Motor Cocktail: Sound and Movement in Art of the 1960s September 2, 2011

'Motor Cocktail' brings together artists from the 1960s in the MCA's Collection who used sound and movement to directly engage individuals within mass consumer society and draw them into an immediate sensual experience with the artworks. Jean Tinguely's 'Motor Cocktail (1965),' fully restored for this exhibition and on view for the first time in 30 years, is one of the exhibition's focal points. Constructed from scrap metal, the sculpture is set in raucous motion, rotating a metal rooster while a siren mimics its crowing. In marked contrast is Francois and Bernard Baschet's musical sculpture 'Aluminum Piano (1962),' which "plays like a piano and sounds like a glockenspiel." Since the 1950s, the Baschet brothers began systematically inventing new acoustic instruments that defy easy classification as either visual or musical art. But they share with Tinguely a desire to creatively engage the individual. Francois Baschet writes: "Philosophically, we think that, in our machine-oriented automated society, creativity is the only way to avoid mass ossification. Sound sculpture is a tool as much as an art form. The Sculptor makes something, and musicians or visitors use it to create their own art. It is a double-trigger operation." This statement expresses a sentiment prevalent at the time and provides a framework for the other artists included in the exhibition: Jesus Rafael Soto, Takis (Panayotis Vassilakis), Josef Albers, Julio le Parc, Gregorio Vardanega, and George Rickey.