wfw weekend #128

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view from the solo exhibition of VIVIAN SUTER
seen at Kunsthalle Basel
on Sunday, April 13, 2014
image © wfw

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entitled Intrépida, the exhibition is running throug June 1, 2014

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wfw weekend #127

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a glimpse into the exhibition Marie Antoinette by JULIEN CECCALDI
presented at M J in Geneva
seen on Friday, April 11, 2014
image © wfw

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more images from this exhibiton soon on wfw

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Paul Chan

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Read the entire conversation between PAUL CHAN and APSARA DIQUINZIO for Mousse Magazine via http://moussemagazine.it/articolo.mm?id=1098

And good news: a survey of CHAN‘s works will open at Schaulager Basel, Switzerland on Friday, April 11, 2014. Additionally Badlands Unlimited is co-publishing two books by CHAN with Schaulager for the occasion: New New Testament and Paul Chan: Selected Writings 2000-2014.

Enjoy!

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Luca Francesconi. Pane pane pane vino canale di scolo

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Pane pane pane vino canale di scolo
exhibition view at Galleria Umberto Di Marino, Napoli

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Farmer I, II, 2014
iron, cotton, milkmachine, each 180 x 30 x 50 cm circa

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fish, dried abramis brama, resin

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fish, dried carassius, resin

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fish, dried carassius, resin

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Capo, 2014
machined steel, vegetable, 70 x 35 x 5 cm,

Cafone, 2014
machined steel, vegetable, 50 x 25 x 5 cm

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Pane pane pane vino canale di scolo
exhibition view at Galleria Umberto Di Marino, Napoli

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Pane pane pane vino canale di scolo
exhibition view at Galleria Umberto Di Marino, Napoli

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End of rivers, 2014
acciaio, dried silurus glanis, resin, variable dim.

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Potato Field, 2014
resin

all images courtesy of the artist, photo by D. DONZELLI

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For his latest solo exhibition entitled pane pane pane vino canale di scolo, Italian artist LUCA FRANCESCONI presents a brand new group of three-dimensional works that connects objects and situations in both familiar and remote visual constellations.

Working with materials often sourced from the artist’s immediate environment such as stones, shells, vegetables, flowers but also dried fishes or reptiles, LUCA FRANCESCONI holds an intense fascination with the natural world and the countless manifestations of human culture within it. Uniting organic, artistic, and technological forms, FRANCESCONI makes the relationships between natural, found and modified forms imprecise while liberating marginalized materials and narratives. Through the process of his interventions and transformations, he not only raises complex questions about the identities of things and beings, but also invites the spectator to examine the very exhibition space.

‘Pane pane pane vino canale di scolo’ (‘bread bread bread wine, drainage canal’) is an exhibition that establishes itself as a field. A field that can be best described as being embedded in a chain of production, or embedded in nature. A field that extends out to encompass a latitudinous view, and by doing so elucidating a history that reaches back to when man directly cultivates that which sustains him and reaches forward to a potential of agriculture formed by an ability to manipulate all stages of its own process. From a one to one relationship with nature to an imperceptible and incomprehensible distance between production and consumption. This field is the ground, in which to cultivate a specific and local group of objects, and to introduce them as terms. An object or a sculpture existing as a potato or a dead fish or a human figure. They are placed in a room which is also a machine, a river and once again, a field. This (semantic) field expands further to include terms that have yet to be given meaning. It is here at this edge of comprehendible forms that a fertile ground might be found. – JASON HWANG, curator of the exhibition*

-➝ the solo exhibition of LUCA FRANCESCONI, pane pane pane vino canale di scolo is on view at Galleria Umberto Di Marino in Napoli till May 20, 2014

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text from the press release

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wfw weekend #126

slav&tatar

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detail from Mother Tongues and Father Throats (wool, yarn, 300 x 500 cm, 2012) by SLAVS AND TATARS
as part of their installation Lektor
presented at Kunsthalle Zürich
on Friday, April 4, 2014
image © wfw

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nb. SLAVS AND TATARS will have an exhibition at Kunsthalle Zürich this fall (30 August 2014 to 9 November 2014) 

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wfw weekend #125

ed-atkins

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view from the solo exhibition of British artist ED ATKINS
seen at Kunsthalle Zürich
on Friday, April 4, 2014
image © wfw

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this exhibition is on view till May 11, 2014

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Rachel Rose

Sitting Feeding Sleeping, 2013
9 minutes 49 seconds, HD video with sound
courtesy of the artist

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RACHEL ROSE’s work uses the connection of language and technology to create compelling and dense narratives that explore the shifting relationship between information and images.

For the video work Sitting, Feeding, Sleeping (2013), RACHEL ROSE went on several research trips to get close to entities that were almost human, or almost dead, such as advanced AI-controlled robots, cryogenically frozen dead bodies and zoo animals. The result is a video essay where spoken words, images and writing meld and converge across diverse times to form a hybrid world.

My subject is what it is to feel today’s life of suspended­ living. What does it mean to have a body in a time when life can be extended, our ecology manipulated, our emotions can become our technologies. The mechanisms of this are not silent, only noiseless­ internal deformations quietly abstracting into external explosions.  My specificity is in recombining these mechanisms through montage; initiating interactions between supposedly dispersed, independent moments/materials. In all, working towards an experience of how contingent us being alive—now—is. – RACHEL ROSE*

RACHEL ROSE  (b.1986, New York, NY) lives and works in NY. She received her MFA from Columbia, an MA from the Courtauld Institute of Art, and her BA from Yale. Recent exhibitions and screenings include Geographies of Contamination at The David Roberts Foundation (London) and Uncanny Valleys at Electronic Arts Intermix (New York).

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Dragan Espenschied

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Digital preservation specialist, artist and musician, DRAGAN ESPENSCHIED has been appointed to lead Rhizome’s growing and award-winning Digital Conservation program. ESPENSCHIED, who will relocate from Germany to New York for the position, will bring the program to its next phase and steward the ArtBase, Rhizome’s collection of over 2,000 born-digital artworks.*

read the entire conversation between DRAGAN ESPENSCHIED and digital archivist TREVOR OWENS here 

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David Douard. Mo’Swallow

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view of the DAVID DOUARD solo show Mo’Swallow, Palais de Tokyo, Paris

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view of the DAVID DOUARD solo show Mo’Swallow, Palais de Tokyo, Paris

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view of the DAVID DOUARD solo show Mo’Swallow, Palais de Tokyo, Paris

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view of the DAVID DOUARD solo show Mo’Swallow, Palais de Tokyo, Paris

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view of the DAVID DOUARD solo show Mo’Swallow, Palais de Tokyo, Paris

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view of the DAVID DOUARD solo show Mo’Swallow, Palais de Tokyo, Paris

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view of the DAVID DOUARD solo show Mo’Swallow, Palais de Tokyo, Paris

all images (unless otherwise stated):
courtesy Galerie High Art
​photo: AURELIEN MOLE

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Mo’ swallow, the latest solo exhibition by DAVID DOUARD at Palais de Tokyo in Paris, presents a unique universe both inviting and discomforting, embodied and abstract, by fusing a critical perspective of civilization within social and digital systems and processes.

Organic, porous and primitive, his work deals with materiality by playfully decategorizing the conventional form and nature of objects. Through corrupting and manipulating everyday objects DAVID DOUARD not only creates new spatial and conceptual environments, but also combines digital with analogue, biological with technological, food with waste and memory with fact.

The result is a mix of mutated objects —presented in installation, sculptures and films – which explores the elisions between man and machine, life and death, that dominate DOUARD’s work. It also captures the peculiarly immanent quality that his hybrid objects are always caught in the moment of becoming, decaying, growing or changing. Never still, never complete.

➝  Mo’Swallow, in the season L’Etat du ciel, is on view at Palais de Tokyo in Paris until May 12, 2014. Additionally DAVID DOUARD is also presenting his work at the SculptureCenter in New York until May 12, 2014.

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wfw weekend #124. Adventice Magazine

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Adventice #2, Reverie & Industry, 2013
image © wfw

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Published twice a year, Adventice Magazine delves into the confrontation of two opposing topics per issue, teasing out the tension between them from a diverse series of vantages, positions and perspectives. For those who appreciate well designed magazines, the latest issue has been released in October 2013 and concentrates on the themes of Reverie and Industry bringing together contributions from SIMON LADOUX, LOUISE PARADIS, FRANCOIS STERNBERGER, ROBERT LONGO, DAVID MASSON and PONTUS ALV among others, get yours!

More info about Adventice via tumblr or facebook !

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Mathieu Pernot

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all images from the series: The Migrants, 2009
color photography,  95 × 135 cm
courtesy of the artist and Galerie Eric Dupont, Paris

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The Jeu de Paume in Paris is showing The Crossing, a selection of photographs by MATHIEU PERNOT (b.1970). For the last 20 years, the French photographer examines and documents the lives of people living on the margins of society. Whether he is working with migrants, prisoners, inhabitants from high-rise estates, gypsies or demolition sites, PERNOT questions the status of images and the way we look at them.

For the series The Migrants (2009) MATHIEU PERNOT photographed Afghan migrants very early in the morning, near a square where they gather in the 10th arrondissement in Paris. Created quickly, between daybreak and the usual intervention by the police, the images show the ghostly presence of clandestine people in the city. Invisible and silent, reduced to the condition of simple forms, they rest and seem to hide, as though they wish to isolate themselves from a world that no longer wants to see them.

I was moved by the presence of those “repressed” by history, by these figures of an inverted globalisation. I was confused by the ambiguous beauty of forms bringing back those of another History. I thought that the best picture to take would be one during their sleep, an elsewhere that we will never know, and which surely constitutes their last escape. I didn’t want to wake them up. I didn’t see anything of the migrants / I didn’t see migrants at all. - MATHIEU PERNOT

The Crossing is currently on view at Jeu de Paume Paris and is running through May 18, 2014. Additionally the Maison Rouge in Paris is showing L’asile des photographies, an exhibition for which MATHIEU PERNOT and PHILIPPE ARTIERES, historian, were invited to work on the archives of Le Bon Sauveur psychiatric hospital in Picauville, Normandy.

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MATHIEU PERNOT was born in Fréjus in 1970 and he currently lives and works in Paris. After studying art history at the University of Grenoble, he enrolled at the Ecole Nationale de la Photographie in Arles, from where he graduated in 1996.

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