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Lot Essay
Une touche suisse, exposition organisée en 1991 à l'occasion des trente ans de la Galerie Bonnier, fut l'occasion pour les artistes d'exprimer en choeur leur complicité artistique avec Jan et Dagny Runnqvist. La riche correspondance entretenue avec Niki de Saint Phalle et Jean Tinguely témoigne de leur intimité et fidélité dans une relation sincère qui s'étend à leurs familles respectives : 'Ci-joint 2 sacs pleins de cadeaux de Noël pour toi et ta femme et ta familiglia' (sic). Cette intimité épistolaire est aussi propice à une liberté créatrice pour les artistes qui y déclinent, de manière solitaire ou en duo, la richesse de leur univers artistique. Comme le prolongement de leur oeuvre, ces lettres sont aussi le medium singulier d'échanges plus sérieux entre l'artiste et le galeriste sur les projets qui les rassemblent, abordant aussi bien des questions de scénographie que des aspects plus marchands : 'J'aimerai avoir mon mot dire à pour le réclassement de cet objet. J'aimerais mieux un particulier; aussi le revendre à un Japonais' (sic), confie Jean Tinguely, sur fond d'une partition colorée et bigarrée.
A Swiss touch, an exhibition set up in 1991 on the occasion of the thirtieth anniversary of the Bonnier Gallery, was the opportunity for artists to jointly express their artistic complicity with Jan and Dagny Runnqvist. The wide-ranging correspondence with Niki de Saint Phalle and Jean Tinguely testifies to their intimacy and fidelity in a sincere relationship, that extended to their respective families: 'Herewith two bags full of Christmas gifts for you and you wife and your familiglia' (sic). This epistolary intimacy was also conductive to a creative liberty for the artists who declined in it, in an isolated manner or in duo, the wealth of their artistic universe. Like the extension of their oeuvre, these letters are also the singular medium of more serious exchanges between the artist and the gallery owner on the projects that unite them, approaching both questions of scenography and commercial aspects: 'I would like to have my say for the reclassification of this object. I would prefer an individual; also to resell it to a Japanese' (sic), confides Jean Tinguely, amid a multicoloured partition.
A Swiss touch, an exhibition set up in 1991 on the occasion of the thirtieth anniversary of the Bonnier Gallery, was the opportunity for artists to jointly express their artistic complicity with Jan and Dagny Runnqvist. The wide-ranging correspondence with Niki de Saint Phalle and Jean Tinguely testifies to their intimacy and fidelity in a sincere relationship, that extended to their respective families: 'Herewith two bags full of Christmas gifts for you and you wife and your familiglia' (sic). This epistolary intimacy was also conductive to a creative liberty for the artists who declined in it, in an isolated manner or in duo, the wealth of their artistic universe. Like the extension of their oeuvre, these letters are also the singular medium of more serious exchanges between the artist and the gallery owner on the projects that unite them, approaching both questions of scenography and commercial aspects: 'I would like to have my say for the reclassification of this object. I would prefer an individual; also to resell it to a Japanese' (sic), confides Jean Tinguely, amid a multicoloured partition.