Lewis Stein “Works from 1968–1979” at Essex Street, New York, October 29 – December 22, 2017

David Hanes. wfw aware #47

Aware: Arbeiten, ROMAN SIGNER
presented at Stampa, Basel
shot on October 28, 2017, altered on December 7, 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.

Henri Bergson, Quel est l’objet de l’art ?, June 3, 1936

Stephen Prina

screen capture from http://www.petzel.com/attachment/en/59c5131c5a4091aa128b4568/Press/59c513755a4091aa128b727f
on November 27, 2017
image © we find wildness

On the occasion of his solo exhibition at Secession in Vienna in 2011, STEPHEN PRINA gave an interview to the curator ANNETTE SÜDBECK. The discussion revolved mainly around his work that the presented in the Austrian institution.

PRINA is currently presenting an abridged version of this installation at Capitain Petzel in Berlin. Titled As He Remembered It, the exhibition is on view until January 13, 2018.

The whole interview is available online here.

wfw weekend #437

Two Pairs of Shoes (Size 35 & 41) (2017), MIRIAM LAURA LEONARDI
seen in the exhibition Interiors
at Galerie Maria Bernheim, Zürich
on Friday, November 24, 2017
image © we find wildness

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wfw weekend #436

Untitled (2017), SEBASTIEN VERDON
seen in the exhibition Haterz
at Smallville, Neuchâtel
on Saturday, November 18, 2017
image © we find wildness

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Roman Ondak. The Day Before Now

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

all images courtesy GB Agency, Paris

My dad once told my brother and I in front of our cereal bowl that he would never have built an underground to the house we were living. The reason he advanced, was the proximity of a river which I have to confess is looking more like a water leak than the Niagara Falls, not even a water leak from the Niagara Falls. From that day on, every time I am in that house, I am imagining that nonexistent floor. Though I have never managed to imagine it without being flooded.

The Day Before Now by ROMAN ONDAK is on view at GB Agency in Paris until November 25, 2017

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