Franz West #Adaptives #FranzWest https://www.instagram.com/p/ByfiRDXFivK/?igshid=j5w12l0fncf
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Franz West #Adaptives #FranzWest https://www.instagram.com/p/ByfiRDXFivK/?igshid=j5w12l0fncf

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His first major retrospective in France at Centre Pompidou, Paris, reveals the artists's ongoing dialogue between the visible and the haptic
[Originally published September 26, 2018]
A retrospective of Austrian artist Franz West at the Centre Pompidou in Paris begins where most biographical tales perhaps should – with his mother, Emilie West. Born to a well-to-do Viennese Jewish family, she espoused communist ideals and the artist’s father, Ferdinand Zokan, a Serbian coal merchant. The family lived in a public housing complex, out of which Emilie ran a private dental practice. Her clients included many artists and poets, among them Reinhard Priessnitz, a poet and theorist who would give the name Paßstücke (Adaptives) to West’s most iconic series of sculptures. This early contact with Vienna’s artistic milieu would have a profound impact on the young West’s later career, as would the sounds of whirling drills and the image of his mother creating white and pink moulds of teeth from plaster and resin. Including 180 works made between 1972 and 2012, the exhibition is not only the first major retrospective of West’s work to be shown in France but also one of the largest and most comprehensive. At its spiritual and narrative heart are the ‘Paßstücke’ (1973–2010): sculptures consisting of a minimal steel skeleton dressed somewhat haphazardly with painted plaster. Derived from the German verb anpassen (to adapt), the ‘Paßstücke’ were named for their ability to seemingly accommodate the body of whoever handled them. Seeing the unique way that each person held, manipulated and even wore the sculptures, Priessnitz believed that these works could give form to individual neuroses. http://fal.cn/Vw2L
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This week's Modern Art Notes Podcast remembers Austrian artist Franz West, who died two weeks ago at age 65. West was one of European art's most Puckish innovators. His art was playful and sly -- he often encouraged viewers to pick up and play with or to sit down on his work -- but it was also deeply rooted in the intellectual history of Vienna, his lifelong hometown.
Here's a great example of a work built around West's Adaptives, the art objects that he encouraged viewers to not just look at, but to play with. This is the interior of West's Mirror in the Cabinet with Adaptives, a work he made with Italian artist Michelangelo Pistoletto. West's idea was that gallery-goers would walk into the space, play with the Adaptives to their heart's content and that their 'performance' would be shown on the television outside the cabinet, thus changing the very idea of who was really making the art or performing, and what an artwork could be. (This morning I featured an external view. See MANPodcast.com.)
Joining me to discuss West's life and work is Darsie Alexander, the chief curator at the Walker Art Center. In 2008 Alexander curated West's only American retrospective, which opened at the Baltimore Museum of Art and traveled to the Los Angeles County Museum of Art.
To download the program directly to your PC/mobile device, click here. Subscribe to The Modern Art Notes Podcast via iTunes or RSS. See images of artworks discussed on the program.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
This week's Modern Art Notes Podcast remembers Austrian artist Franz West, who died two weeks ago at age 65. West was one of European art's most Puckish innovators. His art was playful and sly -- he often encouraged viewers to pick up and play with or to sit down on his work -- but it was also deeply rooted in the intellectual history of Vienna, his lifelong hometown.
Here's a great example of a work built around West's Adaptives, the art objects that he encouraged viewers to not just look at, but to play with. This is West's Mirror in the Cabinet with Adaptives, a work he made with Italian artist Michelangelo Pistoletto. (This installation of the piece was at the Vancouver Art Gallery in 1996.) West's idea was that gallery-goers would walk into the space, play with the Adaptives to their heart's content and that their 'performance' would be shown on the television outside the cabinet, thus changing the very idea of who was really making the art or performing, and what an artwork could be. (Later on today MANPodcast will feature a photograph from inside the cabinet.)
Joining me to discuss West's life and work is Darsie Alexander, the chief curator at the Walker Art Center. In 2008 Alexander curated West's only American retrospective, which opened at the Baltimore Museum of Art and traveled to the Los Angeles County Museum of Art.
To download the program directly to your PC/mobile device, click here. Subscribe to The Modern Art Notes Podcast via iTunes or RSS. See images of artworks discussed on the program.