Stano Filko & Franz West: Hidden Agenda
The expression 鈥渉idden agenda鈥� has a questionable connotation. That makes sense as the framework of a society is often based on ideals of truth and honesty. The trouble is that not all of our ambitions are helpful when publicly revealed. Our psyches, just as society鈥攁nd in it, galleries and artists鈥攏eed private space. Basic fears and desires are kept behind allegorical closed doors.
We can even expand the allegory of the door: if we add walls, we have a room, or even an allegorical house with several rooms (including a basement and restrooms)鈥攕ome of them hidden or closed off. The very idea of art is that it has the ability to represent some of our underlying and less obvious motives.
The works of Stano Filko and Franz West both produced psychological landscapes. They formulated subjective realities with universal qualities. The lump in all its manifestations played an important role in West鈥檚 formal vocabulary. Like its figurative sibling 鈥渢he golem鈥�, a basic sculptural form, it preempts all forms to come. There is something comical in that, to the same amount as it contains endless truths. The banality of chairs pointing in different directions can mean everything, nothing, or just the tautology that it is open for discussion.
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The expression 鈥渉idden agenda鈥� has a questionable connotation. That makes sense as the framework of a society is often based on ideals of truth and honesty. The trouble is that not all of our ambitions are helpful when publicly revealed. Our psyches, just as society鈥攁nd in it, galleries and artists鈥攏eed private space. Basic fears and desires are kept behind allegorical closed doors.
We can even expand the allegory of the door: if we add walls, we have a room, or even an allegorical house with several rooms (including a basement and restrooms)鈥攕ome of them hidden or closed off. The very idea of art is that it has the ability to represent some of our underlying and less obvious motives.
The works of Stano Filko and Franz West both produced psychological landscapes. They formulated subjective realities with universal qualities. The lump in all its manifestations played an important role in West鈥檚 formal vocabulary. Like its figurative sibling 鈥渢he golem鈥�, a basic sculptural form, it preempts all forms to come. There is something comical in that, to the same amount as it contains endless truths. The banality of chairs pointing in different directions can mean everything, nothing, or just the tautology that it is open for discussion.
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