one pic wednesday. Charlie Riedel

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© AP CHARLIE RIEDEL

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This is an image taken by American photographer CHARLIE RIEDEL in Ferguson, Missouri after the protests over the decision not to indict a police officer in MICHAEL BROWN‘s death turn violent. This shot not only provides a political and social perspective of Ferguson right now, but I think that the story this picture tells in aggregate is universal.

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via

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wfw weekend #163

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two other views of the exhibition here and here

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a glimpse into Animal Que No Existeix, a solo exhibition by DANIEL STEEGMANN MANGRANE
presented at Crac Alsace, Altkirch
seen on Wednesday, November 19, 2014
image © wfw

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more about this exhibition next week on wfw

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wfw weekend #162

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text from the solo exhibition of SAÂDANE AFIF entitled La-bàs
seen at Kunsthaus Glarus, Switzerland
on Sunday, November 16, 2014
image © wfw

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one pic friday. Pauline Beaudemont

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l’âge d’or, exhibition view at salts, Birsfelden / October-December 2014
photography: GUNNAR MEIER

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This is a view from the first solo exhibition of PAULINE BEAUDEMONT presented currently at salts in Birsfelden (Basel).

Entitled l’âge d’or, the show is centered around a video called ‘If you put a roof…‘ (2012) which features a dancehall queen performing some repeated movements in The Maison Blanche, the first house of Le Corbusier built for his parents in 1912 in his home town in Switzerland. This piece – as well as the new works especially created for salts – is made up of fragments in which elements of baroque, humor, sensuality and insolence are interwoven. The whole installation witnesses a profound investigation of modernism in popular culture.

Be sure to catch the show in person before it closes on December 8, 2014. You can also watch the video online here.

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Florence Jung

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You use the term “secret” but “each secret has an emitter and a receiver, meaning someone who the secret is meant for but who mustn’t know it.” Who is the receiver in this case? Who do you let in on the secret and whom do you exclude?

The person whom I never deceive and who is my partner in crime is the curator; unless the piece is about them like my recent ‘jung28′ (Festival des Urbaines, 2013). As for whom the pieces are meant for, they’re obviously for the audience. But not necessarily the immediate audience since they’re not always aware of all the elements of the piece right as it’s happening. I’m thinking more of the later audience, the ones who think about the situation in a flashback through viewer accounts and my own comments. For example, the people who are reading this interview. Being able to identify the covert operation, whether it’s in the moment or later on, is sort of the reward for the intrepid viewer. To figure it out, you need to listen, read, do some research. It takes time. And that’s exactly why I don’t record my pieces. Objects, including pictures and videos, are the baits that usually prevent people from being able to access the idea.

FLORENCE JUNG is a French artist based in Switzerland whose work blurs the line between constructs and accidents, rather than to say reality and fiction. Her work is difficult to define in fact: she primarily constructs situations which are mediated through the best medium she found to grab the complexity, and which is often performance. Her pieces are like narrative with consequences; narratives which encourage the viewer to question preconceived ideas of certainty and truth.

You can find the entire interview in french between FLORENCE JUNG and curator / art critic SOPHIE LAPALU via http://sophielapalu.blogspot.ch/

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Bastien Aubry & Dimitri Broquard. Coupé-Décalé

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1982, 2014
found objects, polystyrene

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exhibition view at Kunsthaus Glarus, November 2014

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detail from Wall Paintings, 2014
plain plywood sheets, cement, metal, ceramic, engobe, enamel

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exhibition view at Kunsthaus Glarus, November 2014

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detail from Turbo Craft, 2014
printer, acrylic, wood

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Wall Paintings, 2014
plain plywood sheets, cement, metal, ceramic, engobe, enamel

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detail from Schnitzeljagd, 2014
ceramic, engobe, enamel

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exhibition view at Kunsthaus Glarus, November 2014

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Old Future, 2014
ceramic, engobe, enamel

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detail from Old Future, 2014
ceramic, engobe, enamel

all images © wfw

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The Kunsthaus of Glarus is currently presenting Coupé-Décalé, a solo exhibition for BASTIEN AUBRY and DIMITRI BROQUARD, two Swiss artists who started to work together in 2002 as graphic designers and who have slightly developed exuberant sculptures mixing high art and history with popular culture, creating a unique discourse between past and present.

The exhibition reflects the diversity of their artistic practice, in which painting, craft, design, and architecture intertwine in a dynamic relationship. The duo transforms the space of the Kunsthaus into a synthesis of contrasting visual forms and modes of presentation. The show is anchored by two installations. On the first floor, a series of cast-off CD shelves placed on fake stone plinths dominate the space creating a dazzling juxtaposition of past decorative forms. These share the room with a series of collages (using photoshop and scissors) presented on built-in exhibition walls covered with rough outdoor plaster.

The upper floor presents a large installation of plain plywood sheets treated with a rough plaster coating. The walls as well as the wood sheets supports constellations of ceramic forms with sometimes distinct morphologies, while some are rather abstract and clumsy.

After studying graphic design at visual arts school in Biel, BASTIEN AUBRY and DIMITRI BROQUARD worked together as FLAG design office. In the field of fine arts they have had several solo and group shows since 2008, including exhibitions in the Centre Culturel Suisse, Paris (2008), the Swiss Institute, New York (2012).

Coupé-Décalé is on view at the Kunsthaus Glarus until November 23, 2014

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Rita Lino

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all images © RITA LINO

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Portuguese photographer RITA LINO explores, through a series of photographs and videos, the possibilities of her body with an uninhibited sexuality and a playful, stylized shamelessness.

But as always, things are not quite so simple or direct. While LINO’s photographs use overly blunt imagery, they repeatedly conceal their messages: identity is always a mask — necessarily strange and ambiguous; her work constructs a self that is mutable and elusive. At times, she looks directly at the camera, daring and defying the audience to return her gaze; other times, she turns and looks away, blindfolding or covering her eyes. Whether concealed or conspicuous, RITA LINO asserts that no exposure fully reveals her.

More than mere snapshots, her work touches on voyeurism, loneliness, the manipulative power of the camera, and the urge to connect with others, through, within, and apart from technology and the media.

→ http://www.ritalino.com/

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one pic thursday. Audrey Wollen

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image courtesy AUDREY WOLLEN

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AUDREY WOLLEN is a Los Angeles-based artist who has developed a body of work through instagram entitled the Sad Girl Theory.  She explained to BENJAMIN BARRON for i-D that the ‘Sad Girl Theory proposes that the internalised suffering women experience should be categorised as an act of protest. We have historicised gestures of externalisation and violence, because they already fit into our standards of masculinity, and therefore, power. But there is an entire lineage of women who consciously disrupted the status quo through enacting their own sorrow. I think that a sad girl’s self destruction, no matter how silent or commonplace, is a strategy for subverting those systems, for making the implicit violence visceral and visible, for implicating us all in her devastation. ‘

Make sure to read the entire interview here or to follow her work on instagram.

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wfw weekend #161

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click here to view more Instagram photos, captured on my recent trip to Iceland

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both: Untitled (1985, manila rope, linen, slate)
by Icelandic artist RAGNA RÓBERTSDÓTTIR
seen in the group exhibition Synthesis
presented at the Reykjavik Art Museum
seen on Monday, November 3, 2014
image © wfw

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Synthesis is on view until January 18, 2015

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wfw weekend #160

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view from the exhibition Girl Culture,
a solo exhibition by American photographer LAUREN GREENFIELD
seen at the Reykjavik Museum of Photography
on Monday, November 3, 2014
image © wfw

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this exhibiton is on view until January 11, 2015

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