![]() ![]() Although feted as a sculptor, West’s oeuvre also includes drawings, collages, videos, furniture and installations, often incorporating a wide range of materials such as papier-mâché, cardboard, plaster and found images. West rose to prominence in Vienna during the 1970s and achieved acclaim for his portable sculptures known as Paßstücke (‘Adaptives’). His artistic and spiritual legacy is immense. In the words of Griet Dupont, founder of De 11 Lijnen: ‘If I were to define Franz in just a few words, I would say: anarchy, freedom of expression, friendship and collaboration.’Ī catalogue of the exhibition will be published.įranz West (1947–2012, Vienna) is widely regarded as one of the most important artists to have emerged from post-war Europe. Yet Franz West was not merely an artistic collaborator, he was a dear friend. He later created a work for the project Sculpture in Nature, Nature of Sculpture (2009). West was so enamoured of the project that he returned the following year for a second edition of Der Ficker. ![]() ![]() In 2005, West presented Der Ficker at the gallery: a group exhibition in which he showed his own work in conjunction with pieces by his artist friends and colleagues. In addition, Wild West is also an ode to West’s long history of exhibiting at De 11 Lijnen. Other artists, who never participated in his projects, share an affinity with West and add their own voices to the dialogue. These were the shows in which West created a particular atmosphere or arranged works by different artists in a special configuration, thereby establishing the unique modus operandi that made the final exhibition a work of his own. A number of these artists have long been associated with Franz West, most notably as contributors to his exhibition projects. The exhibition includes work by: Egon Schiele, Emily Kame Kngwarreye, Mike Kelley, Haegue Yang, Thomas Schütte, Anne Schneider, Rirkrit Tiravanija, Urs Fischer, Andreas Reiter Raabe and Mit Jai Inn. Although it includes works by other artists, this exhibition is not a classic group show as it does not aim to represent influences and references in any usual way. His approaches, which this exhibition seeks to revive, are anarchic and nonhierarchical. Furniture – as an extension of the human body – is also an important component of his oeuvre. With the human body as the main creative instrument, West’s unconventional and unconstrained attitude enabled his objects to become agents of a transfer of energy between artists and among audiences. This dynamism serves as a catalyst for a different way of seeing. The central tenet of the exhibition is to convey Franz West’s specific approach to art and ideas, which revolved around his unhindered curiosity and wild way of thinking, working and collaborating. Through the video footage he recorded at West’s studio, Reiter Raabe has created an intimate portrait of the artist and his working methods while simultaneously revealing something infinitely less tangible: West’s thought processes. The starting point of the exhibition is Reiter Raabe’s film about the artist: Franz West (2007- 2012). The historical counterpoint is West’s and Reiter Raabe’s artistic forefather, radical outsider and fellow countryman: Egon Schiele (1890-1918). 1960), it brings together an eclectic range of work, including key pieces by Franz West and his New York-based contemporaries, plus recent work by emerging artists. Curated by artist and fellow-Austrian Andreas Reiter Raabe (b. As its name might suggest, this exhibition revolves around the work, career and character of one of the twentieth century’s most influential sculptors: Franz West (1947-2012).
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