wfw weekend #420

Leticia Jones & Rosa Mumu (2016), LUTZ BACHER
seen at Kunsthalle Bern
on Friday, August 11, 2017
image © we find wildness

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wfw weekend #419

Sensitive Speed Beast, LEON HÖLLHUMER
seen at Milieu, Bern
on Saturday, August 19, 2017
image © we find wildness

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Saâdane Afif, The Fountain Archives, 2008 – ongoing, http://thefountainarchives.net

one pic tuesday. Lutz Bacher

Untitled, 2017
installation view at 3320 18th St, San Francisco
image: ROB DIVERS HERRICK

Untitled (2017) is a work by LUTZ BACHER that is on view on the second floor of 3320 18th St. in San Francisco until September 17, 2017 according to artnews.

The installation consists of a paper coursing through the gallery’s walls. The approximatively 35 meters long work features a sort of graphic visualization reminiscent of a seismometer reading from a catastrophic earthquake. The zig-zag trace has been shaped with the official yet amplified signature of DONALD TRUMP.

A signature is a designed artefact about identity. One’s unique autograph can even be used as logo—the ultimate expression and validation of authorship which is at the core of LUTZ BACHER‘s practice and approach.

David Hanes. wfw aware #45

Aware: Bottle Man (Suavely) (2017), VALENTIN CARRON
presented at Galerie Eva Presenhuber, Zürich
shot on June 10, 2017, altered on July 27, 2017 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.

Lawrence Weiner, That was the trouble with Aristotle, 2010

wfw weekend #418

Harsh Citation, Harsh Pastoral, Harsh Münster (2017), EI ARAKAWA
seen at Skulptur Projekte Münster
on Friday, July 28, 2017
image © we find wildness

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wfw weekend #417

After ALife Ahead (2017), PIERRE HUYGHE
seen at Skulptur Projekte Münster
on Thursday, July 27, 2017
image © we find wildness

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If I can’t sleep at night is it because I am awake in someone else’s room?_ a final performance inside a hotel room _ Friday, July 28, 2017, 9 pm to 11 pm at Hotel Zoo Berlin

Katinka Bock. _o_o__o

KATINKA BOCK, _o_o__o
installation view at Mercer Union, Toronto, 2017


Danielle, ceramic, cable, 2017
Cameron, ceramic, PVC tube, 2017
Sinistra o destra, 2017, b/w photograph, dyptic (left)
courtesy Galerie Jocelyn Wolff Paris


G, bronze, 2017
Sinistra o destra, 2017, b/w photograph, dyptic (right) 
courtesy Galerie Jocelyn Wolff Paris

KATINKA BOCK, _o_o__o
installation view at Mercer Union, Toronto, 2017


Hot Fountain, 2017
electric heater, PVC tube, tap water, ceramic
courtesy Galerie Jocelyn Wolff Paris


Hot Fountain, 2017
electric heater, PVC tube, tap water, ceramic
courtesy Galerie Jocelyn Wolff Paris

Liegende, 2017
glass, mattress coil, ceramic, walnut
courtesy Galerie Jocelyn Wolff Paris

Liegende (detail), 2017
glass, mattress coil, ceramic, walnut
courtesy Galerie Jocelyn Wolff Paris

Liegende (detail), 2017
glass, mattress coil, ceramic, walnut
courtesy Galerie Jocelyn Wolff Paris

Cool Fountain, 2017
ceramic, PVC tube, tap water
courtesy Galerie Jocelyn Wolff Paris

all images courtesy of the artist, Mercer Union, Toronto and Galerie Jocelyn Wolff, Paris

Art works have their own existence. They do not document reality, they are a part of it. And they are, like our life, subject to constant change. Documents are fragments, they are part of something else. Each has its reason for being, it relays its own experience of time and space. I like unstable and fragile images because they provide a particular perspective. The work can change within the social and physical circumstances that surround it. Movement in time and space generates a void. This void means the disappearance of meaning and the material, but it also produces something new, a horizon. – KATINKA BOCK in conversation with NAZLI GÜRLEK, 2011

 

_o_o__o, a solo exhibition by KATINKA BOCK is on view at Mercer Union, Toronto until August 12, 2017.

Yung Chong BaDboI for We Find Wildness #2

image courtesy Yung Chong and We Find Wildness

Read more about this special project by Yung Chong BaDboI  for we find wildness here. Make sure also to explore the complete Yung Chong comics collection via his instagram or tumblr.

one pic friday. Michael E. Smith

installation view at S.M.A.K, Gent, June – October 2017
photo credit: MICHAEL E. SMITH, Courtesy KOW Berlin and the artist

Each time I encounter the work of MICHAEL E.SMITH, I have a word that comes to my mind: reenactment. I like to think that MICHAEL E.SMITH is creating sculptures following some sort of transcripts of objects, images and existing artworks. That he is using those transcripts as raw material, as a legitimate source with which to build an abstraction. That is to say that he seems to do his best to reenact the objects or images as closely as possible to their transcript. I want to believe that his final objects are fairly accurate to the existing ones although in a degraded way.  And it is in the exhibition space that the abstract aspect, the narrative and speculations, come into play.

The work of MICHAEL E.SMITH is on view at S.M.A.K in Gent until October 1, 2020.

After Kathy Acker, Chris Kraus, The MIT Press, July 2017 https://mitpress.mit.edu/books/after-kathy-acker

Louise Lawler. Prominence Given, Authority Taken

screen capture from https://www.academia.edu/5599317/Prominence_Given_Authority_Taken_An_Interview_with_Louise_Lawler
on July 18, 2017
image © we find wildness

The whole interview between American artist LOUISE LAWLER and art critic DOUGLAS CRIMP that has been published in Grey Room No. 4 in 2001 is available in pdf via https://www.academia.edu/5599317/Prominence_Given_Authority_Taken_An_Interview_with_Louise_Lawler.

Please note also that the Museum of Modern Art in New York is currently presenting a major survey of LOUISE LAWLER on view through July 30, 2017.

DNA is an excellent medium for archiving data. Recent efforts have illustrated the potential for information storage in DNA using synthesized oligonucleotides assembled in vitro. A relatively unexplored avenue of information storage in DNA is the ability to write information into the genome of a living cell by the addition of nucleotides over time. (…) Here we use the CRISPR–Cas system to encode the pixel values of black and white images and a short movie into the genomes of a population of living bacteria. – CRISPR–Cas encoding of a digital movie into the genomes of a population of living bacteria, Shipman, S. L., Nivala, J., Macklis, J. D. & Church, G. M. Nature, July 12, 2017