West, who has participated in nearly all major international group exhibitions over the past 20 years, is one of the most important contemporary sculptors and environmental artists.

His work is as surprising for the creativity of its forms as it is for its communicative quality, which directly engages the viewer and invites participation.

In addition to the “Passstücke,” his body of work includes reliefs, collages, overpaintings, individual sculptures or groups of sculptures, large-scale outdoor sculptures such as the “Lemur Heads” series and the so-called “Sitzwürste,” furniture and furniture groups, as well as environments that combine all the aforementioned forms of work and incorporate videotapes and spatial installations.

The Kunsthaus Bregenz presents a comprehensive exhibition featuring selected works from his oeuvre and new groups of works. In addition to over 60 drawings, gouaches, collages, poster designs, and newspaper overpaintings created between the 1970s and the present, the exhibition displays numerous sculptures and early “Passstücke” across four levels, as well as West’s preferred medium of recent years: pieces of furniture. They are arranged in ensembles and become walk-in, usable environments. These are typical taste traps that build on socio-aesthetic patterns from the everyday world. West thus counteracts a perspective based on “beauty” and “utility.” On view for the first time in Europe are works from the large-format

The Kunsthaus Bregenz is presenting a comprehensive exhibition featuring selected works from his oeuvre and new series of works. In addition to over 60 drawings, gouaches, collages, poster designs, and newspaper paintings created between the 1970s and the present, the exhibition, spread across four floors, showcases numerous sculptures and early “Passstücke,” as well as West’s preferred medium of recent years: furniture. They are arranged in ensembles and become walk-in, usable environments. These are typical taste traps that build on socio-aesthetic patterns from the everyday world. West thus counteracts a perspective based on “beauty” and “utility.” On view for the first time in Europe are works from the large-scale sculpture group “Sisyphos” (2002). West transforms the plaza in front of the Kunsthaus with the monumental outdoor sculpture “Centripetale” (2001).

The summer exhibition also marks the launch of the Kunsthaus Bregenz’s new program series, the KUB Arena. Its specific location is the foyer of the Kunsthaus. Here, in the intermediate space between the public realm of the city and the hermetic nature of the art spaces and their works, the KUB Arena articulates itself as a new form of engagement between artist, work, and audience. As part of this new forum, Franz West is creating an ensemble of 60 chairs in the foyer titled “Hainis."