For years, the Kunsthaus Zug has been striving for a lively approach to the own collection. It is at the heart of all activities and is based on questioned in a variety of ways and can also be used as a driving force for new artistic processes. Since 1998, the holdings of the Sammiung Kamm Foundation have been m Kunsthaus Zug. This is probably the most important collection of the Viennese Modernism outside Austria with groups of works by Klimt, Gersti, Hoffmann, Kokoschka, Schiele, Wotruba. After Richard Tuttle, Franz West is the second artist, who has been invited to exhibit with the collection to deal with each other. This starting point has given rise to a large and varied project.

Franz West (born 1947) is one of today's most internationally renowned artists of his country and is an important point of reference for many younger artists. After the solo exhibitions in 1988 at the Kunsthalle Bern and 1996 at the Kunsthalle In Basel, he had the first major museum exhibition in Switzerland in Zug. West is showing new works and numerous major works from Swiss private collections, Collages, sculptures and furniture. For the first time, he brings his whimsical seating sculptures to a reference to tension with shapely furniture from the Wiener Werkstätte, especially by Josef Hoffmann, from the Kunsthaus collection. West's parody of the petty-bourgeois Today's home décor meets the products of an idealistic Social Utopia of Classical Modernism. But behind both of them, the effort seems to be to stand a connection between art and life. Franz West also includes individual collections of contemporary artists: Balthasar Burkhard, Annelies Strba and Richard Tuttle. They are closely linked by a Relationship with the Kunsthaus Zug.

Not only is West looking for a direct connection with his "fitting pieces" and seating sculptures, but he is also looking for a direct (physical) Contact between the work and the viewer, he appreciates and cultivates like few others also the interaction with colleagues. Numerous collaborative works testify to therefrom. For some time now, West has been inviting colleagues - established and unknown - to his "solo exhibitions". In Zug, this unusual approach has reached its climax so far, are no less than twenty artists are involved in West's show, forming something of a improvised "artists' society" for a limited time. The young Viennese assistants of the artists' works as well as the participants in the Programme de Recherche at the Ecole Nationale Supérieure des Beaux-Arts, Paris, for which West is a consultant.

Franz West's custody unites everything.