wfw weekend #170

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works in progress by French artist ANTOINE DONZEAUD
seen at EXO EXO, Paris
on Tuesday, December 16, 2014
image © wfw

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wfw weekend #169

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view from the solo exhibition* of Canadian artist DAVID ALTMEJD
seen at MaM, Paris
on Tuesday, December 16, 2014
image © wfw

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*Flux is on view until February 1, 2015 and will be also presented at MUDAM in Luxembourg from 7 March to 31 May 2015, then at MACM in Montreal from 18 June to 13 September 2015.

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Hubert Marot. The Blueprint

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HUBERT MAROT, The Blueprint
exhibition view at paris20, Paris, December 2014

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HUBERT MAROT, The Blueprint
exhibition view at paris20, Paris, December 2014

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Hubert_Marot_TheBlueprint_03

CY 5, 2014
cyanotype on canvas, 140 x 190 cm

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Hubert_Marot_TheBlueprint_04

CY 6, 2014
cyanotype on canvas, 140 x 190 cm

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CY 7, 2014
cyanotype on canvas, 140 x 190 cm

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HUBERT MAROT, The Blueprint
exhibition view at paris20, Paris, December 2014

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Hubert_Marot_TheBlueprint_09

Sans titre (Fleurs), 2014
polaroid emulsion on glass, 20 x 30 cm 

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CY 3, 2014
cyanotype on canvas, 90 x 140cm

CY 4, 2014
cyanotype on canvas, 90 x 140cm

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outside: 9 chiens, 2014
inkjet print, 140 x 200 cm

all images: courtesy of the artist

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HUBERT MAROT is a french artist who has been making pictures since a couple of years that exploit the photography’s underlying properties. His working process is based on a combination of formal, conceptual, and historical concerns, that questions the material premises of photography and the nature of abstraction, as well as the production and valuation of art.

Titled The BlueprintMAROT‘ solo exhibition at paris20 featured a recent body of works that comprises cyanotype and Polaroid pieces. For example, CY (2014) is a series of five works on canvas that use the cyanotype process, a photographic technique referred to as ‘blueprint’, which was mainly used for scientific images. In this printing process a support coated with an iron-based light-sensitive chemical is exposed to light, which turns it blue. The canvas are exposed to incident light for a constant period of time, whereby ultimately the various external conditions are what produce the picture. These works, though photographs, have a painterly feel and therefore seesaw back and forth between gestural abstraction and dry conceptualism.

I have little respect for photography precisely because of this notion of reproduction, it makes me very uncomfortable. That’s why I’m very rigorous in the way I create an image, even in the most material sense. It is imperative that I place a sense of value in what I produce, and I am only able to see this value when I apply a rigorous and exacting process. – HUBERT MAROT in conversation with GUILLAUME BLANC for ASX Paris, April 2013

 

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one pic thursday. Olafur Eliasson

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Contact by OLAFUR ELIASSON at Fondation Louis Vuitton, Paris
image © wfw

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This is a view from OLAFUR ELIASSON‘s new solo exhibition entitled Contact that opened on Monday in Paris. This immersive light installation is part of a constellation of eight works taking up heterogeneously the lower floor of Frank Gehry’s Fondation Louis Vuitton building.

The exhibition, just like the previous works of the Icelandic artist, plays with the perception and the spaces as well as the position of the subject within theses spaces though a series of installations made with simple and industrial materials that aim to ‘transport the visitors into the darkness of outer space thanks to a choreography of moving light and shadows’ according to the press release.

Contact, curated by the SUZANNE PAGE with support from LAURENCE BOSSE, HANS ULRICH OBRIST and CLAIRE STAEBLER, runs until 16 February 2015 at Fondation Louis Vuitton, Paris.

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wfw weekend #168

costanzacandeloro

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installation and display by COSTANZA CANDELORO
for the OraibiBeck Books bootleg library at Espace TILT, Renens
during the festival Les Urbaines
seen on Saturday, December 6, 2014
image © wfw

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wfw weekend #167

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Abandoned Pillar in Water Berlin, Spree (2014) by DEMIAN BICHSEL
from his solo exhibition Time and Reality II*
seen at the Freie Strasse 88, Basel
on Thursday, December 11, 2014
image © DEMIAN BICHSEL

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*this exhibition is running through December 20, 2014

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The Darknet – From Memes to Onionland @ Kunst Halle Sankt Gallen

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exhibition view at Kunst Halle Sankt Gallen, October 2014- January 2015
Simon Denny, The Personal Effects of Kim Dotcom, 2013/2014 *; Hito Steyerl, Strike, 2010; Archiv Valentina Tanni, The Great Wall of Memes, 2012-2014; Seth Price, How to disappear in America, 2014
Courtesy: Simon Denny: the artist; Galerie Buchholz Berlin/Cologne; Hito Steyerl: the artist; Valentina Tanni: the artist, Anonymous; Seth Price: the artist
photo: Kunst Halle Sankt Gallen, Gunnar Meier

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Hito Steyerl, Strike, 2010
Courtesy the artist

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KHSG_03_The_Darknet

exhibition view at Kunst Halle Sankt Gallen, October 2014- January 2015
Archiv Valentina Tanni, The Great Wall of Memes, 2012-2014; 
Simon Denny, The Personal Effects of Kim Dotcom, 2013/2014

Courtesy: Valentina Tanni: the artist, Anonymous;Simon Denny: the artist; Galerie Buchholz Berlin/Cologne
photo: Kunst Halle Sankt Gallen, Gunnar Meier

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KHSG_05_The_Darknet

exhibition view at Kunst Halle Sankt Gallen, October 2014- January 2015
Simon Denny, The Personal Effects of Kim Dotcom, 2013/2014 *; Seth Price, How to disappear in America, 2014; !Mediengruppe Bitnik, Random Darknet Shopper, 2014
Courtesy: Simon Denny: the artist; Galerie Buchholz Berlin/CologneSeth Price: the artist; !Mediengruppe Bitnik: the artists
photo: Kunst Halle Sankt Gallen, Gunnar Meier

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KHSG_11_The_Darknet

exhibition view at Kunst Halle Sankt Gallen, October 2014- January 2015
!Mediengruppe Bitnik, Random Darknet Shopper, 2014;Eva and Franco Mattes, Emily’s Video, 2012
Courtesy: !Mediengruppe Bitnik: the artists; Eva and Franco Mattes: the artists; Carroll/Fletcher, London
Photo: Kunst Halle Sankt Gallen, Gunnar Meier

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KHSG_15_The_Darknet

exhibition view
!Mediengruppe Bitnik, Random Darknet Shopper, 2014, (detail)

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!Mediengruppe Bitnik, Random Darknet Shopper, 2014, (ECTASY 10X YELLOW TWITTER 120MG MDMA)

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!Mediengruppe Bitnik, Random Darknet Shopper, 2014, (ECTASY 10X YELLOW TWITTER 120MG MDMA)

 

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KHSG_12_The_Darknet

exhibition view at Kunst Halle Sankt Gallen, October 2014- January 2015
Eva and Franco Mattes, Emily’s Video, 2012;!Mediengruppe Bitnik, Random Darknet Shopper, 2014
Courtesy: Eva and Franco Mattes: the artists; Carroll/Fletcher, London; !Mediengruppe Bitnik: the artists
photo: Kunst Halle Sankt Gallen, Gunnar Meier

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Eva and Franco Mattes, Emily’s Video, 2012
Courtesy the artists

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Visiting the current exhibition entitled The Darknet – From Memes to Onionland. An Exploration at the Kunst Halle Sankt Gallen is like browsing the web during hours; scrolling down pages, jumping from links to links, starting with funny memes and odd videos until you arrive to a dark void that you know it exists but you are not fully aware of it.

The first room of the exhibition is literally taken over by images: VALENTINA TANNI presents her collection of her best memes onto a massive freestanding wall, while the visitor is surrounded by the Personal Effects of KIM DOTCOM (2013/2014) by SIMON DENNY, a series of inkjet prints on canvas which features the entire inventory of confiscated items taken by New Zealand police during a raid on the home of German internet entrepreneur, KIM DOTCOM. The first aspect of the exhibition is somehow funny and most of the time absurd, just like Strike (2012), a video loop by HITO STEYERL which shows a woman dressed in black approaching dramatically a LCD monitor and striking its surface once with a chisel, leaving a multi-coloured web of fractures across it.

The more you enter into the exhibition, the more you penetrate into the dark side of the web, the one with hacker communications systems, stolen data, non-transparent mechanisms and browsers on which you can buy drugs, weapons or counterfeits among others. For the exhibition the !MEDIENGRUPPE BITNIK created the project Random Darknet Shopper (2014), which consists, according to the press release, ‘of an automated online shopping bot which has a budget of $100 in Bitcoins per week. Once a week the bot goes on shopping spree in the deep web where it randomly choses and purchases one item and has it mailed to the Kunst Halle Sankt Gallen‘. All the goods received are presented in the last room of the exhibition into glass boxes along with a transcript of the ad from the Agora market place.

In the same space, the last piece of the show is the troubling video by EVA and FRANCO MATTES entitled Emily’s Video (2012) which they call “the worst video ever,” a combination of clips they found on illicit sites inside the Darknet. The actual video is not presented, what you see is only a compilation of the reactions of willing participants watching it, and leaving the viewer petrified by its own imagination.

After having seen the show, one question remains: is the darknet just evil? or can it be use in a good alternative way since the regular Internet seems to be screwed?

The Darknet – From Memes to Onionland. An Exploration is currently on view at the Kunst Halle Sankt Gallen and is running through January 11th, 2015.

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Jaakko Pallasvuo

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I really like the work of Finnish artist JAAKKO PALLASVUO but since a couple of months I’m truly thrilled by his incisive and sharp texts about art, identity and cultural metabolism among others. I really recommend to read the entire text about the bad boys – and more essays – via  http://dawsonscreek.info/

Please note that JAAKKO PALLASVUO is part of the exhibition The Last Artists Exhibition currently on view at Kunsthalle Helsinki until January 4, 2015.

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one pic monday. Marie Lund

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Torso, 2014
concrete and cotton, 140 x 50 x 14 cm
image courtesy of the artist, and Laura Bartlett Gallery, London

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Torso (2014) is a new work by Danish artist MARIE LUND which is part of her new solo exhibition entitled Dip currently on view at Laura Bartlett Gallery in London. This present work consists of a concrete sculpture shaped into a rectangular form onto which a piece of garment has been cast in and then removed leaving its trace, space or fragment, it has been reduced to. The effect is forceful, even monumental, but also ambiguous like if the artist has frozen the transition from real object to art object, from figuration to abstraction.

Inspired by the physicality of the human body and material concerns, this work as well as the whole exhibition aims to question the potential and limits of sculpture as object through a particular attention to surfaces, shapes, materials and processes.

Dip is on view at Laura Bartlett Gallery in London until January 18, 2015. Please note also that MARIE LUND will have a solo exhibition at Badischer Kunstverein, Karlsruhe opening January 29th, 2015.

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wfw weekend #166

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soundtrack by S S S S
performed at Le Romandie, Lausanne
on the occasion of Les Urbaines Festival
on Friday, December 4, 2014