Jean Tinguely (22 May 1925 in Fribourg, Switzerland – 30 August 1991 in Bern) was a Swiss painter and sculptor. He is best known for his sculptural machines or kinetic art, in the Dada tradition; known officially as metamechanics. Tinguely's art satirized the mindless overproduction of material goods in advanced industrial society.
Tinguely grew up in Basel, but moved to France in 1952 with his first wife Swiss artist Eva Aeppli, to pursue a career in art. He belonged to the Parisian avantgarde in the mid-twentieth century and was one of the artists who signed the New Realist's manifesto (Nouveau réalisme) in 1960.
His best-known work, a self-destroying sculpture titled Homage to New York (1960), only partially self-destructed at the Museum of Modern Art, New York City, although his later work, Study for an End of the World No. 2 (1962), detonated successfully in front of an audience gathered in the desert outside Las Vegas.
In Arthur Penn's Mickey One (1965) the mime-like Artist (Kamatari Fujiwara) with his self-destructive machine is an obvious Tinguely tribute.
William Forsythe (born December 30, 1949 in New York City) is an American dancer and choreographer resident in Frankfurt am Main in Hessen. He is known internationally for his work with the Ballett Frankfurt (1984–2004) and The Forsythe Company (2005–present). His early dance works are acknowledged for reorienting the practice of ballet from its identification with classical repertoire to a dynamic 21st-century art form, while his more recent works have further extended his research on the performative potentials of dance and his investigation of choreography as a fundamental principle of organization.
This garish, glorious ode to the self-indulgence and absorption of the great, the limitless, the eternal Dalí is the only motion picture to capture the true essence of the painting, sculpture and public persona of Catalonia's most bizarre and prophetic export. The inspirations of his paintings are explored, their forms are examined in motion and they are granted a limited context, replete with an expiration date; the sculptures are utilized for post-Catholic ritual and coastal fashion show alike; the man himself positions his body and voice in an exhibition of otherworldly antics. Dalí capers! Dalí lectures! Dalí realizes the nature of his own culture and humanity in a selective rejection of its limitations and a celebration of all that has characterized the Mediterranean entire - and the peculiar genius of the Catalan in particular. Welles voices the hyperbolic, ingratiating narrative in perfect deadpan, providing a skewered straight man in counterpoint to the prancing subject. It is better to recommend this film without reservation than to attempt to describe the enormity of its visuals. Suffice to say, this is the only true Dalían film, presented in both American and Dalían English, imbued with all the striking color, inexplicable sights and magnificent intent of the Dalían oeuvre. Accessible and unaccountable, regal and common, hilarious and somber: sixty minutes of unimpeded Dalí shot for television broadcast in the pivotal year of nineteen hundred and seventy
Perhaps best known to western audiences for his soundtrack to "Valerie and her Week of Wonders," Fiser produced many other haunting and lush soundtracks during his lifetime
A collection of the beautiful and haunting film music of Lubos Fiser.
Lubos Fiser (September 30, 1935 – June 22, 1999) was a Czech composer, born in Prague. He was known both for his soundtracks and chamber music. From 1952 to 1956 he studied the composition at the Prague Conservatory as a pupil of Emil Hlobil. From 1956 he studied at the AMU in Prague. His first publicly performed compositions were Four Pieces for Violin and Piano (1954).
This 1970 Czech film follows the titular character Valerie through a dream landscape in which she is seduced by priests, vampires, men and women alike as she experiences her first period. The beautiful and unique soundtrack by Luboš Fišer has also proven to be very influential, in particular for the UK band Broadcast, who cite it as a major influence and have interpolated parts of the score into their own music.