The late Austrian sculptor, designer and installation artist Franz West continues to be feted internationally for his pioneering oeuvre, reflecting and encompassing participation, play and design. His work is now being celebrated in a show at New York's Gagosian Gallery, entitled ‘Franz West: Möbelskulpturen/Furniture Works’. Pictured: Club armchair, 2014, designed in 1998  

已故奥地利雕塑家、设计师和安装艺术家弗朗茨·韦斯特(Franz West)曾于2011年荣获威尼斯双年展金狮奖，他的开创性作品继续受到国际盛赞，他的作品反映并涵盖了参与、游戏和设计。

本月，纽约的Gagosian画廊前哨正在庆祝他独特的设计，他的作品由弗朗茨·西·隐私(Franz West Privatstiftung)在韦斯特的维也纳工作室里由他的工作人员创作。但这款最初推出于1992-2011年的设计师家具系列，不仅仅植根于功能上。

Gagosian的纽约导演伊兰·温盖特(Ealan Wingate)说，“超越了艺术作为纯粹沉思对象的根深蒂固的地位，韦斯特把这些家具作品设计成了雕塑的组成部分，它们既元素又欢快。”

展出的作品包括用粗麻布软垫的沙发和用硬纸板管包裹的钢腿的桌子。韦斯特的作品也不只是以多余的线条和米色的装潢为标志；还有一个金属衣架，上面有一条弯曲的粉红色格子和用大胆的调色板打成的椅子。

乔治中心、蓬皮杜中心和罗马的MAXXI等著名博物馆在其永久藏品中都有西方设计的例子。温盖特说：“对韦斯特的看法来说，这些作品吸引了大批收藏家。”私人收藏家包括伦敦拍卖师西蒙·德·普里(Simon De Pury)和上东区/伦敦交易商多米尼克·利维(Dominique Levy)，以及佛蒙特州雷丁霍尔艺术基金会(Hall Art Foundation)创始人安德鲁·霍尔(Andrew Hall)和艺术家玛丽“15年前，弗兰兹和我在维也纳的同一座画廊里展出，当时我被他的国内设计敏感性所打动，当时他正穿越成严肃的雕塑，”海尔曼说。今天，西方鲜明的美学和哲学仍然是至高无上的，被越来越多的观众所接受。

The show comprises new editions of his works, produced by Franz West Privatstiftung in West’s Vienna studio by his staff. Pictured: Divan, 2014, designed in 1991

The furniture range, initially launched from 1992–2011, is rooted in more than mere functionality. Pictured: Pouf, 2014, designed in 2000

High profile museums like Centre Georges Pompidou and the MAXXI in Rome hold examples of West’s design in their permanent collections. ‘True to West's vision, the works have drawn a devoted following of collectors,’ says Ealan Wingate, the Gagosian's New York director. Pictured: Artist’s Chair, 2015, designed in 2012

The works on view include sofas (and this chaise lounge) upholstered in raw linen and tables with steel legs encased in cardboard tubing. Pictured: Chaise lounge, 2015, designed in 1992

‘Transcending the entrenched status of art as object for pure contemplation, West designed these furniture works as constituents of sculpture that are as elemental as they are convivial,’ says Wingate. Pictured: End table, 2015, designed in 2004

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