approach

Tinguely’s Workshop: Exploring the Mechanical Poetics of ‘Tout Ramenė’

Introduction: The Visual and Emotional Resonance of Tinguely’s Work

The art of Jean Tinguely is a celebration of movement, noise, and playful chaos. It possesses a distinct visual energy and a profound emotional resonance that speaks to the joy and absurdity of mechanical life. This workshop proposes an immersive approach to understanding Tinguely—not merely as an observer, but as a creator. We aim to move “inside” his artistic philosophy, appreciating his genius by practically implementing the core principles that guided his creation of kinetic artefacts and spectacular, often-failing, machines.

Core Approach: ‘Tout Ramenė’ (All Reused) and Situated Knowledge

The fundamental principle guiding this exploration is Tinguely’s concept of Tout ramené—the idea that all materials can and should be reused. This principle is not simply a matter of economy but a philosophical stance against consumerist waste and towards an elevation of the ordinary. (See archival video for context: https://www.rts.ch/play/tv/edition-archives/video/tinguely-tout-un-art?urn=urn:rts:video:79b7e34d-1295-3b5f-afde-b20197079475).

Expanding the Legacy in 2026:

This workshop seeks to offer new and timely approaches to Tinguely’s legacy, situating his ideas within contemporary discourse. We are approaching this workshop as an intensive exploration, actualizing his creative practice by delving into his core ideas and constructional principles.

Creating Situated Knowledge: Practice Against the Digital Grain

A key objective is the creation of situated knowledge. In contrast to the detached, generalized data of Artificial Intelligence (AI), Tinguely’s work is intrinsically linked to its environment, the materials at hand, and the body of the maker.

• Embodiment and Materiality: We emphasize building with materials already present in the participants’ immediate environment. This focus on “found material” and embodiment (the walk to find the object, the physical act of assembly) stands in direct contrast to the virtuality of the AI sphere.
• Embracing Failure: Tinguely’s aesthetic celebrates the beautifully flawed, the stuttering, and the failing machine. This embrace of error and imperfection is a powerful counterpoint to the relentless pursuit of optimized, flawless functionality inherent in modern AI systems. The failure, in this context, is a critical site for learning and aesthetic appreciation.

Why an Interdisciplinary Approach? Why Now?

The timeliness of Tinguely’s philosophy is more apparent than ever:

• The Anarchist Machine: The failing machine can be interpreted as an inherently anarchist approach to technology. It resists control, subverts utility, and refuses to serve the conventional goals of production and efficiency. This exploration of a particular world view through practice provides a critical lens for contemporary technological critique.
• Vulnerability Against War Machines: In an era dominated by discussions of lethal autonomous weapons and surveillance AI, Tinguely’s work offers a vision of the vulnerable machine. It champions a machine that is exposed, harmless, and inherently poetic—a direct rebuttal to the idea of a machine built solely to dominate or destroy.
• Sustainability and Historicity: The practice of recycling and elevating garbage connects directly to pressing ecological concerns. Tinguely’s method grants historicity to discarded objects, transforming them from mere waste into components with a past and a new, artistic future. Crucially, the process doesn’t involve buying new materials, reinforcing a sustainable and critical stance on consumption.

Workshop Deliverables and Context

Participants are tasked with building individual or collaborative kinetic sculptures using exclusively found materials. The focus is on the process of creation, the negotiation with material constraints, and the resulting personality of the machine.

Collaborative Creation: We will conclude by potentially making a sculpture together, which will be influenced by the existing group dynamic. An important consideration is whether participants already know each other, as this pre-existing relational context will inevitably shape the collaborative artifact.