wfw weekend #191

laguna

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detail from the installation Laguna by CHLOE DELARUE and SHANA MOULTON
seen at M J Gallery, Geneva
on Friday, March 27, 2015
image © wfw

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more about this exhibition soon on wfw, meanwhile two more views of the show are available on the wfw instagram

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Rats. TRAP ME LIKE AN ANIMAL IN THE ZO

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video courtesy ZOOSCOPE

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exhibition views from Trap Me Like An Animal In The Zo
at St Martin, Lausanne, February 2015
images courtesy the artists

photos: CHARLOTTE KRIEGER

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Earlier this year, the swiss art collective RATS has been invited by another multidisciplinary swiss collective called ZOOSCOPE to present a one-day exhibition show titled Trap Me Like An Animal In The Zo in a given location in Lausanne after having spent a two weeks residency in the space.

Trap Me Like An Animal In The Zo was a cross between a party, a curated show and a performance where people came together for one day to participate in something surprisingly fresh. The event took place in St Martin, a performing arts venue in Lausanne, which looks like a dusty abandoned depot.

For this exhibition, artists from the RATS collective made used of found materials readily available to hand  — everything from wood frames to sound samples and pieces of old carpet — to create works that eventually projected the threat of impermanence, evoked a precarious, handmade quality and vibrated with anti-Minimalist energy. Perhaps the most imposing piece in the show was by MAZYAR ZARANDAR, who removed the carpet of the space and hung up the torn pieces on a chaotic and precarious tubular structure, while THOMAS KOENIG drew with bleach onto large black canvas. ANTOINE TILLE reinterpreted a piece by TERRY RILEY entitled In C (1968) by recording sounds in situ, then this impressive audio summary of the site filled the entire floor of St Martin thanks to the several hanging loudspeakers. As for CHARLOTTE STUBY, she placed several luminous spots in the space conveying a dramatic effect within the gloomy rooms and emphasizing her engraved mirrors . Finally ZOOSCOPE showed a video featuring the artists filmed during their residency.

This action seems to have given the RATS collective the permission to keep the works restless and unfinished, an “unfinished” state that was open and rough.

RATS collective was for this show AURÉLIEN BALLIFMICHAEL JORDAN (LIVE), THOMAS KOENIGBLACK SALAT (LIVE), CHARLOTTE STUBYANTOINE TILLE, VERMINO and MAZYAR ZARANDAR.

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Jaakko Pallasvuo. Picasso

Picasso, 2014
HD Video, 5min55

video courtesy the artist

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Finnish artist JAAKKO PALLASVUO is showing the video featured above entitled Picasso (2014) as well as other wall works in the Zombie Routine exhibition at New Galerie in Paris. The show is based around the routine daily life, the repeated actions and reactions we all, to some degree, accomplish and which generate a certain wasteland of exhausted domesticity.

Picasso (2014) is a new iteration of PALLASVUO‘s video works that explore the idea of video art and the methods of essay film. If you’ve seen the video, the piece asserts the sheer proliferation and interchangeability of images in the physical and virtual realms while the voiceover takes us on a personal journey in which ideas of identities, power as well as processes of individualization are questioned thanks to the character of Picasso.

I don’t really see my work as documentary, although I do understand how that connection could be made. The videos definitely have to do with awkwardly imposing dramatic structures onto reality, the relative impossibility of that. – JAAKKO PALLASVUO in conversation with LOUIS DOULAS, Rhizome March 2012

Zombie Routine (a project by Exo Exo) is on view at New Galerie in Paris till March 28, 2015.

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Domenico de Chirico pick #6

all images courtesy the artist and Office Baroque, Brussels

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Badly Primed Canvas, a solo exhibition by Scottish artist KEITH FARQUHAR
presented at Office Baroque in Brussels, Belgium
on view till April 11, 2015

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chosen by curator and editor DOMENICO DE CHIRICO

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one pic monday. Darja Bajagić

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ExAxes – Sword (detail), 2015
print on axe, 33,02 x 12,70 x 2,54 cm

image courtesy the artist

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The image above is a detail from a piece by DARJA BAJAGIĆ that is currently part of the group exhibition Debris presented at James Fuentes Gallery in New York. Entitled ExAxes – Sword (2015), the work consists of an axe on which an image depicting two women posing with a sword has been printed. It’s odd, provocative and fascinating, additionally the art object, itself cold and cruel, amplifies the malaise of the combination of the girls and the tool.

DARJA BAJAGIĆ, born in Montenegro in 1990 and based in New York, seems to arouse the art world since a few months thanks to her work that uses imagery from Eastern European porn and niche fetish sites as well as serial killer memorabilia that she bought online. BAJAGIĆ’s work engages in a very direct confrontation with the viewer and investigated themes such as violence, existing power structures, consumerism, as well as pornography.

Debris, featuring work by DARJA BAJAGIĆ, DAVID WOJNAROWICZ, HAIM STEINBACH, LIZZI BOUGATSOS, NEVINE MAHMOUD and RENAUD JEREZ, is on view at at James Fuentes in New York until April 26, 2015.

Earlier this year Paramount Ranch presented a whole series of axes (on view here) by BAJAGIĆ. I also really recommend to read the article entitled Why Darja Bajagić Appropriates Porn and Serial Killer Art written by CHRISTIE CHU for artnet.

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wfw weekend #190

gina-folly-magicbox

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Magic Box VI (acrylic monkey box, 2015) by GINA FOLLY
seen at Plattform 15, Zürich (ewz-Unterwerk Selnau)
on Friday, March 13, 2015
image © wfw

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wfw weekend #189

tobias-madison

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a glimpse into NO; NO; H E Pthe first monograph of TOBIAS MADISON‘s work
published by JRP Ringier
on February 2015
image © wfw

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please note also that TOBIAS MADISON’ solo exhibition at Galerie Francesca Pia in Zürich is running through April 11, 2015.

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wfw weekend #188

clouds-in-the-cave-friart

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view from the group exhibition Clouds in the Cave
with FLORIAN AUERNEÏL BELOUFAALAN BOGANA & MARTA RINIKER-RADICH, CARMEN GHEORGHE, AURÉLIEN MOLE & SYNDICAT, ARTIE VIERKANT and PHILLIP ZACH
presented at Fri Art, Fribourg
image © wfw

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Clouds in the Cave is on view till May 3, 2015

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Austin Lee. No Fair

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all images:
AUSTIN LEE, No Fair, exhibition views at Isbrytaren, Stockholm
courtesy the artist and Carl Kostyál, Stockholm

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No Fair is the new solo exhibition of American artist AUSTIN LEE that opened last weekend at the artist-run space called Isbrytaren in Stockholm.

There is little information about the exhibition but it seems that the show clearly follows LEE‘s grotesque and bold approach to painting. No Fair consists of a series of 3D printed portraits as well as new paintings including large works applied directly on the gallery walls.

LEE often begins his process by using an iPad to make digital drawings. Drawing, perhaps one of the quickest ways for an artist to translate a thought into something visual, is made almost immediate by sketching with the iPad. Drawing and erasing become swiping and undoing, enabling the ability to endlessly render and alter images. This method of working is inherently more visceral than analog drawing techniques, in that the hand is actually freer, unrestrained, and spontaneous, yielding entirely expressive results from what seem to be the simplest of lines. Mistakes, chance, and the accidental thus become central to Lee’s playful and curious explorations on and through the screen, and subsequently on canvas.  – KERRY DORAN, January 2014

Like for his previous works and exhibitions, he combined different painting styles and techniques on the same pictorial medium, lush and liberal application of color as well as different sizes of formats, which thus undermine traditional positions in painting with a tongue in cheek attitude.

No Fair by AUSTIN LEE is on view at Isbrytaren in Stockholm until April 3, 2015.

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Oscar Tuazon at Le Consortium

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Goodbye, 2008
dome, tents, nylon, duct, tape 396.24 x 231.14 x 152.4 cm

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installation view at Le Consortium Dijon, February 2015

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installation view at Le Consortium Dijon, February 2015

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installation view at Le Consortium Dijon, February 2015

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Stand In, 2013
plaster, grey paint, fiber glass, steel 165,5 x 165,5 x 5 cm, 150 kg

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Steel, oak post, office chair, 2011
steel, wood, chair 154 x 142 x 83 cm

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It is it, 2015
marble tiles

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Numbers, 2012
steel, screws, 240 x 360 x 240 cm

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WORK NOW, 2011- 2012
styrofoam, wood, concrete, mirror, 228 x 90 x 50 cm

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installation view at Le Consortium Dijon, February 2015

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4 frames / What’s a wall, 2015
wood, steel section, 4 plaster panels, approx. 350 x 322 x 21,5 cm

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Real Effects, 2015
concrete 171,5 x 1,133 x 10,5 cm

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Real Effects, 2015 (detail)
concrete 171,5 x 1,133 x 10,5 cm

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installation view at Le Consortium Dijon, February 2015

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Scott Burton (version 1), 2012
concrete 106 x 50 x 86 cm

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Scott Burton (version 2), 2012
concrete 106 x 50 x 86 cm

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installation view at Le Consortium Dijon, February 2015

all images © wfw

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This feature is part of the ongoing collaboration with Novembre Magazine who presents more view of the exhibitions on http://novembremagazine.com/oscar-tuazon-studio-at-le-consortium-dijon

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For his first survey in an institution in France, American artist OSCAR TUAZON (b.1975) presents new and previous sculptural interventions that revolve around his investigations on the fields of architecture, sculpture, and performance.

The exhibition, titled Studio, fills the two-thirds of the Centre d’Art in Dijon with works that might be best described as sculptures in an abandoned construction site after dark. On both levels of the art center, visitors encounter a series of objects and structures that he mainly constructed on the exhibition site with materials that were available there because TUAZON is a doer or at least he is truly interested in the physical process of constructing something rather that in design as he explained*. Just like a scientist, he likes using the properties of these fund materials and let them dictate the resulting work.  Often in wood, metal, stone, and concrete, the results which look very contemporary nevertheless straddle the fashionable and divide between outsider and insider, self-taught and educated, trash and assemblage, and among art, craft and design.

What’s even more striking than the works which cover the spectrum between found and made in a fresh way, is how the pieces discuss together and engage ingeniously with the existing architecture of the Consortium. Each room appears to have the perfect portion of art properly placed in the proper amount of space enabling the works to not be contemporary art cliches but to offer a multitude of lessons in looking.

Studio by OSCAR TUAZON is on view at Le Consortium in Dijon till May 17, 2015

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