franz west deux

I'm embarrassed to say that i was told to stop climbing on the large, aforementioned "dr. suess" construction, but i thought that was the point? (i don't mean to exhaust this exhibition)

i'm not sure why i've never heard of franz west.
there's a general freedom that exists in the way he's makes. i want to work like that.
(on saturday my friend Ted said this, 'the travesty of modern art is a finished piece.')
the objects shouted for interaction:
delicate white instruments out of plaster--like ear extensions. you could touch almost everything. there was also a video. a woman and a man and some "adaptives." there's something really nice about the way the objects become a mask, a costume, a choreographer, a stage. what does it mean to give up power and be driven by something else? what does that dance look like? where's the line that you tip-toe around? when do body and mind detach? but also, the inherent attachment. there's something so beautiful about that connection. powerful and sometimes disturbing. and definitely beautiful. the honesty of a video camera.

back to franz west.

Brittany and I shared a disappointment with the curator's solution for interacting with the "adaptives" (adaptives = plaster forms that beg you to swing/wear/walk/play/move/move around/dance with.) especially after seeing that video. hm. a dressing-room covered in newspaper with a mirror on one side so you can watch yourself? and not be seen? how sad.

the exhibition

ps. does anyone know the artist who constructed the extremely long finger extensions, and that image of her touching two sides of a room at the same time? i tried to find her, and instead i found "phone fingers." apparently, when you wear these you won't smudge your iphone.



(on the right is a Franz West. i thought there's something between these two images)