Let’s put it this way: I have little interest in the position of autonomous authorship that I obviously inhabit, and I have absolutely no interest in making it the subject matter of my writing or even present it as something special. So when I’ve written something that, in the process of writing, I believe I’ve never read anywhere else before, I tend to try and find a section that says the same thing before I did. Then I replace my so-called “own” with the so-called “other”. To me it is more important to place myself within a network of thinking and thought-paths rather than trail after the old-fashioned chimaera called ‘artist’ that propounds one has produced something unique and new. Which means that I prefer the quoted text to “my own” but I make a bow towards the sources by stating more than once where they do come from. The quoted idea may come up again about 40 pages later, this time without any hint towards the source, but that’s because I rely on the readers to notice “Ah, here we’ve got someone like Hubert Fichte or Jack Smith again. But they were introduced some time before.” I do not really use quotation marks. Simply because I do not believe in the enclosed autonomy of the Other. I regard that as open as anything else. That’s why I follow a form of writing that was propagated by feminists such as Hélène Cixous, who describes feminine text as openly accessible from the top and the bottom, from both sides, from the front and the back. – Direction Artiste – Appendix – A Conversation with Thomas Meinecke, David Lieske at Lovaas Munich, November 16, 2017 – December 16, 2017

Alan Schmalz. Appareils de Récréation

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

all images courtesy of the artist and Forde, Geneva

Appareils de récréation (Recreational devices) by ALAN SCHMALZ was on view at Forde in Geneva from September 16, 2017 to October 15, 2017. An exhibition soundtrack that has been produced in collaboration with REMI BRIQUET, is still available to download via forde.ch.

Michael E. Smith at KOW, Berlin (Sep 16–Nov 12, 2017) via Contemporary Art Daily

Jørgen Leth. The Perfect Human

wfw weekend #435

excerpt from Rewriting The Human Story (2017), NIKOLA DANAYLOV
as part of the group exhibition Vernunft und Ordnung
seen at Milieu, Bern
on Saturday, November 4, 2017
image © we find wildness

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wfw weekend #434

Seven Problems Solved (2017), JOHN TREMBLAY
seen at Wallriss, Fribourg
on Saturday, November 4, 2017
image © we find wildness

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I define the archive as a “para-institution.” And this relates to the fact that I conceive the archive as an artistic instrument of self-historicising (which in many cases blends with the artwork itself). The para-institution of the artist’s archive was designed for recording, presenting and diffusing ephemeral, often subversive activities, and it produced autonomous contexts. Artists’ archives often reflect on how the ideological apparatuses manipulate everyday life, moreover they inscribe the artwork in history from the artist’s standpoint. That does not only mean that they put the artwork in circulation and communicate it within a limited circle of kindred spirits. Frequently the artist’s archive has a further role, involving an attempt to control the reception of the work in the local and international setting. Such an approach takes a number of levels of comparative research into account. Work at the varying levels of textual or pictorial documents demands a re-evaluation of the relationship of original and copy and must reflect the documents’ modes of production and reproduction, and must also take into account their unique, unrepeatable arrangement in the artist’s archive. One cannot reduce the artist’s archive exclusively to purposes of communication. With the deliberate multiplication and diffusion of documents, things come to a point where archival practices break free from the instrumentalisation, reification and commodification of the artwork. – Daniel Grúň, Monument to a Heroine. Július Koller’s Archive and Processes of Self-Historicisation, September 2017

Art & Politics: Alfredo Jaar, Frieze Talks, October 8, 2017

Merlin Carpenter. Title of Show

Witty Title, 2017
wooden pallet. 80 x 60 x 13 cm


Wacky Title, 2017
wooden pallet. 98,5 x 118 x 13,5 cm

Sick Title, 2017
wooden pallet. 100 x 74 x 18 cm

Political Title, 2017
wooden pallet. 80 x 120 x 14 cm

Important Title, 2017
wooden pallet. 99 x 123,5 x 13,5 cm

Clever Title, 2017
wooden pallet. 80 x 120 x 14 cm

Radical Title, 2017
wooden pallet. 100 x 120 x 16,5 cm

Great Title, 2017
wooden pallet. 100 x 120 x 14 cm

all images courtesy Christian Andersen, Copenhagen

Serge: What do you give a fuck about?

Marc: I give a fuck about you buying that painting. I give a fuck about you spending two hundred grand on that piece of shit.

Yvan: Don’t start again, Marc!

Serge: I’m going to tell you what I give a fuck about – since everyone is coming clean – I give a fuck about your sniggering and insinuations, your suggestion that I also think this picture is a grotesque joke. You’ve denied that I could feel a genuine attachment to it. You’ve tried to set up some kind of loathsome complicity between us. And that’s what’s made me feel, Marc, to repeat your expression, that we have less and less in common recently, your perpetual display of suspicion.

Marc: It’s true I can’t imagine you genuinely loving that painting.

Yvan: But why?

Marc: Because I love Serge and I can’t love the Serge who’s capable of buying that painting.

Serge: Why do you say, buying, why don’t you say, loving?

Marc: Because I can’t say loving, I can’t believe loving.

Serge: So why would I buy it, if I didn’t love it?

Marc: That’s the nub of the question.

– excerpt from Art (1994) by YASMINA REZA (pdf available here)

This series of wooden pallets by MERLIN CARPENTER hanging on the wall like readymade paintings are on view at Christian Andersen, Copenhagen until November 2017.

 

wfw weekend #433

Otto (2017), MARGUERITE HUMEAU
seen at Haus Konstruktiv, Zürich
on Sunday, October 29, 2017
image © we find wildness

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wfw weekend #432

view from the exhibition Journey Journée , PHILEMON OTTH
seen at Alienze, Lausanne
on Wednesday, October 25, 2017
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Matmos. California Rhinoplasty ( A Chance to Cut Is a Chance to Cure)


California Rhinoplasty (10:06), 2001
from Chance to Cut Is a Chance to Cure, 2001
MATMOS, DREW DANIEL, MARTIN C. SCHMIDT)

California Rhinoplasty is a 10’06” song and EP by American experimental/electronic music group MATMOS. The song is originally from the 2001 album A Chance to Cut Is a Chance to Cure. The recordings of this album are composed entirely from samples of plastic surgery (rhinoplasty, endoscopic forehead lift, chin implants) performed in California.

More recently BOMB Magazine released an interview with MATMOS entitled Inhuman Sound, read it here: http://bombmagazine.org/article/20251023/inhuman-sound-an-interview-with-matmos

 

For 10000 gestes, I envision a choreographic forest in which no dancer ever repeats any of the gestures, each of which will be shown only once and will vanish as soon as it has been executed, like an ode to the impermanence of the art of dance. This shower of movements, which could have been a data project generated by lists of digital parameters, will be instead generated in an artisanal way, using the very bodies of the performers, in an absolutely subjective way. (…) 10000 gestes constitutes a choreographic anti-museum aiming to explore the means of escaping the instinct and the strategies of preservation at work in the activity of a dancer… It will be matter of exploring the possibility that one gesture is never completed by another, and that, if 1, 2, 3, 4, 5, 6, 7, 8, or 25 dancers come in contact, each still executes a gesture distinguished from those of others through the exclusion of any symmetrical movement: in this piece, it is impossible to shake someone’s hand. The collection thus constituted is also an anti-collection, since no choreographer worthy of the name would risk incorporating 10000 gestes in his or her score, and this totality cannot be comprehended other than by the idea that generated it. – Boris Charmatz about his work ’10 000 gestes’ (2017)

Neil Beloufa, Sans titre, 2010, 15 min https://www.beauxarts.com/videos/larchitecture-des-souvenirs-avec-neil-beloufa/

wfw weekend #431

detail from La Chasse (2017), LUCY SKAER
seen at KW Institute for Contemporary Art, Berlin
on Monday, October 16, 2017
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