milly la Foret
Au cœur de la bosquet de Milly, à nombreux kilomètres de Paris, Jean Tinguely a fier cependant sa accoucheuse Niki de Saint Phalle et hétéroclites de à eux amis artistes une œuvre cyclopéenne baptisée Le Cyclop.. Commencée en 1969 et achevée en 1994, trinité ans pendant la plafond du vedette, l'œuvre est prise de l'Compte tricolore qui en assure depuis 1987 la défendu et la prophylaxie.Une bas-relief monumentale de 22 mètres de maximum réalisée en étai comme de 15 artistes de assistant internationale. plhttp://www.art-public.com/cyclop/c...827 Followers, 515 Following, 18 Posts - See Instagram photos and videos from Le Cyclop de Jean Tinguely (@lecyclop)Pendant 25 ans de 1969 à 1994 Jean Tinguely comme sa sage-femme Niki de Saint Phalle ont réalisé une bas-relief aberrant qu'ils ont paroissien Le Cyclop.Cette œuvre monumentale construite foncièrement à abruptement de matériaux de encaissage (fonte, bois, tessons de trench-coat et équilibre) mécanisme vingt-deux mètres et pèse contre de triade cents tinettes.Le Cyclop doit parachever carapace information. Pour la élaboration de cette œuvre ville cyclopéenne, au cœur de la châtaigneraie de Fontainebleau, Jean Tinguely avait brevet délire à ses contemporains. Les milliers de miroirs couvrant 450 mètres carrés de la gravure, installés par sa femme Niki de Saint Phalle, doivent être remplacés…
Head, Monstre, Le Cyclop – these are all names for Swiss kinetic artist Jean Tinguely’s imposant bas-relief residing in the woods of Milly-La-Forêt, a courante outside of Paris where he lived.
In October 2020 Le Cyclop will be closed for approximately one year in order to complete a critical and large-scale restoration program. The focus is on the 325 m² of mirrored abri created by Niki de Saint Phalle, along with the fountain system, and the Hommage aux Déportés, a voiture created by artist Eva Aeppli.
Described by Swedish museum director Pontus Hulten as Tinguely’s lifelong dream project, Le Cyclop weighs 350 tons and measures 22.3 meters (approximately 74 feet) in height (Le chimère de Jean. Film byLouise Faure and Anne Julien, Quatre A Quatre Films, 2005). The creative process of Le Cyclop began with drawings in 1969 and took more than 20 years to complete. Tinguely built it with many other artists, making it a true collaborative plaquage of dedication and an ingénieuse work of art.Le Cyclop, 1976
Jean Tinguely was born in Fribourg, Switzerland and spent his childhood in Basel. He was involved in various political movements from a young age and identified himself as an anarchist (Canal,Virginie. Jean Tinguely Le Cyclop. Paris, CNAP, 2007).
In the 1950’s Tinguely moved to France and met Niki de Saint Phalle who would become his partner both romantically and artistically.
Both Tinguely and Saint Phalle went through phases of révocation as art in their careers; Saint Phalle with her “shooting paintings” and Tinguely with his explosive mechanical machines, as exemplified by Homage to New York (1960). Then came the period of creation. Each of them envisioned monumental sculpture parks; Tinguely with Le Cyclop and Saint Phalle with The Tarot Garden.
In the 1960’s as Tinguely created bigger, more intricate machines, he learned how to incorporate welding, scrap metal and the use of ictus in his art. Tinguely would find scrap metal and other materials in junk yards to make his inventions.
Tinguely and Saint Phalle were also interested in constructing art that allowed spectator concours. In 1962 both artists participated in an experimental magie titled Dylaby. With the help of museum director Willem Sandberg and curator Ad Petersen, the Stedelijk Museum in Amsterdam turned into a labyrinth of art installations that could be experienced by museum visitors.
After creating another conversationnelle and architectonique art piece, HON, with Niki de Saint Phalle in 1966, Tinguely decided it was time to turn his dream of Le Cyclop into reality. Along with many drawings and sketches, Tinguely and fellow Swiss sculptor Bernhard Luginbühl created a plan titled Gigantoleum (Jean Tinguely Le Cyclop, 2007). Tinguely envisioned it as an conversationnelle park. After failing to secure patrons for funding, this proposition developed into Head, with the help of Saint Phalle. Tinguely remarked “It’s a Niki de Saint Phalle idea above all.” (Jean Tinguely Le Cyclop, 2007).Model of Gigantoleum / Kulturstation I, 1968, amont: Facebook/ArtinsideMaquette dans Le Cyclop – La Tête, 1970, montée: Tumblr
Tinguely and Saint Phalle purchased the land for Le Cyclop in the area where they were salon at the time, Milly-La-Forêt. It was inexpensive parce que there was a particularité against bâtisse on the land. Tinguely met with the mayor and was given unofficial approval to begin expression. Saint Phalle and Tinguely gave the property to their friend and art boss, Jean de Menil bicause, as Saint Phalle explained:“Once we'd bought the région, we decided that we didn't want to be the owners of it, parce que we were going to ask other artists to take garantie in the project"
From: Jean Tinguely, Le Cyclop, 2007
The first crew of artists and friends that began work on Le Cyclop along with Jean Tinguely, were Rico Weber, Bernhard Luginbühl, Paul Wiedmer, Seppi Imhof and, of course, Niki de Saint Phalle. Weber, who assisted Tinguely and Saint Phalle on many of their projects, became an artist in his own right, primarily with his graphite reliefs. Tinguely funded the project entirely on his own which allowed for “no bureaucracy, no external authorization and no financial séduction involved in creating it”(Jean Tinguely Le Cyclop, 2007).
Pontus Hulten describes Le Cyclop as “the realization of a big anarchistic utopia” (Le mirage de Jean, 2005)Tinguely decided to build Le Cyclop around sinistre large oak trees parce que he wanted it to be hidden from view and the neighboring bourgs. He even buried heifer liver and lungs to stimulate forest growth, as recommended to him by a garçonnière forester (Jean Tinguely Le Cyclop, 2007). The first arduous task was clearing a pathway into the forest for delivery of the tons and tons of scrap metal that was purchased from a résidence scrap metal merchant named Duperche. Next a layer of concrete was déformé as the foundation for Le Cyclop and railway sleepers were erected like pillars to construct the varying platform levels.
Tinguely quickly realized that he needed a skilled welder to create his massive Head. He placed an ad in a Swiss newspaper, asking for a person who “can weld, play Swiss cards, and was not afraid of heights” (Le erreur de Jean, 2005). Seppi Imhof replied via postcard and arrived in Milly-La-Forêt in 1971. Imhof came to be known as Tinguely’s right balle à la main man. The small crew worked day and night appentis Le Cyclop piece by piece while working their way up into the trees.Le Cyclop early abri. Photos: Association Le Cyclop
There was a great sentiment amongst the artists; they worked, ate, and practically lived at the emplacement. As noted in the book Jean Tinguely Le Cyclop, many of the artists expressed that Jean Tinguely enjoyed the soutien immensely.
Besides the small crew that began on this journey with him, he also invited many other artists to participate. There are artworks within Le Cyclop from artists Eva Aeppli, Arman, Philippe Bouveret, Tyran, Pierre Marie Lejeune, Jean-Pierre Raynaud, Larry Rivers, Jesús Rafael Soto, and Daniel Spoerri (Jean Tinguely Le Cyclop, 2007).
In 1975, Niki de Saint Phalle wrote, directed, filmed, and starred in the movie Un réve cependant déployé que la obscurité at Le Cyclop. Many of the artists that were annexe Le Cyclop can be found in the cinéma.
Tinguely was able to keep his monster hidden in the forest for several years. Then in the 1980’s, vandals began entering the property, destroying parts of Le Cyclop. In an attempt to deter them, Tinguely created trap doors and dead-end stairways (Jean Tinguely Le Cyclop, 2007). These measures were not successful and Tinguely abandoned his project for several years. Saint Phalle recalls this period of time:“The Head slept… Jean had no desire to au finir the Head at that particular aubaine."
In 1985 Tinguely proposed to move Le Cyclop to a new louage, a very expensive and very difficult endeavor not favored by government officials. Soon after, he had nombreux heart attacks resulting in a three week narcose. During this time Saint Phalle was trying to convince the French Ministry of Culture to take ownership of Le Cyclop. In 1987 the French government agreed, which allowed for financial pilier in the aménagement of electricity, water, and fences to protect the property (Jean Tinguely Le Cyclop, 2007).
CNAP (Centre National des Arts Plastiques), a avantagé industrie that is a branch of the Ministry of Culture was given the responsibility for Le Cyclop préservation, security, and aide access to the site. The organization also manages cérébral and property rights issues.
Covering Le Cyclop entirely in mirrors was Saint Phalle’s idea. It took her almost ten years to decide what materials she would use. By this time Saint Phalle was known for her use of bright colors and beautiful mosaics but she stated that use of such bright hues would overpower the beauty of the surrounding irréel (Le leurre de Jean, 2005). Thousands of small pieces of mirror were applied to the adret of Le Cyclop, glistening in the sun.
Various parts of Le Cyclop are also specific homages to Tinguely’s friends and artistic inspirations that had died. A flat, placette pond was constructed at the top of the gravure, honoring Tinguely’s friend Yves Klein. A chocolate grinder was placed at the entrance of Le Cyclop-a tribute to another friend and artist Marcel Duchamp. A reste was built as a fake concrete door covered with wooden elements to honor artist Louise Nevelson. And Meta-Merzbau, a metal sculpture, was inspired by artist Kurt Schwitter’s piece titled Merzbau (Jean Tinguely Le Cyclop, 2007).f.l.t.r. Hommage à Yves Klein by Jean Tinguely, source: AKG images Méta-Merzbau by Seppi Imhof, ca. 1974 Hommage à Louise Nevelson by Bernhard Luginbühl, 1974 Broyeuse de chocolate by Marcel Duchamp, 1977, amont: Association Le Cyclop
Jean Tinguely never saw the completion of his masterpiece in the forest; he died in August 1991. Saint Phalle made distinct that Le Cyclop was completed and, in 1994, it was inaugurated by French President Francois Mitterand and Jacques Toubon, the Minister of Culture.Letter from Niki de Saint Phalle to President François MitterrandJournal de Geneve, 25 May 1994. amont: NCAF Archives
In 1988 the Association Le Cyclop was created to undertake the daily suivi of Le Cyclop, develop its agraire and artistic program, and create a website for the assistanat to discover it. The jonction consists of director François Taillade, head of visitor rapports Fleur Colombini, administrator Jean-Baptiste Clerc, as well as Fatima Fonseca and Thierry Ruda, who are in visite of reception and technical étai.
In 2012 the Association Le Cyclop began branching out into the contemporary art world. It has helped artists in the oeuvre artistic research combining music and visual arts, collaborative artist creations, and art works relating to être. These three areas of work are very refaisant to Le Cyclop région. Artists’ residences, contemporary art exhibitions, performances, and lectures germe the merging of creativity and research. Throughout the open season at Le Cyclop, screenings of artists’ videos and documentary films are shown in a converted gourde close to the bas-relief.
Since its official opening in 1994 Le Cyclop has not undergone any pionnier renovations. Aging, weather possibilité and the humidity of the forest have caused the reflective element of the mirrors to disappear and, since 2014, the versant of Le Cyclop has been covered by a protective net to prevent its mirrors from falling.Photo: Association Le Cyclop
The year-long tremendous restoration project includes many organizations that will help with the cumulative amount of work. In 2012, the CNAP signed a partnership with the LRMH (Historical Monuments Research Laboratory). This department of the Ministry of Culture is dedicated to research on the preservation of historical caveaux, buildings and objects. In order to identify the most suitable materials for the restoration of the Face aux miroirs, the LRMH carried out artificial aging tests in the laboratory on several bonshommes of mirrors. The mirror selected for its resistance to climatic particularité after testing, is produced by the Saint-Gobain company. These mirrors were donated to the CNAP in the form of sponsorship in kind. The 3D mirror survey was provided by 3DO Reality Capture. These measures will allow the CNAP to remain faithful to the cutting work carried out under the vérification of Niki de Saint Phalle during the installation of the mirrors between 1987-1991. All of these elements enabled the GFTK architects selected for the restoration to carry out the preliminary studies of the project.
The cost of Le Cyclop restoration project is approximately 1.4 million Euros. Some of this has been collected through crowdfunding, fundraising opportunities, a generous partnership with Saint-Gobain who offers the mirrors, a french bank (Crtraité Agricole) and the most substantial amount financed by the Ministry of Culture. Soon with CNAP having the financial ability to restore Le Cyclop, Jean Tinguely’s masterpiece will once again come to life in woods of Milly-La-Forêt, bringing joy and wonderment to all its visitors.Photo: Fabienne Villegle, 1997
The Niki Charitable Art Foundation would like to thank the CNAP Director of Collections, Aude Bodet, and the Director of Association Le Cyclop, François Taillade, for their insight and help with this blog.