Chris Dercon

  • Franz West, Wegener Räume 2/6–5/6, 1988, metal, wood, papier- mâché, gauze, paint, plaster, collage. Installation view, Galerie Peter Pakesch, Vienna.

    Franz West

    PETER PAKESCH

    AS SOMEONE WHO HAS WORKED in the field of art for a long time, and who sees art as an essential part of human identity, I have always found it a great privilege to be able to watch firsthand the gradual development of an artist. I feel especially privileged to have done so in the case of an artist as outstanding as Franz West. I knew Franz for many years, and for more than two decades I worked closely with him in a variety of roles: as a gallerist, friend, and museum curator. I was always amazed by the way he continually altered our notions of how art functions and what it means.

  • Chris Dercon

    1 Via Intolleranza II, 2010 (directed by Christoph Schlingensief) Based on Luigi Nono’s polemical opera Intolleranza 1960, Schlingensief’s last major theatrical production—a ferocious dramatization of Africa and Europe’s fraught relationship—is closely related to the director’s final and most ambitious Gesamtkunstwerk: the “opera village” Remdoogo, a kind of ready-made Bayreuth under construction in Burkina Faso. In the months preceding his death at age forty-nine this past August, Schlingensief poured tremendous energy into Remdoogo while also relentlessly speaking and writing about