![]() He then gestured to an adjacent wall pasted with a blown-up photograph of West’s multicoloured Duchamp-homage pissoir Etude de Couleur (1991), which he had apparently initially attempted to get installed on the roof of the Tate Modern. “It’s a lovely precedent and there was the same relationship of real respect for each other’s work as we now see with Sarah and Franz-this is a great follow-up, and with a urinal linking everything together”, declared Godfrey. Sarah Lucas on Franz West's sofa Courtesy of Louisa Buck ![]() Sitting on a jazzily covered Franz West sofa at yesterday’s preview, Godfrey and his artist-collaborator were musing that the last and pretty much only other time when an artist has been so directly involved in a Tate show was in 1966, when Richard Hamilton curated an exhibition of Marcel Duchamp show at the then-Tate Gallery on Millbank. Matters were more sanguine at yesterday’s opening of the Tate Modern’s major Franz West survey (until 2 June), where Sarah Lucas’s design of plinths, walls and overall input has played a major part in shaping the look of the show, which has been organised by Mark Godfrey, the Tate Modern’s curator of contemporary art. This free-form playful spirit was not to the taste of all the audience members and I recall a fair number of huffy walkings-out. Here, they roundly subverted the formal setting with much drinking, laughter and intermittent blasts of instrumental sound provided by the musician Philipp Quehenberger, which drowned out the few words that could be deciphered. The last time I saw them together was in the grand lecture theatre of the Royal Institution when they were joined by West’s friend Andreas Reiter Raabe, ostensibly to deliver a talk on art and music. They remained friends, and often mischievous collaborators, up until his death in 2012. Sarah Lucas first met Franz West in the early 2000s when he asked her to contribute to a show he was putting together at the Austrian Cultural Institute.
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