Archive: Austria
Immaculate larger than life sculptures as sanctified haven

Immaculate larger than life sculptures as sanctified haven

Jaume Plensa - Paula, 2013, Bronze, 179 x 63 x 63 cm, Toledo Museum of Art, 2016, Photo The Blade:Andy Morrison

Jaume Plensa
Jaume Plensa

Jaume Plensa is arguably one of the top sculptors today. He is largely known for creating huge-sized ethereal sculptures, and has also worked with different other types of contemporary art media, including from acoustic installations to video projections.

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Erwin Wurm’s One Minute Sculptures are refreshing

Erwin Wurm’s One Minute Sculptures are refreshing

erwin-wurm-one-minute-sculptures-1

erwin-wurm-one-minute-sculptures-1

Since the late 1990s Austrian artist, Erwin Wurm is working on his on-going One Minute Sculpture series in which he or others pose with everyday objects, often within an art space.

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This Austrian artist is considered one of the most important postwar-artists

This Austrian artist is considered one of the most important postwar-artists

Franz West - The Unconscious Sculpture

Franz West - Drama (Modell), 2001 at Kunsthaus Bregenz
Drama (Modell), 2001 at Kunsthaus Bregenz
Photo: apa /Franz West / Kunsthaus Bregenz / Rudolf Sagmeister

The Austrian Franz West (1947-2012), one of the most important postwar-artists, died less than two weeks ago. His work has been repeatedly exhibited at documenta, the Venice Biennale and in 2011 was awarded the Golden Lion at the Biennale di Venezia in recognition for his life’s work.

Internationally he got famous through participating at the Documenta IX in 1992: Several of his art pieces were distributed around the area and served as chairs and sofas. Due to their affordable price they quickly spread within the art world and finally became a mass-product. Though not appreciated by everybody, it made West’s approach to art clear: Creating usuable art. In an interview with Robert Fleck he also said “Best of all I like art in the streets; it doesn’t demand that you make a special journey to see it, it’s simply there. You don’t even have to look at it – that is probably the ideal art.”

In the 1970s West created Adaptives, small, portable sculptures. The following large artworks, made from plaster and gauze and painted with dispersion paint (see below) are directly based on them.

Franz West - Gekröse, 2011
Photo: Art Basel

This sculpture, Gekröse, 2011, was one of the most dominant pieces shown at the Art Basel Art Unlimited last year by Gagosian Gallery. It was West’s largest outdoor sculpture and sold for a seven digit figure a few hours after the opening.

franz-west-baltimore-museum-of-art-the-ego-and-the-id-2008
Photo: Mitro Hood/Baltimore Museum of Art)

The Ego and the Id, 2008, a 20 feet high aluminum sculpture was installed at the Franz West retrospective at the Baltimore Museum of Art. It featured chairs that were built into the artwork and invited viewers to interact with it. The title of the art piece is a reference to one of Sigmund Freud’s most famous texts in which he describes the Id, ego and super-ego as the three parts of the psychic apparatus.

Franz West - The Ego and the ID, 2008, NYC

Afterwards the same sculpture previously shown in Baltimore got exhibited at the Doris Freedman Plaza in Central Park and was on display until March 2010 while some of his smaller sculptures could be seen at the MOMA.

franz-west-museum-ludwig-ergebnis-2008
(photo: Museum Ludwig)

Ergebnis, 2008 at Museum Ludwig

Franz West - Room in Vienna, 2010
Franz West – Room in Vienna, 2010
Photo: Österreichische Galerie Belvedere

Franz West - Room in Vienna, 2010
Franz West – Room in Vienna, 2010
Photo: Österreichische Galerie Belvedere

franz-west-lying-not-2008-gagosian-new-work-art-basel-miami-beach-art-projects-2009
Photo: Gagosian

Lying Not, 2008 for Gagosian New York at Art Basel Miami Beach Art Projects, 2009

Franz West - Les Pommes D’Adam, 2007
Franz West – Les Pommes D’Adam, 2007, Epoxy, metal, paint and concrete, dimensions vary with installation
Courtesy of the Hall Art Foundation

Franz West - Drama and Kantine, 2001/2002
Franz West – Drama and Kantine, Merciless exhibition at MAK, Vienna, Austria, 2001/2002
Archive of Peter Noever

Franz West - The Unconscious Sculpture
Franz West – The Unconscious Sculpture

Franz West - Untitled, 2012
Franz West – Untitled, 2012

Franz West - Gartenpouf, 2007
Franz West, Gartenpouf, 2007, styrofoam, epoxy resin and synthetic resin varnish, 290 x 160 x 160 cm

Franz West portrait
Franz West

Franz West - Man with a Ball
Franz West – Man with a Ball
Photo: Mike Bruce

Franz West - Man with a Ball
Franz West – Man with a Ball
Photo: Mike Bruce

Franz West - Ein Hod, 2010
Franz West – Ein Hod, 2010, Epoxyd, lacquered, 450 x 220 x 220 cm, Installation at Kunsthaus Graz, Austria, 2010
Photo: UMJ / N. Lackner

 Franz West - Endlich zwei gute Skulpturen ,2002
Franz West – Endlich zwei gute Skulpturen, 2002, Installation consisting of two sculptures, poster design and stool photo
Galerie Meyer Kainer, Wien

 Franz West- Epiphanie an Stühlen ,2011
Franz West – Epiphanie an Stühlen, 2011
Photo: Michaela Obermair, Courtesy Galerie Eva Presenhuber, Zürich © Franz West Privatstiftung

Franz West - Ohne Titel, 2012
Franz West – Ohne Titel, 2012, Completion posthumously, Installation view at MMK Frankfurt, Germany
Photo: Axel Schneider © Franz West Privatstiftung/mumok

Franz West - Schlieren, 2010
Franz West – Schlieren, 2010, installation view, Suvikunta, Sarvisalo, Finland
Photo: David Bebber

Franz West - Schlieren (Smears), 2010
Franz West – Schlieren (Smears), 2010, installation view, 2010 at Tate Liverpool, UK

Franz West - Lips, 2012
Franz West – Lips, 2012, aluminum, epoxy resin.
Photo: JASON WIERZBICKI/PHILADELPHIA MUSEUM OF ART/INSTALLATION VIEW: PHILADELPHIA MUSEUM OF ART

Franz West at Gagosian Rome by AdalRome (169)
Installation view at Gagosian Rome, 2010
Photo: Gagosian


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Out of this world: Volcanic ash pyramids fill up museums

Out of this world: Volcanic ash pyramids fill up museums

Magdalena Jetelová - Domestication of Pyramids - Museum of Applied Arts Vienna
Magdalena JetelováDomestication of Pyramids, Museum of Applied Arts Vienna, Austria

Domestication of Pyramids by Magdalena Jetelová are pyramid-sculptures, covered by volcanic ashes, and have been shown at the Museum of Applied Arts / Vienna, Martin-Gropius-Bau / Berlin, National Museum of Contemporary Art / Warsaw, Irish Museum of Modern Art / Dublin, Forum Kunst Rottweil and other art spaces.

The Viennese Museum of Applied Arts is a typical example of Ringstrasse architecture: an elegant, richly ornamented Neo-Renaissance building with an inner peristyle hall and galleries. Upon entering the building, the visitor finds himself/herself, surprisingly, in a darkened, curved space: soon he/she discovers that he/she is standing under large, slanted scaffolding. He/she instinctively walks to the right, where there is a way out. When he/she returns to the daylight, he/she finds himself/herself in the Museum hall, standing next to a thirteen-meter high tilted wall covered in red silica sand. The wall slices the inner space of the Museum diagonally across two floors, slashing razor-like through pillars and balustrades up to the ceiling. The wall, tilted at a 45° angle and with a base thirty-five meters long, is a fragment of one side of a pyramid which could continue in the exterior of the Museum building. A space on a scale which greatly exceeds the size of the host building is inserted into the museum’s interior. Despite its dimensions, it is only a fragment of a whole known to us, which in an imaginary way continues beyond the borders of the Museum building and which we can mentally reconstruct as a pyramid.

Domestication primarily stems from the fact that we can already imagine it based on the fragment we have at our disposal because we have become well acquainted with its form in our minds. On the entirely specific level, domestication—taming—can be seen in the possibility of walking around the pyramid from all sides, from the inside as well as from the outside; taking a look at its base from the gallery above, experiencing it from a perspective that people were to be denied. This, however, does not change anything about the fact that the essence of the form is mental, not physical. The entire pyramid is only realized through thought.

The intersection of the eastern archetypal monument—the pyramid—and its absolute geometry with‘humanized’ western architecture, its small details and scale, raises questions concerning the nature of our culture, whereby our stable coordinates which anchor us in the world become relative. Other pyramids have been constructed at various locations in Europe, but only in Vienna is the pyramid physically accessible both from the inside and outside; in Warsaw and Berlin the surface of the structure can be observed from the outside, which, because it is covered with volcanic ashes, evokes the feeling of a full compact mass, poured into the form of a heap. The confrontation of the eastern monument and European cultural history takes place differently each time, and yet on the same principle. The domestication of absolute architecture takes place in our minds.

Magdalena Jetelová - Domestication of Pyramids - Museum of Applied Arts Vienna
Magdalena JetelováDomestication of Pyramids, Museum of Applied Arts Vienna, Austria

Magdalena Jetelová - Domestication of Pyramids - Museum of Applied Arts Vienna
Magdalena JetelováDomestication of Pyramids, Museum of Applied Arts Vienna, Austria

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids, Forumkunst Rottweil, Rottweil, Germany

Magdalena Jetelová - Domestication of Pyramids
Magdalena JetelováDomestication of Pyramids


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