Jean-Pierre Gorin. Poto and Cabengo

Poto and Cabengo (1979)
written and directed by JEAN-PIERRE GORIN

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Poto and Cabengo (1979) is a documentary essay about American twins GRACE and VIRGINIA KENNEDY (Poto and Cabengo were the names they called each other) who invented a language of their own that they used until the age of eight. Shot in San Diego in 1979, in 16mm color negative by French filmmaker JEAN-PIERRE GORIN, the film attempts to capture the moment before they lost their language, before they were forced to adapt to English.

The film is about an unstructured discourse—the language of the twins—surrounded by structured discourses—the discourse of the family, the discourse of the media, the discourse of therapy, the discourse of documentary filmmaking. There are as well other structured discourses at work in the film: the discourses of science, capitalism, and education. They are each a method of using words that presumes a type of authority. Clearly the twins’ unstructured discourse challenges discursive authority: it erupts as a subversive act which has not been authorized by any social or ideological establishment. In a sense its special threat is that its “unauthorized” nature relativizes the arbitrary nature of those institutionalized discourses. The singsong of the twins reveals the shaky grounds of institutional power. It relativizes discursive authority from the family to the scientific community in their competitive and ineffectual attempts to “define” the twins who spontaneously flit about the screen exceeding any definition. In a fashion, I wanted the viewers to feel the twins made more “sense” than anybody around them. Or at least to perceive that the twins’ way to handle language offered a marker for the way people around them used language and were used by it, and were spoken through it.JEAN PIERRE GORIN in conversation with LYNNE TILIMAN for Bomb Magazine

Poto and Cabengo (1979) is the first part of a trilogy devoted to language by JEAN-PIERRE GORIN. That film was followed by Routines Pleasure (1986) and Crazy Life (1992). Poto and Cabengo was also the starting point of the group exhibition Der Leone Have Sept Cabeças that took place this summer at Crac Alsace in Altkirch.

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wfw weekend #151

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Emotional Mesh (2014) by EMANUELE MARCUCCIO
seen in the group exhibition Metarave I – it’s only a fantasy *
presented at WallRiss, Fribourg
on Friday, September 12, 2014
image © wfw

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* this exhibition is on view until September 29, 2014

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one pic thursday. Julien Gremaud

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from the series Thatcher is Dead, 2013

© JULIEN GREMAUD

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JULIEN GREMAUD is a Swiss photographer who – for this project solely – set aside his camera and turned to preexisting media imagery. The project Thatcher is Dead (2013) started at the death of former British prime minister in April 2013. The medias and the newspapers particularly were flooded by pictures of MARGARET THATCHER, it’s at that time JULIEN began to underline the moment when two pictures collide randomly by superimposition in newspapers.

I capitalize on this posthumous visual treatment and turn it aside by juxtaposing contemporary images according to a strict protocol of reappropriation of newspaper clippings. I seek indeed to obtain a two-sided image, a perfect collage in the grid of the newspaper that will offer an image in both sides. I then scan it as I do with a positive film. – JULIEN GREMAUD via his website

By selecting, scanning and printing these double images in large format, JULIEN GREMAUD developed an elegant strategy for exploring press photography and finally giving theses images an original meaning at odds with their origin.

JULIEN GREMAUD was a recipient of the 2014 Swiss Design Award for this project and he is also part of the new Talent Issue Summer 2014 in Foam Magazine (ps. make sure to follow Foam on instagramJULIEN is also taking their account for this week)!

Congrats Julien!

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Abounaddara

أعظم الجهاد You Shall Not Steal

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بعد الصورة After the Image 

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القناص The Sniper 

all videos courtesy © ABOUNADDARA

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Every week ABOUNADDARA – an anonymous collective of filmmakers and artists from Syria – shares via internet short films which offer a fresh and personal representation of Syria. Working in what they call “emergency cinema”, their approach is as much creative as political: their objective is ‘not to capture the tragedy or the confrontation or the current news as it unfolds, but rather to construct a new image with the tools of cinema’.

When the revolution began, we tried to find a way to translate this breakdown or explosion of energy. We wanted to translate this event formally. We wanted to create films like bullets. We wanted to make something beautiful and violent. We wanted to surprise the viewer. Maybe he is looking for information about Syria, or looking for stereotypical images of militants or people. It was our first attempt to build a new format, so the importance of the editing here is huge because the idea here is to mix a present and a past, images from the past and sound from the present*. –  CHARIF KIWAN

I have selected three videos from the 260 ‘bullet films’ that are available on their vimeo account. The videos range from one to five minutes and very little informations are given in order to destabilize the viewer, they also vary widely in content and style.

The idea here is also to confuse people. We want the universal viewer to recognize himself, his place, his country in this Syrian place and voice. We want him to imagine that he could be there*. –  CHARIF KIWAN

Please note that you can see their work in the current exhibition Here and Elsewhere at New Museum in New York that features contemporary art from and about the Arab world, on view through September 28.

➝ If you are interested in ABOUNADDARA‘s work, I really recommend to read this interview (*) of CHARIF KIWAN,the group’s spokesperson and single public face, with artist, curator and founding member of the Arab Image Foundation AKRAM ZAATARI for Jadaliyya

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wfw weekend #150

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Jennifer_in_Paradise liquid creative Suite 6 (2014, print on vinyl)
by CONSTANT DULLAART for the group exhibition Megarave
seen at Kunsthaus Langenthal
on Wednesday, September 3, 2014
image © wfw

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Megarave lasts until November 16, 2014

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wfw weekend #149

calderas-landquart

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detail from the installation Calderas* (2014) by NOHA MOKHTAR & LUCAS UHLMANN
presented at Alte Papierfabrik** in Landquart, Switzerland
seen on Saturday, September 6, 2014
image © wfw

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* click here to have an entire view of the installation
**Calderas is on view until September 28, 2014 (the alte papierfabrik is not so easy to find, so if you want to go this is the location)

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wfw weekend #148

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MG Montego (2014, print on glass, 71 x 58 x 0,5 cm) by CLARE KENNY
seen during the Kunstkredit BS exhibition at Kunsthalle Basel
on Friday, September 5, 2014
image © wfw

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Frances Stark. therealstarkiller

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all images from the series therealstarkiller, 2014
archival inkjet prints,  7 x 7 x 1 inches each (17,8 cm x 17,8 cm x 2.5 cm each)
images courtesy of the artist, and Marc Foxx Gallery, Los Angeles

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FRANCES STARK  is a Los Angeles-based artist who is best known for her work – comprising works on paper, videos, sculptures and performances – that explores image-making and the written word. Her recent works therealstarkiller (2014) is no exception. The series consists of small, square prints, taken directly from STARK’s Instagram account — @therealstarkiller.

Between poetic and visual arts practices, as well as analogue and digital processes, therealstarkiller (2014) reflects the complexity of FRANCES STARK’s blend of Internet images, autobiographical elements, art history references, scraps of texts, sms and digital culture.

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one pic tuesday. Alex Vivian

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Dalmatians run, play, 2013
ceramic plate, faux dalmatian fur, dirt, general floor matter, glue

© ALEX VIVIAN

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ALEX VIVIAN (born 1981) is an Australian artist whose work are mostly made or assembled with second-hand clothes and found objects. The objects he selects are domestic, decorative baubles, that articulate the values of a social class, and they are the product of semi-industrial labor (since none or very few of them are actually hand-made). Thanks to the slightly pornographic relationship to objects, half-sentimental, half-lecherous, that these kinds of things generate, and the recurrent presence of Vaseline, the resulting work is both fascinating and slighty discomforting.

Found objects bring an idea of chance and/ or change to a practice. Brings forth new ideas, new materials (sometimes) at a rapid pace. Presents aesthetics and/ or objects one would not normally artistically support. Often it is ‘problem solving’ in a way – working out what objects go together, stand together, lock into each other. Glass Scales have a small gap between it’s structure and glass – just enough room to squeeze in a pair of socks, A white vessel has a 5cm opening – just enough room to balance the heel of a shoe, the base of a china doll etc.ALEX VIVIAN for Regimes of Value

I found this picture via his blogspot http://stenchinnumbers.blogspot.ch/ which seems not really updated but which features images from his researchs (I presume) and several exhibitions views as well poetry.

If you are in Melbourne this week on Thursday 4 September, do not miss the opening of his new exhibition along with LOU HUBBARD at West Space (the exhibition lasts until September 20, 2014).

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Nico Baumgarten

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NICO BAUMGARTEN is a German photographer who questions the editorial and art market by creating books. So far he has already self-published three books. Earlier this summer he had an interesting conversation with photographer IEVA RAUDSEPA from Riga, Latvia about books, self-publishing and photography.

Make sure to read the entire interview via http://fkmagazine.lv/2014/08/08/interview-with-nico-baumgarten/

 

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found via

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