wfw weekend #313

chrismarker

still from L’Ouvroir (2010), CHRIS MARKER
from the hyperlinks conversation between CECILE B. EVANS and SUSANNE PFEFFER
watched on Sunday, May 29, 2016
image courtesy the artist

wfw weekend #312

aarau

3 egg yolks in a raku bowl, JOÃO MARIA GUSMÃO & PEDRO PAIVA
seen at Kunsthaus Aarau
on Thursday, May 26, 2016
image © we find wildness

All the Lights We Cannot See

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all images:
All The Lights We Cannot See, Yanggakdo International Hotel, Pyongyang
April 9–12, 2016

courtesy the artists and Random Institute, Zürich

From April 9 to April 12 2016, Random Institute from Zürich presented on the 23rd floor of the Yanggakdo International Hotel, in the heart of the North Korea’s Capital Pyongyang, a group exhibition curated by ANNA HUGO and SANDINO SCHEIDEGGER.

In a country where carrying notebooks or taking everyday pictures can cause you severe troubles, the idea to bring artworks and to make an exhibition in your hotel room is probably the most adventurous idea you can have.

In the highly controlled North Korean environment, the hotel room hosted during four days, a series of artworks conceived by nine international artists. The exhibition was organised around the theme of silence. The works had all the faculty to hide themselves in the space as well as a scale that made their transport into the secretiveness of North Korea possible.

Entitled All The Lights We Cannot See, the presentation had little if not zero offline and online interaction with viewers during the time of the exhibition, because of the strict communication rules of the country. Back in Zürich, the traces of the show begins now to appear in the form of a usual photographic documentation as well as a mention on each of the nine artist’s CVs.

More than silence, the main character in the exhibition seems to be the idea of circulation: a literal one with the simple fact of travelling to North Korea. And an immaterial one such as the circulation of knowledge and ideas that took the form of an exhibition in Pyongyang during a couple of days. Finally this project including its distribution of information is like a technological cipher for the illusion that everything is accessible to anyone, anytime, anywhere.

Please note that a manipulated and reproduced issue of the state-owned Pyongyang Times serves as the official exhibition catalogue. The special edition will be launched on June 15, 2016 at the I Never Read Art Book Fair in Basel.

All The Lights We Cannot See with SIMON MULLAN (UK/Germany), THOMAS MAILAENDER (France), ALFREDO ACETO (Switzerland), CLIFFORD E. BRUCKMANN (Switzerland), RAGNHEIDUR KARDOTTIR (Iceland), JUAN BETANCURTH (Colombia), FLORENCE JUNG (Switzerland), ACHRAF TOULOUB (France), and ALISON KUO (US) was held at April 9 to 12, 2016 on the 23rd floor of the Yanggakdo International Hotel in Pyongyang, North Korea. It was conceived of by Random Institute.

 

Domenico de Chirico pick #65

all images courtesy the artists and Bortolami, New York

ROBERT BORDO, SAM ANDERSON with MICHEL AUDER
on view at Bortolami in New York
until June 18, 2016

chosen by curator and editor DOMENICO DE CHIRICO

Christopher Williams. Open Letter to Model No. 1740

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installation view CHRISTOPHER WILLIAMS, Open Letter to Model No. 1740, April 29 – June 4, 2016, © the artist, photo: EPW Studio/MARIS HUTCHINSON

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Panel storage cart from the exhibition The Production Line of Happiness, Art Institute of Chicago, Chicago, January 24 — May 18, 2014, Steel, carpet, rubber, plywood, and paint, 198.8 x 215.7 x 40.8 cm, Designed by Skidmore, Owings & Merrill LLP (SOM), Chicago, 1982, Pedestal for panel storage cart from the exhibition The Production Line of Happiness, Art Institute of Chicago, Chicago, January 24 — May 18, 2014, Wood, screws, paint, 75.5 x 248.5 x 6 cm, Designed by Williams Studio, Demountable wall panel from the exhibition The Production Line of Happiness, Art Institute of Chicago, Chicago, January 24 — May 18, 2014 Oak, plywood, metal, cardboard, fabric, rubber, vinyl, and adhesive, 182.7 x 259.7 x 11.3 cm, Designed by Skidmore, Owings & Merrill LLP (SOM), Chicago, 1982, Pedestal for demountable wall panel from the exhibition The Production Line of Happiness, Art Institute of Chicago, Chicago, January 24 — May 18, 2014, wood, screws, paint, 115 x 259 x 6 cm
designed by Williams Studio © the artist, photo: EPW Studio/MARIS HUTCHINSON

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installation view CHRISTOPHER WILLIAMS, Open Letter to Model No. 1740, April 29 – June 4, 2016, © the artist, photo: EPW Studio/MARIS HUTCHINSON

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Supplement ’16 (Mixed Typologies / Male Model) #13″, 2016
full color offset prints and adhesive tape on paper, 44 collages, 43 frames: 158,8 x 228,6 cm (62,5 x 90 inches), 1 frame: 31,4 x 22,2 cm (12,4 x 8,7 inches)
© the artist, photo: EPW Studio/MARIS HUTCHINSON

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installation view CHRISTOPHER WILLIAMS, Open Letter to Model No. 1740, April 29 – June 4, 2016, © the artist, photo: EPW Studio/MARIS HUTCHINSON

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installation view CHRISTOPHER WILLIAMS, Open Letter to Model No. 1740, April 29 – June 4, 2016, © the artist, photo: EPW Studio/MARIS HUTCHINSON

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Wall from the exhibition ‘Mathias Poledna/Christopher Williams’, 7 February – 26 April 2009, Bonner Kunstverein, Bonn, Exhibited in ‘The Production Line of Happiness’, 29 April – 21 June, 2015, Whitechapel Gallery, London, Mobile wall system designed and constructed by Bonner Kunstverein, Bonn, plywood, metal, wood, and ink on PVC-free wallpaper, 350 × 350 × 57 cm, Courtesy Bonner Kunstverein, Bonn, Wallpaper printed and installed by Omni Colour, London, Studio Rhein Verlag, Düsseldorf, August 20, 2016 (Recto), 2016
Inkjet print, Paper: 85,7 x 68,6 cm, framed: 120,8 x 102,2 cm
© CHRISTOPHER WILLIAMS, Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

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installation view CHRISTOPHER WILLIAMS, Open Letter to Model No. 1740, April 29 – June 4, 2016, © the artist, photo: EPW Studio/MARIS HUTCHINSON

15. Sharpening: 100% Soft Light High Pass Hahnemuhle Photo Rag Pearl, the usual paper

Model-Nr.: 1740
Rotznasen – Kinder Model Agentur, Liesegangstr. 7A, 40211 Düsseldorf, Studio Rhein Verlag, Düsseldorf, January 28, 2016, 2016
inkjet print, paper: 50,8 x 50,8 cm (20 x 20 in.), framed: 85,7 x 84,5 cm (33,7 x 33,3 in.), © CHRISTOPHER WILLIAMS, Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

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installation view CHRISTOPHER WILLIAMS, Open Letter to Model No. 1740, April 29 – June 4, 2016, © the artist, photo: EPW Studio/MARIS HUTCHINSON

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Untitled (Beauty, happiness at ground level. A carpet of pure new wool embellishes everything that it touches. If you have never seen your furniture on a beautiful carpet, then you have never seen it. If you have never walked barefoot, in your house, on the softness of wool, then you are ignoring a great pleasure. Because a good carpet, of true, vibrant, natural wool, makes life more beautiful. Strict laboratory tests have verified all the qualities of the velvet, 100% pure new wool carpets that merit the Woolmark label: purity, strength, comfort, sound- and thermal-insulation, resistance of colors, non-inflammability, easy maintenance, permanent moth-proof treatment. Choosing a carpet is a serious matter. A matter of happiness. So, always check the Woolmark label. You will be certain to have a carpet of 100% pure new wool. You will be certain that you are making the best business. In pure new wool, it‘s a real carpet. Ask for Woolmark.) , Studio Rhein Verlag, Düsseldorf, February 29, 2016, 2016
inkjet print, paper: 61 x 50,8 cm (24 x 20 in.), framed: 97,3 x 85,1 cm (38,3 x 33,5 in.), © CHRISTOPHER WILLIAMS, Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

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installation view CHRISTOPHER WILLIAMS, Open Letter to Model No. 1740, April 29 – June 4, 2016, © the artist, photo: EPW Studio/MARIS HUTCHINSON

all images: © CHRISTOPHER WILLIAMS
Courtesy Capitain Petzel, Berlin & Galerie Gisela Capitain, Cologne

Describing the complex work of CHRISTOPHER WILLIAMS in the condensed format of a blog post is slightly whimsical. His sprawling body of work, which ranged from books to installations to photographs, is at once fragmentary and cohesive, united by an abiding obsession for specificity and description.

In an extended interview WILLIAMS gave to DIS Magazine, he explained his process, his relationship to space and photography as well as his references. Here are two excerpts:

I am trying to articulate systems, but I am also trying to slow them down. For example, I move into a system of production to separate the key elements—to push them apart—so I can understand their relationship to each other and how they function. That process gives me the insight to reassemble the elements to become useful in a new way for a different audience or for my own agenda, but also so that they reflect on their normal usage or function.

(…)

My position in relationship to production is conventional but decentered. Imagine holding your finger over a text on your iPhone so that the cursor becomes a magnifier enlarging the area under your finger. This is a good image for the way that I move through types of production. At any one point I may choose to amplify just one element, or two elements, but within the show things accumulate into networks of focus within something that at first appears to be just a conventional display of pictures.

Additionally I highly recommend to read the press release for his current exhibition entitled Open Letter to Model No. 1740 that is presented at Capitain Petzel in Berlin:

Dear Model No. 1740,

How is it that we turn to the studio now? A time to carry out an inventory, an assessment of the tools, the materials, the conditions and the contexts of our activity? Construct a place for images we do not yet know how to produce? Images in motion, between archetypes (the family, the couple, the child) that need refunctioning, and unrealizable prototypes? What’s wrong with re-distribution?

As if I told you
The adoption of the open letter? This letter, addressed to one but distributed to a wider audience, this letter, made up of all that exists between the ceiling and the floor, between the window and the wall.1

As if I told you
Not an exhibition of photographs, rather the occupation of redundant models, moving like a solvent between layers, separating the elements, a programmed freedom.

As if I told you
To focus is to assert a preference for one surface over another. For every fragment of the world, a fragment of the camera. A model is a representation of a system.

As if I told you
She is German. She is white. She is a professional within the field of image production. She is an instrument, a medium, a figure in an equation. She is paid to produce the signs of innocence and happiness. She is a worker in a network of economies beyond her comprehension. She is an air hostess for Lufthansa. She is the Playmate of the Year. She is a worker in the domestic industry. She is the producer of family well-being. She is the provider of a good atmosphere. She creates the conditions of emotional richness. She decorates the house, prepares the meals, she produces new producers. She is a worker in the service of the smile. She is
a model. She hits her marks on cue. She is four years old. Her future will unfold within a rich warm palette of Eastern desert browns, ochres, and yellows, with textures and accents provided by the dark greys and blacks of Brussels and Paris.

As if I told you
A standard image, a normative image, a conventional image, a redundant image.

As if I told you
The staging of images from everyday life, walls, cameras, children, living-room carpets, tires, and bookstore windows, all reduced to a schematic diagram.2

As if I told you
To focus is to assert a preference for one surface over another. For every fragment of the world, a fragment of the camera. A model is a representation of a system.

As if I told you
Beauty and happiness at ground level. If you have never walked barefoot in this house, in this house where detail is understood, in this house where violence is allowed, in this house where emotion is forbidden, in this house where everything is for sale, in this house where perception of the whole would hinder our productivity, in this beautiful network of communication that enables thought to have a social body, to break the solitude.
Is this so private, our struggle to communicate? Is this really the way it is? Or a contract in our mutual interest? I am in paradise, paradise is unbearable.

Capitain Petzel is pleased to announce the Spring line… 3

  1. Open Letter: 1/ seven photographs, 2/ four walls, 3/ two posters, 4/ two collages, 5/ one publication, 6/ archival materials
  2. 2  The history of photography as art in the in 20th century is the history of the illustrated press or the photo book, and no one stands as a clearer example of this than Walker Evans, who embraced the roles of photographer, editor, graphic designer, typographer, and copy writer. In his books, but especially his magazine work, no one element took dominance over the others. In fact, he used each element as a device to open up rather than reduce the possibilities of the entire network. Evans possessed an acute sense of context and many times used his position within a publication to criticize the ideology of its support structure. Making the jump to the context of exhibition and gallery display, it’s of course easy to think of the photographic practitioner extending their role to that of the curator, exhibition designer, etc. Two things should be noted: Evans was criticized for the physical distance between his photographs and his texts, and it is well known that he locked himself in the Museum of Modern Art to arrange his own pictures, sometimes wheat pasting them to the walls so that they could not be moved.
  3. 3  Program: Views according to which this device and the various theories framing it will function for the artistic production the same way as the artistic production itself functions as advertising for the order under which it is produced. There will be no other space than this view according to which… etc. Cartridge replacement, release, release, release, release, release, release, release, release, release, reread this program again and again, become its author, correct it and repeat it, distribute it, and when we are all its authors, the old world will crumble and make way for… release, release, 69, 70, 71, 72 …

Open Letter to Model No. 1740 by CHRISTOPHER WILLIAMS is on view at Capitain Petzel, Berlin until June 4, 2016

one pic monday. Rob Pruitt

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Cocaine Buffet, 1998
Courtesy the artist and Gavin Brown’s Enterprise New York / Rome

Through an article for artnews.com, art critic and editor ANDREW RUSSETH comes back to a series of illegal artworks such as the Cocaine Buffet (1998) (image above) by ROB PRUITT. A radical and minimal action conceived for a group show in the late nineties, which consisted of a 16-foot (almost 5 meters) line of cocaine stretching the exhibition space.

 

Make sure to read the whole article via http://www.artnews.com/2016/05/17/when-felonies-become-form-the-secret-history-of-artists-who-use-lawbreaking-as-their-medium/

wfw weekend #311

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introduction by DANIEL MURNAGHAN
from his publication Painting 1, 2, 3
published on the occasion of his solo exhibition its nicer if the dog plays music for two people
shown at Weiss Falk, Basel
image © we find wildness

wfw weekend #310

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view from the exhibition Is Anyone Home Lol, !MEDIENGRUPPE BITNICK
seen at Kunsthaus Langenthal
on Sunday, May 22, 2016
image © we find wildness

More images from this exhibition on the wfw Instagram or Periscope

wfw weekend #309

yngve-holen

Taxi B-QK 9999 kommt innerhalb von 2 Minuten (2016), YNGVE HOLEN
seen at Kunsthalle Basel
on Wednesday, May 18,  2016
image © we find wildness

autopromo: Domenico de Chirico for Brand New Gallery Milan

Zach Reini, Black Magic, 2015

ZACH REINI, Black Magic (2015)
latex on canvas, cut, 152.4 x 121.9 cm (60 x 48 in.)
image courtesy of the artist and Brand New Gallery

wfw contributor DOMENICO DE CHIRICO has just opened an exhibition with American artists ZACH REINI (image above) and CHRIS HOOD that he curated for the Milanese space Brand New Gallery. View the exhibition in person before it closes on June 22, 2016.

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Editor’s note:

Since wfw contributors are even more engaged in online and offline projects, the #autopromo section aims to give an insight into these activities.

three kisses

Sophie

one message interview #24. Rachel de Joode

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Across sculptures and installations, RACHEL DE JOODE wrestles materials and images in order to stress the duality between abstraction and depiction, between surface and proportion, movement and stillness as well as flatness and depth.

Her work is currently on view in the group exhibition The Analogy between Bulbs and Buds presented in the Berliner Botanischer Volkspark Blankenfelde-Pankow until June 18, 2016.

check the previous one message interviews here

*this question has been taken from 032c twitter

wfw sound #9. Hybrid Jaguar

HYBRID JAGUAR is not a human, nor a robot but rather an animal with a human mask and mechanical arms.

If you have missed the previous wfw sounds, you can listen to them here or via https://soundcloud.com/wefindwildness, enjoy!

David Hanes. wfw aware #31

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Aware: after the exhibition BountyMIKE BOUCHET
presented at Peres Projects, Berlin
shot on May 1, 2016, altered on May 18, 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.

Domenico de Chirico pick #64

all images courtesy the artist and Casey Kaplan, New york
photo: JEAN VONG

a solo exhibition by N.DASH
on view at Casey Kaplan in New York
until June 18, 2016

chosen by curator and editor DOMENICO DE CHIRICO

actual_size #6. Knut Ivar Aaser

 

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Untitled 1, 2016 
lace, fabric, ribbon, kale, leek, green onion, lemon grass, artichoke and asparagus
20 x 49 x 30 cm (7 ⅞” x 19 ¼” x 11 ¾”)

image courtesy of the artist and VI, VII, Oslo

The image above is a work by KNUT IVAR AASER that has been presented in a solo exhibition at VI, VII in Oslo a few weeks ago as well as at the art fair Miart this april.

I remembered having seen an online image from the presentation in Miart, and the idea to present raw and organic materials in an art fair appeared to me at that time as brave. In the context of the gallery, the vegetable composition presented on freestanding pedestals, is a mix of Dutch still-life paintings, Ikebana art, and WILLEM DE ROOIJ’s work.

KNUT IVAR AASER‘s bouquets are all untitled and little informations are given concerning the description of the vegetable arrangements. The press release for the exhibition in Oslo informed the viewers that these pieces had been actually crafted by an unnamed florist. A shared authorship that can be compared to found footage or autonomous materials.