An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Exhibition view: Franz West, Centre Pompidou, Paris (12 September–10 December 2018). Courtesy Centre Pompidou, Paris. Photo: Phillipe Migeat.
Emerging in an early-1970s Viennese art scene dominated by the legacy of the Wiener Gruppe and the meteoric rise of the Actionists, Franz West, unsurprisingly, was a loner for much of his career. A great believer in the potency of pleasure, he approached artmaking with a playful, mind-drifting everydayness, fusing it with social functionality – hardly in line with the heroic expressivity of the Wiener artists' post-Dadaism nor with the severe, messianic existentialism of Actionism.
Franz West was an Austrian artist who produced contemporary sculpture, collages, furniture and installations. These works—all colourful, light-hearted and engaging—vary in scale from small, mobile gallery pieces to large installations in public parks and other civic spaces. For much of his long career he regularly featured in major international survey shows across the globe. He often collaborated with leading contemporary artists such as Sarah Lucas and Douglas Gordon, as well as younger artists like Anselm Reyle. West's work can be found in major public and private collections throughout Europe and the United States.
Born to communist parents in Allied-occupied post-war Vienna, West did not engage in artistic pursuits until he was well into his 20s. He had initially been studying civil engineering but dropped out in the mid-1960s to travel around Europe and the Middle East. He started making art—drawing, then sculpture and performance—around 1970, though he was at this point without any formal training. In 1977 West returned to Vienna to study art under Bruno Gironcoli at the Academy of Fine Arts, graduating in 1982. He was exposed to the performance art of the Viennese Actionists in the 1960s and 1970s, but rejected their insistence on provocative, violent ordeals and complex existential intensity. Instead he sought something more accessible. The theme of communication and interaction is present in all of West's work as he sought to disrupt the traditionally passive relationship between art viewers.
West's choice of materials is indicative of his rejection of high culture's pretentions. He made his art from plaster, papier mâché, wire, aluminium, styrofoam and carpet: materials one might expect to find in the home, the workshop or a typical school art room. In all of West's works his creative process is left visible; nothing is perfect or smooth. It is often said that he felt it does not matter what art looks like but how it is used.
West's earliest series of signature sculptures were the 'Adaptives' ('Passstücke') from the late 1970s. These small objects—made of plaster or papier mâché and painted white—were abstract forms ergonomically designed to be worn. Functioning as extensions of limbs, their completion as art could only come by the viewer adorning and performing with them. Some of the exhibited 'Adaptives' were supplemented with videos of people wearing them. The 'Adaptives'—made from non-traditional materials and roughly aligning form and function by encouraging viewer participation—became the foundation of the artist's practice.
From the 1980s, West's biomorphic sculptural forms began to develop in scale and size, translating into grand, painted or lacquered metal works and installations. The greatest manifestations of this were his later outdoor works such as The Ego and the Id (2008), with their colourful, spindly, snaking and bulbous forms. His vividly painted, organic, abstract papier mâché works such as Untitled (painted by Herbert Brandl) (1988) also developed into large-scale, imposing pieces like Untitled (large sculpture with can) (2009) and Lemur (2009).
Rising to prominence in the mid-1980s, West also began to produce and exhibit furniture as both installation sculptures and interventions in museum spaces. Initially, influenced by the early-20th-century design ethic of the Vienna Secessionists, he welded together pieces of scrap metal in a collage-like technique to make furniture resembling his 'Adaptives'. This approach is visible in the 2.1-metre piece, Untitled (2010), with its patchwork of lacquered aluminium sheeting. By the late 1980s West produced more familiar designs for tables, chairs, lamps and other domestic objects. Not intended as examples of cutting edge furniture design, some were too flimsy to be functional. Continuing this into the 2000s West made furniture such as Nannerl (2006)—composed of colourful coco mat, carpet on a steel frame—and provocatively introduced such pieces into exhibitions.
West's first large-scale public installation, Auditorium (for the 1992 documenta IX), consisted of 72 sofas—made from metal frames, ornate Turkish rugs and foam—as seating for a parking lot cinema. Most of his large-scale installations contain humour or playfulness. In Etude de couleur (1991) a colourful, panelled catwalk led to a functional urinal, highlighting the importance of colour while nodding to the heritage of Duchamp.
West also worked with two-dimensional media. From the 1970s through to the late 2000s, he produced collages, combining advertising imagery with abstract compositional arrangements. From the mid- to late 2000s, West utilised painting and collage techniques in the 'Poster Designs' that accompanied his exhibitions. The promotional design became an autonomous picture displayed in the show. The details of the exhibition referred to—the show's title, venue, date and other relevant information—became the subject matter. The 'Poster Designs'—both about the show and in it—implicated the viewer in the art.
Organized by seminal conceptual artist Joseph Kosuth, 'Dot, Point, Period,' a Curated Installation by Joseph Kosuth covers every square foot of wall at the Castelli Gallery's 40th Street space. A selection of artworks by over 40 artists are dispersed within a continuous string of short texts. This string of text, in a three-inch typeface, follows...
To enter Marcus Jahmal's Bushwick home and studio, I squeeze past a giant canvas leaning against the hallway stairs—a sunset through an open window, stratified like sand art in a vase, its horizon pulled apart into infinite variations, infinite color. The home studio is stuffed with work, evidence of the restless energy with which he...
All that remained were 48 hats. 48 hats and 48 coats. 48 hats and 48 coats and 48 pairs of shoes. They lay, folded, in six lines of eight, the discarded wear of 48 absent men or the uniform of a single man, repeated some 48 times.
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