David Hanes. wfw aware #39

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Aware: after UnemploymentJOSH KLINE
presented at Fondazione Sandretto Re Rebaudengo, Torino
shot on November 5, 2016, altered on December 2, 2016 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.

#laterpost 2014. Mandla Reuter at Galerie Mezzanin, Vienna

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exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

mandla-reuter-3

Untitled, 2012
cardboard box, structure paint, Swiss International Airlines blanket
60 cm x 60 cm x 97 cm

City, 2014
wood, steel, PE water pipe, pump, Evian water, other materials
dimensions variable

behind door:

Double, 2014
one of two sets of custom-made suits, shirts, shoes
dimensions variable

paintings and cardboard pizza house by Francis Reuter

exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

mandla-reuter-4

Out, 2014
concrete, steel
68 cm x 10 cm, 87 cm x 11 cm, 78 cm x 17 cm
overall dimensions variable

Night, 2014
sodium-vapor lamp
dimensions variable

Untitled, 2012
cardboard box, structure paint, Swiss International Airlines blanket
60 cm x 60 cm x 97 cm

City, 2014
wood, steel, PE water pipe, pump, Evian water, other materials
dimensions variable

paintings and cardboard pizza house by Francis Reuter

exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

mandla-reuter-5

Untitled, 2014
blueprint mounted on canvas
181,5 cm x 128 cm x 6 cm incl. frame

Untitled, 2014
blueprint mounted on canvas
126 cm x 170 cm x 6 cm incl. frame

Untitled, 2014
blueprint mounted on canvas
128 cm x 159 cm x 6 cm incl. frame

Untitled, 2014
blueprint mounted on canvas
120 cm x 138 cm x 6 cm incl. frame

exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

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exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

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exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

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exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

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exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

20-12172014

City, 2014
wood, steel, PE water pipe, pump, Evian water, other materials
dimensions variable

exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

mandla-reuter

exhibition view MANDLA REUTER, Armilla, Galerie Mezzanin Vienna, 2014/15
photo: (c) ROBERT GRUBER

all images courtesy of the artist and Galerie Mezzanin, Vienna/Geneva

At the end of the year 2014, Berlin-based artist MANDLA REUTER presented his third solo exhibition at Galerie Mezzanin in Vienna. The presentation was entitled Armilla, a word that is leading my wikipedia trail to two main direction: a town in the south of Spain or an armband awarded as a military decoration. But may be none of these tracks is correct.

In an interview with KARIN REBBERT in 2007, REUTER explained: I would rarely describe my work as situation-specific, site-specific or context-related. The works are conceived in such a way that they can function independently of the site, and usually independently of the context as well. It is the contexts that change artworks, no matter what they are like. My work is not institution-critical either, at least that’s not how I see it. Perhaps one could have spoken of institutional critique if the works had been produced in the 1970s or 80s, but today such concepts often do not go far enough and tend to pigeonhole artistic works, thus making it almost impossible to read and deal with them in a farther-reaching, sensible way. In most cases I find these currently widespread artistic positions that present their political, ecological or institutional grounds in advance extremely difficult. I don’t want to be misunderstood here; of course it’s fine if an artwork functions as a political statement or can be very political in itself, but not as a priority and as the sole starting point of a work. Maybe that also has to do with trends in art criticism, but certain developments can be found there as well.

In general I try to avoid these labels, even if it doesn’t always seem to work, as one can see. When I speak about works that create situations, I mean the circumstances and the possibilities of perception that are produced by an artistic intervention and that lead away from their actual materiality, allowing a number of interpretations. Basically that’s what happens with every picture hanging in a room. And of course I would like my works to be seen foremost as pictures; I’m an artist and artists create pictures. All one can say about the concept of installation is that any picture hanging on a wall becomes an installation, perhaps the respective artists have different priorities, but in the end what largely contributes to the reception of a work is how it hangs in the room and what it does to the room.

The minimal and conceptual press release for this exhibition has been entirely published below:

Mandla Reuter—Armilla—19.11–10.01.2015—Galerie Mezzanin, Wien—2014—third show—last exhibition—first space—room of maps—Vatican city—blueprint—inkjet—survey—map—architect—land registry—white spots—the undiscovered—clockwise from left—Untitled, 2014—181,5 cm x 128 cm x 6 cm—Google Earth—jungle—seafaring—space—Untitled, 2014—126 cm x 170 cm x 6 cm—satellites—Untitled, 2014—128 cm x 159 cm x 6 cm—invention—regression—Burj Khalifa—desert—Kolumbus—India—Iquitos—rubber—ice—67P/Tschurjumow-Gerassimenko—water—Untitled, 2014—120 cm x 138 cm x 6 cm—hallway—left to right—envelopes—glass cases—No Such St, 2013—Insuff Add, 2013—mapped—No Such St, 2013—Returned to Sender, 2013—US Postal Service—Fedex—UPS—Returned to Sender, 2013—returned to sender—no such street—localization—undeliverable as addressed—land without address—Los Angeles—2010—downtown—fake estate—GMC—second space—Out, 2014—in—drain—man hole cover—three parts—canalization—The Third Man—Warhol—WC—Vienna—city—shit—piss—water—sewage—wastewater—land—underground—rats—crocodile—escape—breaking and entering—Night, 2014—sodium-vapor lamp—dimensions variable—night—day—on—off—beauty of the night—street lighting—street—shoes—Double, 2013—body double—actor—Seyneb Saleh—Graz—2013—suit—sex—shirt—pair of shoes—park—view—custom-made—front entrance—wardrobe—cave—Francis Reuter—son—kid—four—painting—house—Untitled (2012)—model—cardboard packaging— structure paint—1:1—detail—sketch—The Gate—airline blankets—playground—cave—hide and seek—house—private part—third space—storage—first space—hallway—second space—third space—storage—City, 2014—Évian-les-Bains—city—Evian—water—water pipe—package of water—spring—ubiquitous spring—palettes—1.000 liters—pump—fountain—water grid—city—settlement—office—Untitled Plot (2014)—framed pigment print—142,5 cm x 122,5 cm—envelope—acrylic glass—glass—37,5 cm x 31 cm x 9 cm—dirt—other materials—carpet—Kunsthalle Basel—2013—first version—dirt—sand—steel plates—Waldon Place—Los Angeles—A Plot—SBKM De Vleeshal—dirt trodden into carpet—dimensions variable—one work—three works—dispute—overall dimensions variable.

wfw weekend #363

nairy

exhibition view from Scruff of the Neck (Supplements), NAIRY BAGHRAMIAN
seen at Haus Konstruktiv, Zürich
on Friday, December 2, 2016
image © we find wildness

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wfw weekend #362

galerie-neu

Untitled (2005), REENA SPAULINGS and Platooning (2016), YNGVE HOLEN
seen at Galerie Neu, Berlin
on Tuesday, November 29, 2016
image © we find wildness

wfw weekend #361

nina-canell-barbarawien

Tip of the Tongue (2016), NINA CANELL
seen at Barbara Wien, Berlin
on Saturday, November 26, 2016
image © we find wildness

wfw weekend #360

tobias-spichtig

Like Deadlines in HeavenTOBIAS SPICHTIG
seen at Galerie Bernhard, Zürich
on Wednesday, November 23, 2016
image © we find wildness

online with #6

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MANUEL, Berlin, November 2016
All of which is to say: leaning against other texts, thinking with other minds, letting another person’s writing (or art, or being) haunt you, inhabit you, inspire you, bother you, quite thoroughly, isn’t just a means of spurring one to produce thoughts or books. It’s also a wager about how deeply intertwined our consciousnesses may be. It is to wonder (as Henry James did, in his late novels), whether consciousness exists between us, in the air, rather than within individual minds. The wild and productive gambit of “leaning against” is that we’re not really leaning against others, but against a great throbbing consciousness, a soup of soul and mind in which we all share, even if that sharing is characterized by dissensus or a mirage of separateness rather than a blurry unity. – MAGGIE NELSON, excerpt from an interview with JESSA CRISPIN for Bookslut, July 2013, taken from http://www.bookslut.com/features/2013_07_020156.php

online with by FETTE SANS

Read more about this special project for we find wildness here.

David Ostrowski, Michail Pirgelis. Nothing Happened

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installation view, DAVID OSTROWSKI, MICHAIL PIRGELIS, Nothing Happened, Sprüth Magers, Los Angeles, November 15 – Dezember 23, 2016
photograpy by: ROBERT WEDEMEYER, edited by: HANS-GEORG GAUL

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Honey Depression, 2016
aluminium, fibreglass, tape 277 x 352 x 16 cm
© MICHAIL PIRGELIS
Courtesy Sprüth Magers

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installation view, DAVID OSTROWSKI, MICHAIL PIRGELIS, Nothing Happened, Sprüth Magers, Los Angeles, November 15 – Dezember 23, 2016
photograpy by: ROBERT WEDEMEYER, edited by: HANS-GEORG GAUL

dos_mpi_install_nothing_happened_smla_2016_02

installation view, DAVID OSTROWSKI, MICHAIL PIRGELIS, Nothing Happened, Sprüth Magers, Los Angeles, November 15 – Dezember 23, 2016
photograpy by: ROBERT WEDEMEYER, edited by: HANS-GEORG GAUL

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F (A thing is a thing in a whole which it’s not), 2015
lacquer and paper on canvas, 100 x 80 cm
© DAVID OSTROWSKI
Courtesy Sprüth Magers

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installation view, DAVID OSTROWSKI, MICHAIL PIRGELIS, Nothing Happened, Sprüth Magers, Los Angeles, November 15 – Dezember 23, 2016
photograpy by: ROBERT WEDEMEYER, edited by: HANS-GEORG GAUL

dos_mpi_install_nothing_happened_smla_2016_04

 

installation view, DAVID OSTROWSKI, MICHAIL PIRGELIS, Nothing Happened, Sprüth Magers, Los Angeles, November 15 – Dezember 23, 2016
photograpy by: ROBERT WEDEMEYER, edited by: HANS-GEORG GAUL

all images courtesy of the artist and Sprüth Magers

Everytime I see the work of DAVID OSTROWSKI, I can’t help but to remember an article about him explaining that he spends 80 percent of his time at his studio overlooking the Rhine River and not painting. True or false, it was liberating.

MICHAIL PIRGELIS is actually a close friend to OSTROWSKI. They met at the Kunstakademie in Düsseldorf where they were both studying. In the vein of contemporary sculptors, PIRGELIS‘s work is following the traditions of the readymade and of Minimalism by stripping objects from their original purpose thanks to an economy of interventions.

An economy that DAVID OSTROWSKI has in common. The german painter is best known for his  large-scale, monochrome works that often only betray a hint of spray paint or/and marks of his studio.

These both minimal gestures are actually presented in an exhibition entitled Nothing Happened. According to the press release, ‘the title of this exhibition, could also be read from a different angle: not in the sense that nothing has happened, but in the sense that the “nothing” happened here, that what happened is the “nothing”‘.

Lets put it that way: their work in their own right does not cover, ignore, or defer nothingness, meaningless and lack of understanding. But rather PIRGELIS‘s sculptures and OSTROWSKI‘s paintings made of timeless traces embrace, submit and activate the absence itself.

 

Nothing Happened by DAVID OSTROWSKI and MICHAIL PIRGELIS is on view at Sprüth Magers in Los Angeles until December 23, 2016.

one message interview #35. Thomas Koenig

thomas-koenig-onemessageinterview

THOMAS KOENIG is an artist based in Vevey, Switzerland. For those of you who don’t know this town, try to gather mentally all the romantic imageries you have about lakes, mountains and landscapes. And like THOMAS you would probably think about working on the lake. Or not.

This question has been stolen from the MAURIZIO CATTELAN’s questionnaire.

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read the previous one message interviews here

one pic tuesday. Rodney Graham

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Artist in Artists’ Bar, 1950’s, 2016
painted aluminum lightbox with transmounted chromogenic transparency
95 x 71 5/8 x 7 inches (241.3 x 181.9 x 17.8 cm)

courtesy of the artist and 303 Gallery, New York

You should be an artist is the title of the solo exhibition by RODNEY GRAHAM that opened on November 18 at Le Consortium in Dijon. GRAHAM is best known for his self-portraits captured in precise settings and which are playing with the representation of the artist itself.

The backstory I concocted for myself is that this character is a professional of some sort who didn’t know very much about art. Maybe he had seen the last show where MORRIS LOUIS exhibited the drips. He is so inspired that he thinks he might try it himself in his living room. I was inspired by the fact that MORRIS LOUIS made those large paintings in his Baltimore kitchen alcove, an area that was much smaller than the paintings themselves. The space was 9 by 12 feet and he worked in from each side, rolling them up and working on less than half the canvas. So the anecdotal thing of LOUIS working at home initiated my interest, and that was increased by his way of painting. He didn’t make studies; he would just drip all day long. His wife would go to work and he would start doing these things. He made hundreds in a very short period of time before he died, and most of them weren’t even stretched. Originally the piece was going to be a fictionalized account of Louis painting in his living room and what might have happened during the day—the postman coming, making himself a sandwich. But it evolved into this other story centred around this hypothetical guy having a late mid-life crisis. You know, just saying, “Fuck it, I’m getting up in the morning in my pyjamas and I’m going to do it.” I was thinking of Hugh Hefner with the pyjamas and the cool pad with a sound system.RODNEY GRAHAM in conversation with ROBERT ENRIGHT, Bordercrossingsmag.com, 2010

 This work is currently part of the exhibition You should be an artist that is running through February 17, 2017 at Le Consortium, Dijon.

David Hanes. wfw aware #38

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Aware: after Softshare, DAVID HANES
presented at Birch Contemporary, Toronto
altered on November 21, 2016 by DAVID HANES
image courtesy of the artist and Birch Contemporary, Toronto

Since July 2015 Berlin-based artist DAVID HANES is sharing an image a week to keep the doctor away. More literally he is modifying with the help of photoshop views of exhibitions that I visited.

A few of those pictures specially created for wfw are currently on view in his solo exhibition entitled Softshare. The image above is an installation shot of his show that he altered digitally. Softshare is running at Birch Contemporary in Toronto until November 26, 2016.

For those of you who can’t make it either because you are too far away or you don’t get a slot, you can browse his previous contributions for wfw here.

ONE FAIR 5/6

We need a word. A new one. This idea popped up in my head while observing the pointless itinerary of my fly Gregory II yesterday. The word that I am looking for should carry the weird but real syndrome of ‘you have been in a place but you have missed the best in there’. Or in other words: Imagine you go to your grandmas birthday party. You dance, you laugh, you eat all the cake. When you’re back home, at the question: ‘Babe, how was your grandma?’  Your blood turns cold, still not as much as the birthday girl. You noticed at this exact moment you have missed your grandma.

Of course we already have the funky FOMO. But we need one for the fear of having really missed out.

Apart LOSER I mean.

It means:

wfw weekend #359

lynettekunsthalle

A Fever Of Lilies (2016), LYNETTE YIADOM-BOAKYE
seen at Kunsthalle Basel
on Thursday, November 17, 2016
image © we find wildness

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wfw weekend #358

vidya-gastaldon

Healing Paintings (2015-2016), VIDYA GASTALDON
seen at Crac Alsace, Altkirch
on Wednesday, November 16, 2016
image © we find wildness

wfw weekend #357

zurich-barlow

installation view from Demo , PHYLLIDA BARLOW
seen at Kunsthalle Zürich
on Friday, November 11, 2016
image © we find wildness

 

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