June 1999. When artist Adam Chodzko was invited to make a piece of work as part of this off-site programme, he questioned the notion of an identifiable ‘public’ and the possibility of producing an ‘accessible’ work. His intervention, Better Scenery (2000) consisted of two signs, one located in the Arizona Desert and the other in the car park of a new shopping centre, the O2 Centre, in Camden. The plain yellow lettering on the black face of each sign gives clear directions of how to get to the other sign. Both sets of directions end with the phrase: ‘Situated here, in this place, is a sign which describes the location of this sign you have just finished reading. – Jane Rendell about Adam Chodzko, Better Scenery (1999)

Laure Prouvost. Lisson Presents…ON AIR

Lisson Presents…ON AIR is a series of podcasts produced by Lisson Gallery. This episode is focused on the sound work of French artist LAURE PROUVOST and includes the following track list:

This Voice is a Big Whale, 2013
Sound work by LAURE PROUVOST

We are Waiting for you, 2017

Tea-song, 2014
Music by DAN ARAN

Grand dad, 2010

UKstaywithusEU, 2018
Lyrics by LAURE PROUVOST & Nick Aitkens

Please note that LAURE PROUVOST is actually having a solo exhibition at Lisson Gallery in New York. The exhibition is on view until April 14, 2018.

wfw weekend #449

exhibition view from An Idea of Late German Sculpture To the People of New York, LENA HENKE
seen at Kunsthalle Zürich
on Saturday, March 10. 2018
image © we find wildness

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wfw weekend #448

Untitled (2018), LEONARD DE MURALT
seen at Smallville, Neuchâtel
on Saturday, March 24, 2018
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wfw weekend #447

exhibition view from Stepping Stairs, JUDITH HOPF
seen at KW, Berlin
on Thursday, March 16, 2018
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Jason Dodge at Franco Noero via Mottalciata, Turin

all images:

JASON DODGE, installation views at Franco Noero, Turin

images courtesy of the artist and Franco Noero, Turin

Galleria Franco Noero in Turin is presenting a solo exhibition by JASON DODGE. The exhibition has been basically split into the two locations that the gallery runs in the city. The exhibition at Via Mottalciata is showing a series of new sculptures while the one at Piazza Carignano is hosting an installation specifically conceived for that space.

Just an half of the exhibition is still on view. The one at Piazza Carignano closed on March 17, the one at Via Mottalciata is running through May 5, 2018.


Art Without Rules, Texte Zur Kunst, No.109, March 2018

Money is a festering excuse, often used to block transformation. But in a way, I believe that capitalism (which is still in its infancy) helps keep institutions from getting too comfortable. Like democracy, capitalism needs constant engagement, and I prefer the growing pains that come with this process to any alternative. Humor is one option to sweeten the pill. – Rita McBride in conversation with Mitch Speed, Mousse 62, February – March 2018

wfw weekend #446

Silbergrau (2018), MATHIAS SANDER
seen at Kunstverein Bielefeld
on Friday, February 15, 2018
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wfw weekend #445

Fruit (2018), MANDLA REUTER
seen at Galerie Mezzanin, Geneva
on Saturday, January 24, 2018
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#laterpost 2015. Bea Schlingelhoff at Taylor Macklin, Zürich

all images:

exhibitions views and details at Taylor Macklin, Zürich, June 14 – July 19, 2015

courtesy of the artist and Taylor Macklin, Zürich

In the summer of 2015, BEA SCHLINGELHOFF presented a solo exhibition at the artist-run space Taylor Macklin in Zürich. Entitled Bazaarro, the exhibition consisted mainly of the removal of a portion of the gallery floor. This was the press release.

“Why Don’t You … ?” – Diana Vreeland


I find participating in art fairs close to Arendt’s insight on the banality of evil. It’s an extreme comparison, however, most artists and friends I speak with do not find art fairs an interesting context for their work, to say the least. Institutions have been successfully dismantled in a critical discourse in the past 40 years, but what about the stall architecture of art fairs? 

Maybe art fairs are too vernacular to be bothered with critically or artists feel that their sole function is to accumulate income. In that case, what reason can there be to sabotage your own income? Book fairs are great, for example, but somehow different, aren’t they?

Bizarro is a genre – a recent usamerican literary genre – roughly denoting absurdist fiction or horror comedy. Bazaarro, too, is a genre – a contemporary art genre – recognizable because of (at least) one missing wall. Artists decide to use floating compartments like L-, H-, or E- shaped exposition bays to make their works of art a more assertive and singular statement, practical modular cells. These bays or booths spring up like mushrooms. Bazaarro takes the architecture of the fair outside the fair. Absurdist fiction.

The genre is visible in graduation shows at art schools, art conventions or competitive settings for prize money. To ‘booth’ is a verb replacing the seared expressions of ‘exhibition making’ or ‘installing,’ and has finally been recognized as the common denominator for meaning itself… even poetry is boothing! However, Bazaarro is not the horror comedy of the grey area. In fact it’s architecture’s new mercenary: a booth for hire.

Taking away the metal plates from the floor has gained an additional 15 cubic meters of exhibition-space for Taylor Macklin, sinking the entire room approx. 35 cm. The drywall that had been built into the former gym in order to separate the space from another gallery in the same room, Plymouth Rock, floats. An enlarged blackmail letter hangs on the wall that separates Taylor Macklin from the Capoeira school next door, in the same way a painting was hung in Hitler’s antechamber in Munich in 1942. Gymnastic rings are installed in front of the painting, completing the Bazaarro gymnasium. Words that rhyme with ‘genre’: ‘Double entendre’, ‘amour proper’, ‘Le Nôtre’, ‘contra’.

→ The laterpost series is featuring past exhibitions that have slipped under our radar. More laterposts here.

Speaking of Tintoretto and then of the Impressionists, Eco talks about painterly marks creating a state of animation and aliveness: a cacophony of information wherein the sign becomes “imprecise, ambiguous. But not so the forms themselves.” [The Open Work, Harvard University Press, Cambridge, MA, 1989, p. 85] Thanks to a degree of formal composition, the eye of the observer can still recognize Monet’s cathedrals as cathedrals, even as they are on the verge of “liquefaction, of dissolution.” In this state of near obscuration, the “open work” remains inexhaustible, as we are unable to access it in its entirety. In doing so, the work enacts the fact that we do not operate in a well-controlled world based on universally acknowledged, totally graspable laws. We exist in a state of almost collapsing movement, where norms (from cathedrals to music scores to governance) must be negotiated, questioned and made strange. In this sense a key feature of the open work is enacting and creating defamiliarization. Defamiliarization might occur when a subject disengages herself from her dominant normative vision of the “bounded-self” and starts to think in ways that connect her, complexly, to others. This is what Rosi Braidotti maintains, and it’s a part of her methodology of posthuman critical theory. Put simply, defamiliarization teaches us to think differently. – A Not So Sad September, Cally Spooner on Umberto Eco’s ‘open work’, Flash Art International, Issue 308, May 2016

Pyongyang Elegance: Notes on Communism by Amalia Ulman for Affidavit.art, February 12, 2018

David Hanes. wfw aware #49

Aware: Mars (2018) and Beast (2018), NINA BEIER
presented at Kunstmuseum St Gallen
shot on February 10, 2017, altered on February15 , 2018 by DAVID HANES*
image courtesy of the artist and we find wildness

*DAVID HANES lives and works in Berlin. Read more about this special project for we find wildness here.

The Task (2017), directed by Leigh Ledare, on view at True/False Film Festival, Columbia, Missouri, on March 2-4, 2018