Tag Archives: Niki de Saint Phalle

The Fantastic Paradise turns 50 !

28 Apr 2017

50 years ago, Niki de Saint Phalle and Jean Tinguely presented their Fantastic Paradise to the public on the occasion of the Universal Expo 1967 in Montreal, Canada.

A few weeks after HON’s destruction in August 1966, the two artists envisioned a new gigantic and collective project together. This next sensational sculpture group, called : Le Paradis Fantastique in French and Enchanted Garden or Earthly Paradise in the English press, was proposed by Niki de Saint Phalle herself to the French Government for its Pavilion at the Universal Expo, which started end of April 1967.

The short time frame, the heavy extra budget it implied, and some cultural approbations still pending kept the two artists in the dark for few months…

Finally on January 6th, 1967 Niki de Saint Phalle and Jean Tinguely met with Robert Bordaz, Director of the French Pavilion and unveiled the project model.

drawing for Le Paradis fantastique, 1967
[drawing for Le Paradis Fantastique] , 1967 – Collection Albright-Knox Art Gallery, Buffalo, New York © 2017 Niki Charitable Art Foundation, All rights reserved.

The theme of the Fantastic Paradise was “Life confronted with the forces of Destruction”. Jean Tinguely’s black and sharp machines symbolically attacked the round and colorful sculptures of Niki de Saint Phalle.

The Director was very interested and agreed to showing it. However, he warned the artists that the budget would be tight. During this meeting they made the decision to exhibit the work in open air, on the terrace of the 7th floor of the futuristic building designated by Jean Forgeron.

So many times we have been taken for some idlers that this official order of the French government feels to us like a real rehabilitation! Finally we are no longer cursed.

Reaction of Niki de Saint Phalle on February 28th of 1967 in l’Aurore

Press Clip from L’EXPRESS about Montreal Expo67
Expo67 Montreal The Modern Dream – Extract from L’EXPRESS – March 1967

Following this interview, the two artists feverishly put themselves to work. Their production time was very short. They only had 6 weeks …

In a Parisian workshop in the neighborhood of les Buttes-Chaumont, Niki de Saint Phalle used 300 cubic meters of expanded polystyrene, 2 tons of polyester and 5 miles of fiber glass to give life to 9 gentle monsters, Nana-flowers and other imaginary creatures ranging in height from 10 to over 20 feet.

An enormous workshop in which she and half-a-dozen others grapple with cyclopean blocks of expanded polystyrene which will be coated with polyester and painted, once they have been carved. 

Art & Artists London, April 1967

Niki de Saint Phalle and Jean Tinguely working on the Fantastic Paradise, in Les Buttes-Chaumont, Paris, Press Clip from L’EXPRESS 6-12 March 1967
Niki de Saint Phalle & Jean Tinguely in the Parisian workshop, March 1967 – Extract from l’EXPRESS, photograph Christian Taillandier

In the meantime Jean Tinguely was producing 6 machines that “threatened” Niki’s whimsical sculptures.

Once the two artists completed their sculptures, the Paradis Fantastique composed itself of:

  • Le Char Raspoutine (The Rasputine Tank) charging back and forth at Bébé monstre (Baby monster)
  • La Perceuse (The Drill) ready pierce into La Grosse Nana’ s posterior (The Big Nana)
  • La Nana embrochée (Skewered Nana) turning on La Machine (The Machine) like a chicken on a spit
  • La Rotozaza (The Rotozaza) petting La Bête gentille (The Gentle Beast) with its claws
  • La Folle (The Crazy Girl) swirling in front of La Nana arbre (Nana tree)
  • Le Piqueur (The Stinger) poking L’Oiseau (The Bird)
  • La Fleur (The Flower), La Baigneuse (The Swimming Lady) and La Nana sur la Tête (Nana Upside-down)

At the end of March 1967 the 15 sculptures were ready to be packed and transported on board a cargo plane chartered by the French army.

Exhausted from frantic work, Niki lost 15 pounds and had to be hospitalized for pneumonia at the American Hospital in Neuilly.

Even before the inauguration of the Expo67, the International Press was unanimous: endorsing Saint Phalle & Tinguely to represent the French avant-garde at an event of such a magnitude was a bold gesture.

Maybe you never heard of Niki. But you will. My humble prophecy is she will be the find of the Expo 67. 

Montreal Star, Canada, March 25th 1967

Once the works were revealed on April 28th,  some critics were enthusiastic and … others outraged.

The only crazy incongruity [...] is on the terrace of the pavilion where the monstrous "Nanas" of Niki de Saint Phalle are almost raped by the atrocious machines of Tinguely. 

Pourquoi Pas Bruxelles, May 25th 1967

The entire roof deck of the French Pavilion is given over to a spectacular exhibit of work by Jean Tinguely and Niki de Saint Phalle. It’s Expo’s single most impressive sculpture exhibit.

David Bourdon for Art International – September 20th 1967

When Expo67 came to an end in October, the Fantastic Paradise was dismantled. Niki’s sculptures were cut into pieces to travel by truck and be exhibited at the Albright-Knox Art Gallery in Buffalo, New York. The artists had to restore the work but their “fight in paradise” received a much warmer welcome in the press and in the public than in Canada.

The new “Paradis Fantastique” show in the outdoor Sculpture Garden at the Albright-Knox Art Gallery is one that will bowl you over, delight, amuse and beguile you.

Buffalo Evening News, November 21st 1967

After Buffalo, the Fantastic Paradise was moved to the Conservatory Garden Lawn, in Central Park, NYC for one year. Over there, too, the public reaction was very favorable.

A small visitor strolls amid Niki’s Nanas and Tinguely machines, and decides that “they can stay on our grass forever” – Extract from New York June 3, 1968, photograph Jill Krementz

At the end of its journey, the question arose about the future of the sculpture group. Pontus Hulten, Director of Moderna Museet in Stockholm, accomplice and longtime friend of the artists offered a solution. He asked them to donate the whole set to the Moderna Museet in exchange of its life-long conservancy and display in the Swedish Capital. Jean and Dominique de Menil, collectors and friends, generously financed its return in Europe.

Since its creation in 1967 Niki de Saint Phalle repainted the Fantastic Paradise but the provoking sculpture can still be enjoyed everyday, outside, on Skeppsholmen an island in central Stockholm.

Fantastique Paradise - Photo Albin Dahlström : Moderna Museet
The Fantastic Paradise in Stockholm – photograph Albin Dahlström / Moderna Museet  – © 2017 Niki Charitable Art Foundation, All rights reserved.

A Letter from Niki

14 Feb 2017

Niki de Saint Phalle, like other artists such as Van Gogh, Picasso or Jean Cocteau, liked to illustrate her letters. The Niki Charitable Art Foundation Archives contain some postcards, letters and faxes Niki de Saint Phalle wrote in French, English and Italian. They are available for curators and researchers to consult. These documents are precious for both their content and layout. They reveal the artist’s personality, are sometimes so elaborate they are considered art works in themselves, and most importantly are testimony to her artistic voice.

Her Personality

In her correspondence Niki de Saint Phalle’s personality illustrates her  great imagination. She liked to include drawings or collages in her correspondence. She created stationery by making xerox copies of her drawings and sticker collages: dancing Nanas, flowers, animals, hands, or other random imagery like pliers, cowboys or Greek temples. Then she would further personalize many letters by adding her own stickers, decals and feathers.

The ornamentation would only leave room for a short message such as “Hi, Coucou, call me, thank you” and to send some light-hearted news. She also wrote longer letters in which she shared her daily life, travels and meetings peppered with secrets and humor, among other things…

While I am writing to you, Diego looks at me trough the door 
(it’s the half blind donkey Dok bought) not really useful but 
very decorative.
Extract of a letter from February 1984 to Jean Tinguely – “The Tuscan Gazette” as Niki titled it.

She used an endless list of affectionate nicknames for her close relations and herself, Jean Tinguely for instance is the little fleur de sel, Santa, the light keeper and she is: Nikita, your desert flower, the kind crocodile, the bad weed, etc… Her words give an intimate and moving portrait of the artist.

Cher Jean (Happy Easter), circa 1974

Adorned letter from 1974 to Jean Tinguely © 2017 Niki Charitable Art Foundation, All rights reserved.

Mail art

Among Niki de Saint Phalle’s correspondence one can find etchings, lithographs or serigraphs designed by the artist which were created for sending on special occasions: New Year, Valentine’s Day, Mother’s day, weddings and exhibition openings.

These small pieces of art, sometimes slightly different from one another and therefore often unique, were usually dedicated to her staff, friends or family. They exemplify the artist’s generosity and serve to include her in the Mail art movement.

Mail art began in the 1960s when artists sent postcards inscribed with poems or drawings through the post rather than exhibiting or selling them through commercial channels. Its origins can be found in Marcel Duchamp, Kurt Schwitters among others. It was the New York artist Ray Johnson (1927-1995), a contemporary of Niki de Saint Phalle, who in the mid 1950s posted small collages, prints of abstract drawings and poems to art world notables. This gave rise to what became known as the New York Correspondence School.

Mail art can take a variety of forms including postcards, packages, faxes, emails and blogs. It is considered to be the predecessor of net art.

Be my Valentine, circa 1988
Be My Valentine, offset from circa 1988 © 201 7 Niki Charitable Art Foundation, All rights reserved. 

 

Her artistic voice

Niki de Saint Phalle’s letters serve as vivid testimony of her artistic expression. Through letters, sometimes including preliminary drawings, she expressed her opinion on projects and exhibitions in which she participated or visited. Her writings show how much she valued her collaborator’s opinions.

In correspondence to Jean Tinguely she describes the entire building process of the Tarot Garden over more than 15 years. In some letters she indicates her vision of how things will be done. In others letters, how she overcame some technical difficulty or artistic dilemma, and in many, how Jean’s art would add to her project.

I think a lot about the archways which are beautiful. How to do 
them ? In Mosaics - very oriental, like a jewel contrasting with 
your fountain or on the contrary with terra-cotta pots, in a 
beautiful brownish red.
Extract of a letter from 1982 to Jean Tinguely, regarding the Tarot Garden
When you will come the Falling Tower will be all polished, it 
still needs 4 or 5 days of work. I am looking for a new kind 
of mirror. Maybe slightly smoked. They said we can also find 
some slightly pink ! I will have some samples next week.
Extract of a letter from November 1984 to Jean Tinguely, regarding the Tarot Garden

Thanks to the many items of correspondence covering more than 40 years, we learn about alternative visions and the creative process that made her work so distinctive.

25 years after its passing, Fribourg pays a festive tribute to Jean Tinguely

6 Sep 2016

Grand%20Prix%20Tinguely%202016

On Saturday September 3rd, the Swiss honored Jean Tinguely’s memory with a brillant and loud procession of backfiring motors on Fribourg streets. One hundred vintage vehicles paraded along with tanks, groups of children and “guggenmusik”, the typical incoherent music played during carnaval parades. The festival was in full swing throughout the afternoon, attracting about 10,000 people under a bright sunshine.

Cotège 1

Race cars and classic cars alike rolled down the streets, reflecting Tinguely’s love for movement and speed. This “Grand Prix Tinguely”, as City organizers baptized this hommage event, also illustrated the friendship that united the sculptor to the racing driver Jo Siffert.

The highlight of the parade was the appearance of Le Safari de la Mort Moscovite, an itinerant work of Tinguely realized in 1989. The Tinguely Museum in Basel lent the piece for the occasion.

Safari de La Mort Moscovite 1After the parade, the crowd gathered around the Jo Siffert Fontaine to enjoy and listen to the “heart” of the work that was part of a sound installation and various musical performances. At 10 pm the fountain was adorned by a thousand lights, a tribute to Fribourg Formula One legend, and fireworks started to illuminate the sky

René Progin, sculptor and long-time friend of Jean Tinguely took part in organizing the event and Niki de Saint Phalle’s grand-daughter participated in the festivities.

Safari de la Mort Moscovite 2

Other events, like the inauguration of a Tinguely alley in Neyruz, exhibitions, plays and shows, are planned until the end of year to honor the Swiss sculptor.

To find out more about them, consult the website : http://www.tinguely2016.ch/ and the official program.

#GrandPrixTinguely @Tinguely2016

Photos credit : Sandra Beate Reimann, Curator and Digital Curator Museum Tinguely @SB_Reimann