Location: 21er Haus
Thomas Feichtner Touches Base with Franz West and Heimo Zobernig
Wrapping of the works in the Sculpture Garden
Sculptures installed outdoors need to be protected over the winter. Their materials, particularly plastics and lacquered surfaces, must not be exposed to freezing humidity. For the works by Franz West and Heimo Zobernig in the Sculpture Garden of the 21er Haus, the designer Thomas Feichtner has developed a very special solution: starting out from the material of insulating foil, which is used, for example, in mountain rescue operations or in high-performance sports, he has realized the housing for the works as protective slipovers in the true sense of the word. Both the sculptures by Franz West and their pedestals, which were devised by Heimo Zobernig and are closely interacting with the sculptures, can still be experienced, but now present themselves in an entirely new aesthetic character. In this way, the discursive union of the project patio – scultura – basamento as Heimo Zobernig conceived it has been expanded by Thomas Feichtner’s wrapping or involto, which ensures the safe hibernation of the works.
Video-documentation of the "Wrapping"
patio – scultura – basamento
Schwanzer – West – Zobernig
In order to mark the re-opening of the former Sculpture Court behind the Schwanzer Pavilion, the 21er Haus presents sculptures by Franz West on pedestals that have specially been developed by Heimo Zobernig and which enter into a dialogue with the building’s architecture. The pedestals, taking on artistic form, integrate with the structure of the Modernist pavilion and thus bring to the fore the relationship between art and architecture. In conjunction with the sculptures, the dimensions of the slabs, their materiality, and their spatial setting unfurl a complex spectrum of meaning that focuses on the correlation between architectural space, sculpture, and its form of presentation. West sought to establish a distinct and progressive concept of what makes a work of art that was based on performative elements and which increasingly led him to sculpture. Initially, he created the so called Passstücke or Adaptives, made of wire and plaster; in his later years, he arrived at brightly coloured and at times monumental shapes that may be interpreted as ironical comments on the art business on the one hand and seriously deal with the issue of proportion between sculpture, man, architecture, and the world on the other. Zobernig, having appropriated the base or pedestal as an artistic medium, has always directed his attention to the conditions under which art makes an appearance. By the simple device of flat pedestals (basamento) whose height he has adapted to that of the cornice of the basin, he has incorporated Karl Schwanzer’s meaning-laden architectural structure as a museum space (patio) into the presentation of Franz West’s works (scultura). His play with categories and the reversal of relationships in combination with West’s allusive art give us an idea of how to possibly deal with the sculpture garden’s past in the future.
The sculpture garden is closed when the weather conditions are severe.