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Coles Action as Sculpture at Bayshore Shopping Centre in Ottawa, ON
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The publication Action as Sculpture / Handlung als Skulptur stages an encounter between two key figures in the recent history of art whose
oeuvres revolutionized the role of the beholder. Although Lygia Clark
and Franz Erhard Walther never met in person and despite their works
being different in many ways, the participatory approaches they
developed almost simultaneously reveal fundamental similarities.
Lygia Clark (b. Belo Horizonte, Brazil, 1920; d. Rio de Janeiro, Brazil,
1988) has been hailed as a leading exponent of Brazilian
“Neoconcretismo.” Pursuing a vision of art as a participatory, sensual,
and sometimes healing experience, she became one of the defining artists
of the second half of the twentieth century.
In the early 1960s, Franz
Erhard Walther (b. Fulda, Germany, 1939), working in the orbit of
minimalism, framed an open conception of the oeuvre that casts the
beholders as actively involved protagonists. Walther's idea that the
action is the true work influenced entire generations of artists.
The book is published in conjunction with the exhibition of the same name
at the VILLA Franz Erhard Walther. It focuses on works from the 1960s
and 1970s, the period during which both Clark and Walther changed the
relationship between art and audience in their respective cultural
contexts by redefining object, form, authorship, and aesthetic
experience. With essays by Jessica Gogan, Daniela Labra, Luis
Perez-Oramas, Irene Small, Gregory Williams, and a foreword by Susanne
Walther.
The publication Action as Sculpture / Handlung als Skulptur stages an encounter between two key figures in the recent history of art whose
oeuvres revolutionized the role of the beholder. Although Lygia Clark
and Franz Erhard Walther never met in person and despite their works
being different in many ways, the participatory approaches they
developed almost simultaneously reveal fundamental similarities.
Lygia Clark (b. Belo Horizonte, Brazil, 1920; d. Rio de Janeiro, Brazil,
1988) has been hailed as a leading exponent of Brazilian
“Neoconcretismo.” Pursuing a vision of art as a participatory, sensual,
and sometimes healing experience, she became one of the defining artists
of the second half of the twentieth century.
In the early 1960s, Franz
Erhard Walther (b. Fulda, Germany, 1939), working in the orbit of
minimalism, framed an open conception of the oeuvre that casts the
beholders as actively involved protagonists. Walther's idea that the
action is the true work influenced entire generations of artists.
The book is published in conjunction with the exhibition of the same name
at the VILLA Franz Erhard Walther. It focuses on works from the 1960s
and 1970s, the period during which both Clark and Walther changed the
relationship between art and audience in their respective cultural
contexts by redefining object, form, authorship, and aesthetic
experience. With essays by Jessica Gogan, Daniela Labra, Luis
Perez-Oramas, Irene Small, Gregory Williams, and a foreword by Susanne
Walther.
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