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Walther, Franz Erhard
Vier Felder (four fields - four people), single element nº21 of 1.Werksatz, 1966- Dyed canvas. Ed. 3/5
- Dimension variable
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2015
- Franz Erhard Walther’s sculptural and performative work challenged the spatial, sensory and temporal concepts associated with the exploration of forms during the 1960s, enabling him to explore the relationship between artwork and spectator on the basis of specific conditions of interaction. ‘Vier Felder (Four Fields - Four People), Single Item no. 21 of 1. Werksatz’ is one of a series of works that can function as an object, or may be activated and manipulated performatively by a set of participants, following the relational and participatory conditions set in the instructions predefined by the artist.Franz Erhard Walther explored the relationship between object and action, in a work that spanned various media. His oeuvre is distinguished in particular by his participatory works - that intersect sculpture and performance - in which the spectators’ bodies become means to activate, reveal or invent the formal possibilities of the sculptural objects, thus enabling the spectators to gain a corporeal experience of the genesis of the sculpture’s form.
West, Franz
Franz West (Viena, Áustria, 1947 - Viena, Áustria, 2012)Ohne Titel (Passstück), 1998- Untitled (Adjustable piece), 1998
- Epoxy, metal, paint
- 41 x 41 x 32 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- In the 1970s Franz West started to create objects and furniture that were meant for use, such as the sculptures known under the generic heading ‘Passtück’. This word, whose translations vary between ‘adaptive’, ‘fitting pieces’ and ‘parts that fit into each other’, is used to describe a series of works made from found materials and coated in plaster and paint. These pieces are simultaneously sculptures, props and playthings (originally visitors were allowed to handle them as they pleased). Interested in promoting interactive experiences, and in producing objects that only acquire full meaning through their role in actual events, West turned his first viewers into overgrown children, and the ‘Passtück’ into less than innocent playthings: as they tried to adapt the pieces’ shapes to their bodies, exhibition goers revealed all the constraints that prevent people from acting freely.
Wilke, Hannah
Hannah Wilke (Nova Iorque, EUA, 1940 - Nova Iorque, EUA, 1998)Gestures, 1974- Video, b/w, sound, 4:3, PAL, 35'3'"
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- In ‘Gestures’, Hannah Wilke uses her skin as sculptural material in a series of actions in which she features simultaneously as artist and art object. Exploring her own face, and facing the viewer’s gaze directly, the artist creates a discourse in which she speaks of the objectifying representation of women and the relationship between pleasure and pain, echoing her double interest in the materiality of sculpture and feminist art.Hannah Wilke worked frequently on autobiographical, aesthetical, erotic, political or linguistic themes using a range of media, from sculpture to video and performance, and experimenting with materials that were unusual in the 1960s and 70s. Wilke’s oeuvre is marked by the use of her own body as instrument and object of visual expression, a way to affirm a specifically feminine iconography in a confrontation with both the patriarchal order prevalent in the history of art and popular culture and sexist attitudes within the feminist movement itself.
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