wfw weekend #397

Outside the Dream Syndicate (1973), TONY CONRAD and FAUST
see also TONY CONRAD: Completely in the Present (2016), TYLER HUBBY
watched on Saturday, April 22, 2017

 

“John Baldessari: Paintings 1966–68” is on view at Craig F. Starr Gallery in New York through Saturday, May 20, 2017. The solo exhibition brings together many of the artist’s earliest text and photo-text paintings for the first time since they were first shown at Molly Barnes Gallery in 1968.

one pic wednesday. Philipp Timischl

Class Drag, 2017
installation view at Galerie Emanuel Layr, Vienna, 2017
Courtesy Emanuel Layr, Vienna

To say that this is a work of extraordinary surfaces is not the same as saying it’s a superficial body of work. But there are some pieces by TIMISCHL that appear as though they are essentially dull screens, put up so the content can run in the background, almost out of sight. It makes no difference how empty or familiar the surface. It’s like seeing the superficial flatness of the image while simultaneously confirming its authority.

Hostile Habits Domestic Monuments, Class Drag / Vienna by PHILIPP TIMISCHL is on view at Galerie Emanuel Layr until May 27, 2017.

Maria Loboda. Havoc in the Heavenly Kingdom

installation view Havoc in the Heavenly Kingdom, Kunsthalle Basel, 2017
photo: PHILIPP HÄNGER

installation view Havoc in the Heavenly Kingdom, Kunsthalle Basel, 2017
photo: PHILIPP HÄNGER

installation view Havoc in the Heavenly Kingdom, Kunsthalle Basel, 2017
photo: PHILIPP HÄNGER

installation view Havoc in the Heavenly Kingdom, Kunsthalle Basel, 2017,
view on Raw Material Coming from Heaven, 2017
photo: PHILIPP HÄNGER

installationsansicht Havoc in the Heavenly Kingdom, Kunsthalle Basel, 2017
view on Mrs. Van Hopper, 2017
photo: PHILIPP HÄNGER

installationsansicht Havoc in the Heavenly Kingdom, Kunsthalle Basel, 2017
photo: PHILIPP HÄNGER

installation view Havoc in the Heavenly Kingdom, Kunsthalle Basel, 2017
view on Note the Incendiary Weapon on the Left Ledge of the Third Gate, 2017
photo: PHILIPP HÄNGER

Installationsansicht Havoc in the Heavenly Kingdom, Kunsthalle Basel, 2017
view on Note the Incendiary Weapon on the Left Ledge of the Third Gate, 2017
photo: PHILIPP HÄNGER

Installationsansicht Havoc in the Heavenly Kingdom, Kunsthalle Basel, 2017
view on Two Idiots Engaged in a Game of Chess, 2017
photo: PHILIPP HÄNGER

all works courtesy of Maria Loboda and MAISTERRAVALBUENA, Madrid

Havoc in the Heavenly Kingdom is the title of the solo exhibition by MARIA LOBODA currently presented at Kunsthalle Basel.

The title comes from a chapter of an epic chinese myth from the sixteenth century, which tells the story of Sun Wukong, a monkey born from a stone and who acquires supernatural powers through Taoist practices in the novel Journey to the West:

Sun Wukong possesses an immense amount of strength, being able to lift his 13,500 jīn (8,100 kg) Ruyi Jingu Bang (Golden Cudge, 如意金箍棒) with ease. He also has superb speed, traveling 108,000 li (54,000 kilometers) in one somersault. Sun knows 72 transformations, which allows him to transform into various animals and objects; he is, however, shown with slight problems transforming into other people, since he is unable to complete the transformation of his tail. He is a skilled fighter, capable of holding his own against the best generals of heaven. Each of his hairs possesses magical properties, and is capable of transforming into a clone of the Monkey King himself, or various weapons, animals, and other objects. He also knows various spells in order to command wind, part water, conjure protective circles against demons, and freeze humans, demons, and gods alike.

Hoping that a promotion and a rank amongst the gods would make him more manageable, the Jade Emperor invited Sun Wukong to Heaven, where the monkey believed he would receive an honorable place as one of the gods. Instead, he was made the Protector of the Horses to watch over the stables, which was the lowest job in heaven. When he discovered this, Sun Wukong rebelled and proclaimed himself the “Great Sage, Equal of Heaven”, and allied with some of the most powerful demons on earth. The Heavens’ initial attempt at subduing the Monkey King was unsuccessful, and they were forced to recognize his title; however, they tried again to put him off as the guardian of Heavenly Garden. When he found that he was excluded from a royal banquet that included every other important god and goddess, Sun Wukong’s indignation again turned to open defiance. After stealing Xi Wangmu’s “peaches of immortality”, Lao Tzu’s “pills of longevity”, and the Jade Emperor’s royal wine, he escaped back to his kingdom in preparation for his rebellion.

Sun Wukong later defeated the Army of Heaven’s 100,000 celestial warriors – each fight an equivalent of a cosmic embodiment, including all 28 constellations, four heavenly kings, and Nezha – and proved himself equal to the best of Heaven’s generals, Erlang Shen. Eventually, through the teamwork of Taoist and Buddhist forces, including the efforts from some of the greatest deities, Sun Wukong was captured. After several failed attempts at execution, Sun Wukong was locked into Lao Tzu’s eight-way trigram cauldron to be distilled into an elixir by the most sacred and the most severe samadhi fires.

After 49 days, the cauldron was opened and Sun Wukong jumped out, stronger than ever. He now had the ability to recognize evil in any form through his huǒyǎn-jīnjīng (火眼金睛) (lit. “fiery-eyes golden-gaze”), an eye condition that also gave him a weakness to smoke.*

By speaking about battles that were fought, lost, and won, and empires that collapsed a long time ago‘*, MARIA LOBODA aims to question the references, fractures, continuities and interpretation of stories and history.

Havoc in the Heavenly Kingdom by MARIA LOBODA is on view until May 14, 2017 at Kunsthalle Basel.

*via http://arts.cultural-china.com/en/87Arts7184.html

* MARIA LOBODA via http://www.kunsthallebasel.ch/wp-content/uploads/KH-Basel-Exhibitiontext-Loboda-EN-WEB.pdf

.

wfw weekend #396

Outside Portal (2008), KILIAN RÜTHEMANN
seen at Kunstmuseum Basel
on Thursday, April 13, 2017
image © we find wildness

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Laure Prouvost

screen capture from http://conversations.e-flux.com/t/cant-help-it-laure-prouvost-in-conversation-with-didem-pekun/6451
on April 14, 2017
image © we find wildness

 

This is a short excerpt of a conversation between LAURE PROUVOST and DIDEM PEKÜN that  happened at Kılıç Ali Paşa Hammam, a Turkish bath in Istanbul.

Between flows of hot air, PROUVOST discussed her upcoming exhibition in Istanbul, her grandmother’s tunnel, octopuses and liquid fictions. The whole conversation is available via http://conversations.e-flux.com/t/cant-help-it-laure-prouvost-in-conversation-with-didem-pekun/6451.

Please not that her work will be part of the exhibition The Uses of Art: Final Exhibition from April 20 to June 11, 2017 at SALT in Istanbul as well as in the group exhibition Speak at Serpentine Sackler Gallery in London until May 21, 2017.

 

 

 

Seth Price. 8-4 9-5 10-6 11-7

8-4 9-5 10-6 11-7, 2007
© SETH PRICE

On the occasion of the first survey of SETH PRICE that is going to open at Stedelijk at the end of the week, I looked in my archive for some online and offline works that I have encountered during these past few years.

8-4 9-5 10-6 11-7 (2007) holds my attention. The piece consists of a ‘work’ mix. It means basically that it is an eight hour track which can be played during an 8-hour work day. Or not.

In a 2009 interview with BOŠKO BLAGOJEVIĆ, PRICE said about this work: I was thinking about work days, where different sets of working hours represent different kinds of work and different cultural areas: a union job, an office job, an art gallery, a boutique… But it’s true, I liked the fact that the track could be played perfectly, start to finish, during an 8-hour work day.

The track is free to stream or to download here.

Social Synthetic by SETH PRICE is on view at Stedelijk Museum in Amsterdam until September 3, 2017. Meanwhile I recommend to browse his soundcloud profile which is filled with past sounds, playlists and tracks.

The history of the joke and the tradition of jokes have always been wrapped up with questions of power. But at this moment when people — especially on the left, which includes many people in arts communities — are feeling embattled and less powerful, or with less hope, let’s say, which is another form of power in a sense, the idea of the joke becomes more useful. – VANESSA PLACE, excerpt from 500 words, Artforum, April 2017

Domenico de Chirico for We Find Wildness #84

all images:
Courtesy Massimo de Carlo, Milan / London / Hong Kong
photo: ALESSANDRO ZAMBIANCHI

Sincerely, Tony, a solo exhibition by JAMIAN JULIANO-VILLANI
on view at Massimo de Carlo, Milan
until April 29, 2017

chosen by curator and editor DOMENICO DE CHIRICO

wfw weekend #395

all: Beggar (2017), ANDREA BÜTTNER
seen at Kunst Halle Sankt Gallen
on Sunday, April 9, 2017
image © we find wildness

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wfw weekend #394

Untitled (Cartoon Painting) (detail), 2017, STEFAN BRÜGGEMANN
seen at Hauser & Wirth, Zürich
on Saturday, April 8, 2017
image © we find wildness

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Paul Chan. Rhi Anima

Pentasophia (or Le bonheur de vivre dans la catastrophe du monde occidental), 2016
nylon, metal, concrete, shoes, fans, various papers, 151 x 130 x 98 inches (383.5 x 330.2 x 248.9 cm)

Pentasophia (or Le bonheur de vivre dans la catastrophe du monde occidental), 2016
nylon, metal, concrete, shoes, fans, various papers, 151 x 130 x 98 inches (383.5 x 330.2 x 248.9 cm)

Pentasophia (or Le bonheur de vivre dans la catastrophe du monde occidental), 2016
nylon, metal, concrete, shoes, fans, various papers, 151 x 130 x 98 inches (383.5 x 330.2 x 248.9 cm)

Pentasophia (or Le bonheur de vivre dans la catastrophe du monde occidental), 2016
nylon, metal, concrete, shoes, fans, various papers, 151 x 130 x 98 inches (383.5 x 330.2 x 248.9 cm)

Le Baigneur 1, 2016
nylon, fan, concrete shoes, specially made cords, 52 x 30 x 26 inches (132.1 x 76.2 x 66 cm)

Le Baigneur 1, 2016
nylon, fan, concrete shoes, specially made cords, 52 x 30 x 26 inches (132.1 x 76.2 x 66 cm)

Dimposium, 2016
nylon, fans, fabric, rug, 93 x 77 x 44 inches (236.2 x 195.6 x 111.8 cm)

Dimposium, 2016
nylon, fans, fabric, rug, 93 x 77 x 44 inches (236.2 x 195.6 x 111.8 cm)

Pillowsophia (after Ghostface), 2016
nylon, wood, concrete, shoes, fans, 228 x 216 x 96 inches (579.1 x 548.6 x 243.8 cm)

Pillowsophia (after Ghostface) (detail), 2016
nylon, wood, concrete, shoes, fans, 228 x 216 x 96 inches (579.1 x 548.6 x 243.8 cm)

Baigneurs Sans Rien, 2017
nylon, fans, fabric floor piece, 71 x 120 x 70 inches (180.3 x 304.8 x 177.8 cm)

Baigneurs Sans Rien, 2017
nylon, fans, fabric floor piece, 71 x 120 x 70 inches (180.3 x 304.8 x 177.8 cm)

Madonna With Childs, 2016
nylon, fans, 101 x 100 x 69 inches (256.5 x 254 x 175.3 cm)

all images courtesy of the artist and Greene Naftali, New York

Rhi Anima features a new body of work PAUL CHAN calls breathers. The breathers are both sculptural works and moving images. Each breather is composed of a fabric “body” designed by CHAN and attached to one or more specially modified fans. Incorporating techniques that combine fashion design, patternmaking, drawing, and physics, CHAN manipulates how the breathers move by composing the internal architecture of the bodies so that they are capable of exploiting the airflow and air pressure from the fans to create different kinds of “motion.” Simply by how they are shaped and sewn, the breathers can be animated and choreographed in ways unlike anything CHAN has created so far. *

Rhi Anima is on view at Greene Naftali, New York until April 15, 2017.

*excerpt from the press release

 

JUDITH HOPF, Up ! (2016) 1 min 58 sec http://www.contemporaryartdaily.com/2017/04/judith-hopf-at-deborah-schamoni-2/ (wrongly defined as More (2015))

Ben Schumacher at Kunstverein Braunschweig

Käsesakramentsystem, 2017
Installation view Kunstverein Braunschweig, 2016,
Courtesy of the artist, photo: STEFAN STARK

Käsesakramentsystem, 2017
Installation view Kunstverein Braunschweig, 2016,
Courtesy of the artist, photo: STEFAN STARK

Käsesakramentsystem, 2017
Installation view Kunstverein Braunschweig, 2016,
Courtesy of the artist, photo: STEFAN STARK

Käsesakramentsystem, 2017
Installation view Kunstverein Braunschweig, 2016,
Courtesy of the artist, photo: STEFAN STARK

Käsesakramentsystem, 2017
Installation view Kunstverein Braunschweig, 2016,
Courtesy of the artist, photo: STEFAN STARK

Käsesakramentsystem, 2017
Installation view Kunstverein Braunschweig, 2016,
Courtesy of the artist, photo: STEFAN STARK

Käsesakramentsystem, 2017
Installation view Kunstverein Braunschweig, 2016,
Courtesy of the artist, photo: STEFAN STARK

Käsesakramentsystem, 2017
Installation view Kunstverein Braunschweig, 2016,
Courtesy of the artist, photo: STEFAN STARK

Käsesakramentsystem, 2017
Installation view Kunstverein Braunschweig, 2016,
Courtesy of the artist, photo: STEFAN STARK

For his first institutional presentation, BEN SCHUMACHER has turned the exhibition space of the Kunstverein Braunschweig into a cheese storage. The installation consists of 32 wheels of cheese placed onto a shelving system as well as seven carved wooden objects that look like cut wheels of cheese. The installation is complemented by a seven-part series of new paintings by SCHUMACHER.

The exhibition is accompanied by a text written by JONATHAN GEAN which has the taste of a sermon under fermentation. Here is a short excerpt:

Could Cheesus be here in Braunschweig now, already among us? How can we recognize the form of a thing which must in certain respects be entirely unlike all others which have come before? Thankfully, the fruitful work of certain theologians provides us with the clues by which we might make an accurate identification. Candidate cheeses would be capable of self-consideration at greater depth than is common, through which they may recognize their own substance as metaphorically pregnant and widely analogously applicable. This scenario therefore provides useful images by which we might symbolically divine the potential nature of the spiritual becoming of the self-revelation, were it to take place here, through which Cheesus would come to recognize its own divinity, suspended between the nebulous chaos of whey and the singular radiance of the curd. The thought of Cheesus would contain the world, expressed here as a tensed glance linking the rigidity of structure to a heady formlessness

Käsesakramentsystem by BEN SCHUMACHER is on display until May 14, 2017

one pic tuesday. Peter Fraser

Cheddar No 5 (detail), from the series Everyday Icons, 1986
© PETER FRASER; courtesy Camilla Grimaldi Gallery

This is a photograph I made inside a school on a Sunday, totally deserted. What I loved about this picture was the difference between these two blue buckets which initially appear to be the same but the closer you go in, the more you realize these two blue buckets are very different.

This points the finger at what’s so important for me about moving around in the world and coming across situations that I have never ever seen before. It’s in that moment that a certain kind of intensity, a flash of recognition of the importance of what is standing in front of me takes place. It has everything to do with the fact that I have never seen that scene before. PETER FRASER, January 2013

Two Blue Buckets (Directors Cut) by PETER FRASER has been very recently (re)-published by Peperoni books.