Irena Haiduk. Against Biography

screen capture from Against Biography (2015)IRENA HAIDUK
on March 28, 2017
image © we find wildness

IRENA HAIDUK is not only against biography but she is also part of the documenta 14 with a project entitled Nine Hour Delay.

Initiated in 2012, the work consists of the distribution of the ergonomic footwear to the workforce of the institution where the project is exhibited. The documenta press release stated that “all those, regardless of gender, who are seduced by the prospect of wearing ergonomic women’s footwear and are employed for documenta 14 are eligible to receive a pair of Borosana Shoes within the rubric of Nine Hour Delay”.

The Borosana shoe was first developed over a nine-year period (1960-69) at Borovo Rubber Industry Headquarters in Vukovar, Yugoslavia. After being designed and tested by the Borovo female workforce and an orthopedic surgeon, the shoe was mandatory for Yugoslav women working in the public sector. Borosana was launched in 1969, in white and navy colors, featuring an ergonomic platform, calculated as ideal for nine hours of standing without hurting the wearer’s spine. In the declining years of Yugoslav communism the model was withdrawn from mass production. Fabrication was abandoned when Vukovar became a war zone in 1991.
Each time this project is exhibited Borosana becomes the official work shoe of the host institution advancing the constructivist maxim of great utilitarian design in service of the working woman. The shoe extends the architecture of labor and provides the wearers with a distinction between labor time and leisure time. Borovo remains the last public Yugoslav infrastructure. The inability to legally split and privatize the company’s public assets prevents Yugoslavia from fully formally splitting to this day. With every new step Yugoslavia persists (insists). – http://yugoexport.com

On March 30, 2017 IRENA HAIDUK will recount the progress of the oral corporation Yugoexport at Parko Eleftherias, Athens Municipality Arts Center (5 pm).

The whole text Against Biography is available here http://yugoexport.com/sitefiles/2_AGAINST_BIOGRAPHY.pdf

 

 

wfw weekend #391

Infection (2017), PAMELA ROSENKRANZ
seen at Fondazione Prada, Milan
on Sunday, March 25, 2017
image © we find wildness

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wfw weekend #390

Structural Psychodrama #3 (2017), MONICA BONVICINI
seen at Galleria Raffaella Cortese, Milan
on Saturday, March 25, 2017
image © we find wildness

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Domenico de Chirico for We Find Wildness #83

all images courtesy of the artist and Société, Berlin

a solo exhibition by NED VENA
on view at Société, Berlin
until April 15, 2017

chosen by curator and editor DOMENICO DE CHIRICO

#laterpost 1993. Olafur Eliasson

Come As You Are, 1993
Courtesy of the artist

Metaphorically and literally blinded by the lights, I never looked at the work of OLAFUR ELIASSON under a witty point of view until I stumbled upon one of his first piece.

Entitled Come As You Are (1993), this installation consisted of a modified projector projecting a horizontal beam of red light at ELIASSON’s eye level onto a doorway in a studio.

I have sensed a danger in phenomenology’s being presented as a kind of truth; there’s a tendency to detach experience from social context by justifying it as a phenomenological situation. And it is a more dynamic conception of phenomenology, of course, that has been a source of inspiration in my work. To me the greatest potential of phenomenology lies in the idea that subjectivity is always susceptible to change. I like to think that my work can return criticality to the viewer as a tool for negotiating and reevaluating the environment—and that this can pave the way for a more causal relationship with our surroundings. – OLAFUR ELIASSON in conversation with ROBERT IRWIN, March 27–28, 2006

Monia Ben Hamouda. Macelleria Antonio Miranda, Milan

Nur Xyderiv (Go Flex), detail, 2017

installation view at Macelleria Antonio Miranda, Milan

Survive, Adapt and Protect (Just Breath), 2017

Survive, Adapt and Protect (Just Breath), 2017

Survive, Adapt and Protect (You’ll Never be Missed), 2017
plastic band, clay, silicone, water, MICHELE GABRIELE’s ‘The Missing Link’

Survive, Adapt and Protect (You’ll Never be Missed), 2017
plastic band, clay, silicone, water, MICHELE GABRIELE’s ‘The Missing Link’

NICOLE COLOMBO, What I think of Miranda, dedicated text, 2017

Survive, Adapt and Protect (Just Breath), 2017 & Survive, Adapt and Protect (You’ll Never be Missed), 2017

Shark. Meat. Demand. Increases, 2017

Shark. Meat. Demand. Increases, detail, 2017

 I’m Just Trying to be Pretty II (Racoon), 2017

 I’m Just Trying to be Pretty II (Racoon), 2017

all images from the exhibition Miranda by MONIA BEN HAMOUDA, Macelleria Antonio Miranda, Milan / March 2017

courtesy the artists and PANE PROJECT

Miranda is the title of the solo exhibition of MONIA BEN HAMOUDA which is taking place into a butcher’s shop of the same name in the centre of Milan.

This exhibition is part of PANE Project, a project run by Milan-based LUCIA LEUCI. PANE Project always took place so far in places where our basic needs such as eating or drinking can be somehow fulfilled.

Miranda by MONIA BEN HAMOUDA is on view at Macelleria Antonio Miranda in Milan until the 21st March 2017.

David Hanes. wfw aware #43

Aware: Hitzefrei (2017), MICHAEL SAILSTORFER
presented at König Galerie, Berlin
shot on March 7, 2017, altered on March 17, 2017 by DAVID HANES*
image courtesy of the artist and we find wildness

*DAVID HANES lives and works in Berlin. He is represented by Birch Contemporary, Toronto.

➝ read more about this special project for we find wildness here.

wfw weekend #389

Ripe Days of Silence (2017), MEGAN ROONEY
seen at Freymond-Guth Fine Arts, Basel
on Saturday, March 18, 2017
image © we find wildness

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wfw weekend #388

outside view into Honeybaked, JAN KIEFER
seen at Salts, Birsfelden/Basel
on Monday, March 13, 2017
image © we find wildness

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The Edmund Felson Gallery can be found in Berlin on Auguststr. 19/67 from March 1st – June 31st Opening hours Thursday 5 – 7pm, Saturday 3 – 5 pm

Look, all this is fraud at Milieu, Bern

Look, all this fraud with VICTORIA ADAM, MARLEN KELLER, JAN KIEFER, DOMINIC MICHEL, ADRIEN MISSIKA, YVES SCHERER, PHILIPP SIMON, PEDRO WIRZ
exhibition view at Milieu, Bern, February – March

all images courtesy of the artists, Milieu and VALENTINA SUTER

 

In law, fraud is deliberate deception to secure unfair or unlawful gain, or to deprive a victim of a legal right. Fraud itself can be a civil wrong (i.e., a fraud victim may sue the fraud perpetrator to avoid the fraud and/or recover monetary compensation), a criminal wrong (i.e., a fraud perpetrator may be prosecuted and imprisoned by governmental authorities) or it may cause no loss of money, property or legal right but still be an element of another civil or criminal wrong. The purpose of fraud may be monetary gain or other benefits, such as obtaining a driver’s license or qualifying for a mortgage by way of false statements.

A hoax is a distinct concept that involves deliberate deception without the intention of gain or of materially damaging or depriving a victim.*

Look, all this fraud with VICTORIA ADAM, MARLEN KELLER, JAN KIEFER, DOMINIC MICHEL, ADRIEN MISSIKA, YVES SCHERER, PHILIPP SIMON, PEDRO WIRZ was on view at Milieu in Bern from February 12 to March 12, 2017

*wikipedia

Eric Troncy. Very Entertaining

screen capture from http://purple.fr/magazine/ss-2017-issue-27/eric-troncy-2/ on March 16, 2107

image © we find wildness

While waiting for the pope of entertaining art, make sure to stay entertained by reading the whole text entitled Very Entertaining by ERIC TRONCY via http://purple.fr/magazine/ss-2017-issue-27/eric-troncy-2/

one pic tuesday. David Diao

Best Western2016
acrylic and vinyl on canvas, 48 x 32 inches

image courtesy of Postmasters, New York

I usually only post images from exhibitions that have not run their course, so you have the possibility to visit them in person before it closes. Nevertheless today’s pic is featuring a work by DAVID DIAO that were on view through a few days at Postmasters in New York. The text below was part of the press release provided by the gallery.

Events surrounding the loss of my home in China due to the Communist takeover has festered in my mind my entire life. Beginning in 2007, I finally painted some 30 works that zeroed in on this obsession. The resulting show was entitled, “I lived there until I was 6…” and consisted of paintings of maps, site and floor plans, deeds and other material evidence that the house actually existed. All photographs were lost. It was a harrowing escape from Chengdu to HongKong in late October 1949.

The present show continues the story but focuses on the 5 odd years before emigrating from HongKong to the US in 1955. One memory is of my neighbor Li Lihua, the famous movie star, and her glamorous life downstairs in contrast to our refugee drabness. Maps to establish locale and emblems of institutions in my life became paintings. The internet is a wondrous source for images that supplant the lack of a private archive. But in the end what is a child’s world but home, school, church. In working on these paintings I realize that during the entire period there I was mostly waiting to grow up. Besides America was beckoning. – DAVID DIAO, JANUARY 10, 2017

Hongkong Boyhood was on view at Postmasters in New York from February 4 to March 11, 2017.

David Hammons is on our mind.

WFW COMIX #8

wfw comix, March 2016
all images © JEREMY PININGRE and We Find Wildness

click on the arrows or the dots to navigate the gallery

WFW Comix is a project started in the beginning of 2016 with French artist JEREMY PININGRE. This is the 8th episode and if you have missed the previous issues, follow this link. If you want to know more about this special commission, it’s here.