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The full-scale restoration of Jean Tinguely’s Méta-Harmonie II (1979)
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Jean Tinguely, Méta-Harmonie II, 1979, Mobile scrap-metal sculpture with musical instruments and other objects, 3 parts: iron, sheet metal, brass, plastic, rubber, wood, leather, glass, electric motors, 380 × 690 × 160 cm, Emanuel Hoffmann Foundation, On permanent loan to Museum Tinguely, 1996, Photo: Tom Bisig, Basel, © 2018, Pro Litteris, Zurich
Méta-Harmonie II (detail) with Jean Tinguely in the background at the exhibition Tinguely – Luginbühl, Städtische Galerie im Städel, Frankfurt am Main, 1979. Museum Tinguely, Basel, Photo: Leonardo Bezzola
Méta-Harmonie II entered the collection of the Emanuel Hoffmann Foundation in 1980 and for a long time was on show at Kunstmuseum Basel. It can now be seen and heard at Museum Tinguely, which has held it on permanent loan since 1996. Photo: Kunstmuseum Basel, Martin P. Bühler
Three welded frames provide the underpinning for Méta-Harmonie II. Housed inside this three-dimensional construct is an elaborate mechanism made up of wheels, belts, metal rods, elastic cord, musical instruments and beaters, all set in motion by three motors. Photo: Schaulager, Laurenz Foundation
Tinguely mounted wheels on the sides of all three frames of Méta-Harmonie II to make it easier to move around. Photo: Tom Bisig, Basel
There are no original plans of Méta-Harmonie II existing. To understand how it works, the conservators themselves first had to take stock of all the mechanisms involved. Photo: Schaulager, Laurenz Foundation
As a very intricate, kinetic work of art, Méta-Harmonie II is susceptible to breakdown and requires a lot of maintenance. Fortunately, the team had the support of Jean-Marc Gaillard, who as conservator at Museum Tinguely and a former assistant of the artist himself has extensive experience of conserving Tinguely’s works. Photo: Tom Bisig, Basel
Comparison of the wear and tear on three brass sockets. The artist’s assistants used brass sockets to minimise wear between two moving parts. These had to be inspected and replaced wherever the wear and tear was too great. Photo: Schaulager, Laurenz Foundation
That the change of the sound of *Méta-Harmonie II* was caused by wear and tear was impossible not to notice. But other factors were implicated, too, including the use of the wrong beaters, for example. Photo: Schaulager, Laurenz Foundation
Early photographs were found to serve as a guide for ascertaining the original condition of the work. Conservators were then able to distinguish the beaters installed by Tinguely from those replaced at a later date. Photo: Schaulager, Laurenz Foundation
The Disney figure that bangs onto the piano keyboard is made of PVC, which owing to the migration of the plasticizers had become seriously discoloured. Photo: Tom Bisig, Basel
Um den durch das permanente Aufschlagen auf die Tastatur des Klaviers verformten Fuss zu stabilisieren wurde in ihrem Inneren ein Metallskelett eingebaut.Foto: Schaulager, Laurenz-Stiftung
Some of the duct tape used by Tinguely had become so brittle that it had to be replaced. Carole Maître, assistant curator at Schaulager, testing various paints as a preliminary to making new duct tape. Photo: Tom Bisig, Basel
Marcus Broecker, conservator at Schaulager, cutting into strips the duct tape that the team of conservators made specially for this work. Photo: Tom Bisig, Basel
The Pinocchio figure in Méta-Harmonie II doubles as a beater that hits the piano to make it sound. The figure’s limbs had been ripped off and had to be reattached. Photo: Tom Bisig, Basel