wfw weekend #383

Fugues (2017)ALEX-BACZYNSKI-JENKINS
seen at Chisenhale Gallery, London
on Friday, February 17, 2017
image © we find wildness

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wfw weekend #382

Poor Me (2016), NEAL JONES
seen at Southard Reid, London
on Friday, February 17, 2017
image © we find wildness

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Domenico de Chirico for We Find Wildness #81

all images courtesy the artist and Laura Bartlett Gallery, London

&, a solo exhibition by SIMON DYBBROE MØLLER
on view at Laura Bartlett Gallery in London
until March 5, 2017

chosen by curator and editor DOMENICO DE CHIRICO

Puppies Puppies is inevitably the work of a person born during the rise of the Internet. The rhythm of their life has been established by machines. In some ways, this contradicts the personal and the emotional. But the Internet, especially in the beginning, was also deeply involved with intimacy and emotional connection between strangers. Sex with strangers reveals something very deep about human existence, and maybe coming to know some artists and their activity is like having sex with strangers. – Forrest (husband of Puppies Puppies) in conversation with Tenzing Barshee, Mousse 57 (February–March 2017)

one pic wednesday. Kader Attia

Reason’s Oxymorons, 2015
18 films and installation of cubicles
duration: variable, 13 to 25 minutes
55 x 262 x 468 inches (installed overall), 139.7 x 665.5 x 1188.7 cm
Edition of 3

installation view at Lehmann Maupin, New York, January 2017
image courtesy of the artist and Lehmann Maupin, New York

Reason’s Oxymorons (2015) is a large scale installation by KADER ATTIA that has been shown for the first time in 2015 at the Lyon Biennial. It is currently on view in New York at the Lehmann Maupin gallery.

Like for its previous presentations, the video installation Reason’s Oxymorons (2015) is shown into cubicle workstations. Each individual cubicles is featuring one video interview with a philosopher, ethnologist, historian, psychiatrist, psychoanalyst, musicologist, patient, healer, fetishist, and griot conducted in several countries. They talk about themes like “Genocide”, “Totem and Fetish”, “Reason and Politics” and “Trance”. The whole is a ‘mix of rational explanations and irrational representations of what the West calls psychiatry. ‘The work is particularly concerned with the question of the unrepairable and it calls into question the ambivalence of the psyche of modern Western societies towards traditional Non-Western societies’*.

What’s important to understand, when talking about capitalism as a constant illusion of fixing, is that the real issue of war is the polarization between repair and destruction. This helped me understand how much war and creation – war and art – work together in a very narrow, complementary and interdependent process, echoing the endless processes of life in the universe, which at some point are embodied and personified, and represent the notion of repair. Because there is no repair if there is no injury somewhere. Conceptually you cannot conceive of the notion of repair without an injury. Repair is fed by injury, and vice-versa.KADER ATTIA in conversation with IRIT ROGOFF, 2016

Reason’s Oxymorons by KADER ATTIA is on view at Lehmann Maupin in New York until March 4, 2017.

* Lyon Biennale, 2015

http://gossipsweb.net: a database of alternative art spaces

Kevin Barrett Weil. Two Addresses

Rattle in the Form of a Fugitive Assembly, 2017
furniture, hardware, Magic Wand Massager, polyurethane foam

Rattle in the Form of a Fugitive Assembly, 2017
furniture, hardware, Magic Wand Massager, polyurethane foam

Rattle in the Form of a Fugitive Assembly, 2017
furniture, hardware, Magic Wand Massager, polyurethane foam

Rattle in the Form of a Fugitive Assembly, 2017
furniture, hardware, Magic Wand Massager, polyurethane foam

Rattle in the Form of a Fugitive Assembly, 2017
furniture, hardware, Magic Wand Massager, polyurethane foam

Rattle in the Form of a Fugitive Assembly, 2017
furniture, hardware, Magic Wand Massager, polyurethane foam

Rattle in the Form of a Climacteric Event, 2017
store-bought apples

Untitled, 2017
multiple infrared motion activated light sockets

all images courtesy of the artist and Beautiful Gallery, Chicago

The climacteric event to which title of the box of apples refers, is the peak point of apple ripeness. This is the point when the apple is both most ripe and edible, and also the beginning of the apples decaying process. In humans, the climacteric event is known as menopause. – KEVIN BARRETT WEIL for his solo exhibition entitled Two Addresses and presented at Beautiful Gallery in Chicago.

Make sure to view the exhibition in person before it closes on February 25, 2017.

The Peshmerga offensive is a massive engineering enterprise, a monumental Land art operation. Behind each platoon there is a bulldozer waiting. Every hundred meters of gained territory results in hundreds of tons of dry earth pushed forward, all in order to move the front line ever closer to the suburbs of Mosul. Landscape is refashioned daily by the shelling, ISIS’s tunnels are behind, under, and beyond our mobile front line; the dunes are scarred by the infinite lines of trenches while on the Syrian-Iraqi border ISIS’s bulldozers breach a passage through a hill to erase the Sykes–Picot Agreement’s fatal design. The desert is no longer an exotic escape. It’s pure naked exposure. The closest to protection from the snipers is by running from one shadow to another. – Francis Alÿs on his embedment with the Kurdish Army in Mosul, Artforum, February 9, 2017

wfw weekend #381

spread from Inflight (2000), JOHAN GRIMONPREZ
browsed on Saturday, February 11, 2017
image © JOHANN GRIMONPREZ

please note that the whole publication is available online via http://www.johangrimonprez.be/PDF/BOOKS/2000_Inflight_JohanGrimonprez.pdf

wfw weekend #380

Fia (2016), SADIE BENNING
seen at Kunsthalle Basel
on Saturday, February 11, 2017
image © we find wildness

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one pic wednesday. Nairy Baghramian

YSL / New Waves (2001)
c-print, 90 × 75 cm

image courtesy of the artist

JÖRG HEISER: In the 1990s, there was much talk of utilizing the political potential of identity for artistic production.

NAIRY BAGHRAMIAN: At that time, as a migrant with an Iranian-Armenian background, I was expected to transform the stigma associated with my status into something positive.

JÖRG HEISER: Later you made the photographic diptych New Waves (Am Kaspischen Meer) (On the Caspian Sea, 2003) where you play with this idea: you’re beside the Caspian Sea in Iran and you’re wearing a balaclava, with an Yves Saint Laurent tie whose label is revealed by a gust of wind.

NAIRY BAGHRAMIAN: That was a response to the way one is both stigmatized and how one uses oneself. – excerpt from Room to Live, interview by JÖRG HEISER, Frieze, no. 131 (May 2010)

found via http://www.documenta14.de/en/south/906_ysl_new_waves

one message interview #38. KubaParis

image © we find wildness

click on the phone to read the whole message

KubaParis is a magazine, a printed one I mean, published twice a year since 2014. KubaParis is AMELIE GR. DARRELMANN & SASKIA HOHENGARTEN. Of course, KubaParis is also online:

http://kubaparis.com

read the previous one message interviews here

Roy Da Prince at Futura, Prague

VIKTOR TIMOFEEV, As Below So Above, 2016
digital prints on PVC

VIKTOR TIMOFEEV, As Below So Above, 2016
digital prints on PVC

IRINA LOTAREVICH, Untitled, 2016
steel knife pattern plates

AGNIESZKA GRODZINSKA, Untitled (from the series Foreshadow Fences), 2013
3 metal objects painted black

KERNEL, Torrent, 2016
discarded plastic cable jackets, lever straps, electrical tape

IRINA LOTAREVICH, St.Gallen Confessional, 2016
wood, stain, leather, thread, copper wire

SHANTA RAO, Untitled (2015-2016)
mixed media on steel

PEDRO WIRZ, An Egg For An Eye, 2016
balloons, fabric, latex, soil

PEDRO WIRZ, An Egg For An Eye (detail), 2016
balloons, fabric, latex, soil

QUENTIN EUVERTE, installation view

QUENTIN EUVERTE, Pink Paradise Never Dies, 2016
aluminium box, lithium grease, glass, electric and electronic system, mixed media

AGNIESZKA GRODZINSKA, Hard Light in the Light Heat series, 2013-2016
xerographic and print on paper

all images courtesy of the artists and Futura, Prague

Roy Da Prince is a group exhibition that explores the themes of confinement, regimentation, and oppression through sculptures, videos and installations. This show is named after a 24-year-old rapper also known as ROY DA PRINCE who was sentenced last year to 100 years of prison term in connection to a double shooting in 2014.

The exhibition takes place in the basement of the art centre Futura— located in a former industry building in Prague’s Smíchov district — imbuing the show with a temporal and spatial confinement. Indeed the space is a labyrinth-like cellar, where narrow passages are connected with minimal metal stairs to different rooms recalling cells.

This specific context implicates physical processes of vision and movement, creating an environment that feels like both prison and stage. While the general impression of the exhibition is a bleak, rather hopeless outlook, the works themselves thanks to their elaborated craftsmanship and restrained sense of colour offer a quiet yet visceral power to this claustrophobic atmosphere.

Roy Da Prince with QUENTIN EUVERTE, AGNIESZKA GRODZINSKA, KERNEL, IRINA LOTAREVICH, LUCIA ELENA PRUSA, SHANTA RAO, VIKTOR TIMOFEEV, ANDREW NORMAN WILSON and PEDRO WIRZ is on view at Futura, Prague until February 19, 2017.

The distrust of abstractions (…) finds expression in a widespread reduction of cultural ideas and activities to psychobiography. We are invited to see the ‘inner life’ of individuals as the most authentic level of reality.- Mark Fisher, Real Abstractions / The application of theory to the modern world, for Frieze Magazine, January 16, 2017

Domenico de Chirico for We Find Wildness #80

all images courtesy of the artist and Drei, Cologne

Schmierige Nebel, a solo exhibition by CEDRIC EISENRING
on view at Drei in Cologne
until February 18, 2017

chosen by curator and editor DOMENICO DE CHIRICO