dylaby

In August 1962, given only three weeks for completion, these artists were invited to transform the southern wing of the museum into a place where audiences could experience and become immersed in art. Because the installations in Dylaby mainly consisted of old and everyday objects, almost everything was thrown away after the exhibition.

According to Pontus Hulten, Tinguely and he had been discussing the idea of a gigantic construction build by several artists together ever since their first meeting in 1955. Their aim was to ‘demolish the barriers surrounding art so that the spectator could become an active participant.’ Willem Sandberg had come to greatly admire the exuberant artist during Bewogen Beweging and, a year later, offered him an opportunity to realize his ideas for an exhibition at the Stedelijk.

A discussion between Willem Sandberg and Jean Tinguely in New York led to an exhibition constructed in the Stedelijk Museum by a group of artists, a ‘playful maze of sorts in which visitors would become participants.’3 This ‘Dynamic Labyrinth’, as controversial as it was innovative, was a collaboration between Jean Tinguely, Daniel Spoerri, Niki de Saint-Phalle, Martial Raysse, Per Olof Ultvedt and Robert Rauschenberg.

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"Em 'Dylaby" a exposição, realizada no Museu Stedelijk em Amsterdã em setembro de 1962 - diz Spoerri - criação de dois quartos ... Na segunda sala eu apliquei o princípio da plena escala planos trocadas (a mesma parte da armadilha), uma espécie de exposição de "arte kitsch no estilo do século passado, com a base da parede, esculturas, cadeiras e tapetes, foi girada em 90 graus e os visitantes se viram andando sobre um muro, onde pendurou as pinturas" que se aplica ²


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