Franz West, Rudolf Polanszky

West Polanszky

December 27th –
January 30th, 2020
Gstaad
  • Rudolf Polanszky
    Untitled,1991
    Pink plastic and mixed media
    123 x 101 cm
  • Rudolf Polanszky
    Schweinfettbild,1977
    Signed
    150 x 110 cm
  • Rudolf Polanszky
    Sitzbild Mit Fotografischen Illustrationen,1963-1984
    Mixed media
    91.5 x 106.5 cm
  • Rudolf Polanszky
    Sprungfederarbeiten and pictures,1983
    Paint on color photography
    155 x 33 cm
  • Franz West
    Ohne titel, unterschriftencollage,1982-1989
    Collage on wrapping paper with signatures from Oberthuber, Gironcoli, Peintner, Ulrichs Jones Weibel
    34 x 51 cm
  • Franz West
    Ohne Titel, Plakatenwurf,2020
    Collage and poster on Depafit
    67 x 76 cm
  • Rudolf Polanszky
    Reconstructions,2016
    Mixed media on canvas
    138 x 112.5 cm
  • Rudolf Polanszky
    Reconstructions,2016
    Plastic
    180 x 280.5 cm
  • Rudolf Polanszky
    Schweinfettbild,1977
    Signed
    122 x 102 cm
  • Rudolf Polanszky
    Schweinfettbild,1977
    Signed
    122 x 102 cm
  • Franz West
    Ohne Ausgang (Vermutung),1982
    Gouache on magazine
    23.5 x 21.4 cm
  • Franz West
    Maulschelle (Ohrenschlager),1980
    Plaster, gauze, wire, emulsion paint, color
    46 x 55 cm

PLC presents two Austrian artists whose career paths overlapped, diverged, and has now come full circle. The late West represented Austria in the 1990 Venice Biennale and thereafter was the 2011 recipient of the Golden Lion in the 54th Venice Biennale. Polanzsky’s low profile career has emerged full force in the last two years, rapidly gaining international momentum as an undiscovered innovator. A point joined to another point is a line.

As such the intimately scaled rooms are a waltz of oscillation between an extrovert and introvert; There was not a rivalry but a chivalry of temperament and daring to “fail” preconceptions of the superego. The signature of their forms are one thing, while on the other hand, the two propositions are set parameters, the unknowable communiqué between telepathic siblings.

Here a dichotomy is visible when the disintegration of materials turns fractal at the same time its extant shapes get pieced together. Disintegration, moreover, does not signify destruction, but change.

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And the durable goods of industrial sense memory holds up well in their scabrous, and reflective armors. Strung together the accumulated shells are the sum total of an unquantifiable logicians puzzle. West corralled bombastic post-actionist vitriol and plasticized it into protrusive sculptural bodies with phosphorescent colors and psychoanalytic riddles embedded. Polanzsky loamed the fertile abstracts of philological idea into form through an economy of material as subtle as it is ingenious. Both embodied the notion of the sculptural adaptive as blunt disruptor of the pedestal, an affront to bourgeois taste in compact three and two-dimensional formats.

It is evident that a ponderable point can be cut into two points equally ponderable. Thus, two old friends who once shared a studio always kept up that friendship born of ambition, split factions, and the lived life. One innovation does not usurp the other though in the tandem there is the momentous sense of Eco’s pendulum in full swing—for one has departed this realm yet lives on, the other exists in his own realm of correspondences in the here and now.

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