It’s great fun from start to finish, painting a vivid picture of West’s singular mind and wicked sense of humour. Emerging in the early 1970s, Austrian-born artist Franz West (1947-2012) developed a unique aesthetic that engaged equally high and low reference points and often privileged social interaction as an intrinsic component of his work. He went through a “furniture phase” – who hasn’t? – where he’d create strange things made of welded iron rods, or a chair that looks like the spearmint-green offspring of a boat and a roller-coaster. The most impressive are room-sized things resembling toothpaste-swirls and floating pink bacteria. Some sit atop plinths and one or two have plinths perched on atop them.Īs he got older, his sculptures got bigger. These are wild, scraggly things, many of which incorporate objects like hats or, more often, empty wine bottles. Later he worked on more legitimate sculptures, which he called his Legitimate Sculptures. The originals are too fragile for Tate Modern visitors to mess around with, but replicas are on hand, as are curtained-off areas where people can play with the art in private (God knows what might happen behind those sheets). Franz West, ( Viena, 16 de febrero de 1947 - Viena, 25 de julio de 2012) fue un escultor austriaco que residía en Viena. One looks like a giant ham, another like a stingray peering through a telescope. Others are just daft, amorphous blobs of papier mache and metal that can be slung over one’s shoulder or worn as a hat. One glued a pair of sandals to a board and invited people to step into them, becoming the art. A FORTY-YEAR, roughly two-hundred-piece Franz West survey, launched last fall at the Centre Pompidou in Paris and. He’s perhaps most famous for his “passstűcke” or “adaptive” sculptures, which visitors were encouraged to play about with.
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