“I believe that the art world does not recognize the importance of language as an artistic material, and barely accepts that the intellectual process is defined as a legitimate form that is integrated into the work,” he explains. This delay and feeling of misunderstanding stems back to the beginning of his career. Having begun his studies at the Fine Art school of Frankfurt, where he claims to have been “rejected due to the originality of his work,” he soon made the move to Dusseldorf where he continued his art studies, spending time with Gerhard Richter and Sigmar Polke.
Franz Erhard Walther at CAPC
He sees himself in the same line of work as Marcel Duchamp, with regards to his radicalism, whereas the notoriety of Joseph Beuys seems less unlikely or close to him.
In 1955, at the age of 16, Walther came up with the idea of integrating the spectator into the creation process. Drawing the outline of the objects that surrounded him, he planned to invite viewers to occupy the empty space.
In 1955, at the age of 16, Walther came up with the idea of integrating the spectator into the creation process. Drawing the outline of the objects that surrounded him, he planned to invite viewers to occupy the empty space.
“The body, space and time become the sculpture material, not wood or stone as tradition goes.” This was the first inkling of his desire to materialize his works by way of public participation.
Although a familiar technique employed today, the notion of interacting with the audience in the creative process was prodigiously innovative over 60 years ago.
Walther’s work reveals itself and takes form with the movement of the spectator, just as if it was created from stone with the chisel of a sculptor. Pushing the boundaries of ‘Art Informel’ as far as possible, he is interested by what a work of art can produce beyond the limits of a motionless object. The most recognizable of his works include pieces created with large lengths of canvas, assembled according to a rigorous architecture intended to be “activated” by the public, whose participation is as equally important as the rest of the creative process. Walther’s work offers a completely unique experience. Breaking down barriers, separating the ordinary from the position of the creator to that of the spectator, the artist is drawn into a demanding yet generous artistic process.
Overlooked by the art scene for a long time, Walther perhaps shares this uncompromising trait with some of his greatest predecessors. It is only in the last few years that the oeuvre of Franz Erhard Walther is beginning to come to light. This new-found recognition is owed in part to the younger generation, those who appreciate his work. Tino Seghal cites Walther amongst her inspirations. Today, aged 76, Walther says that he feels moved by this recognition, as late as it may be.
Walther has lived in the German town of Fulda since his birth in 1939, and is where his ex-wife takes care of the creation process of large pieces of fabric for him. His hometown reminds him of the 1970s, a moment when he was confronted by a confusing situation, asking himself questions such as “Is this really important? Is this really art?” If this lack of recognition truly hurt Walther, it is due to the fact that the existence of an audience is dissociable from his creative process.
Yet today the enthusiastic welcome he has received is testament to how far he has recently come. His current exhibition at CAPC in Bordeaux as well as his works in the permanent collection at MAMCO, highlight his latest achievements.
Franz Erhard Walther, Lager der Probenähungen (Stock des premières œuvres cousues), depuis 1969.
Collection The Franz Erhard Walther Foundation. Photo : Arthur Péquin
