wfw weekend #344

magali-reus

view from the exhibition Mustard, MAGALI REUS
seen at Stedelijk Museum, Amsterdam
on Sunday, September 25, 2016
image © we find wildness

wfw weekend #343

paktgallery

view from the exhibition Slapstick, STEFAAN DHEEDEN
seen at P/////AKT, Amsterdam
on Sunday, September 25, 2016
image © we find wildness

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wfw weekend #342

matheus-rocha-pitta

Slab 72 (Fourteenth Assault), Slab #73 (L’aventura) (2016), MATHEUS ROCHA PITTA
seen in the group exhibition A spear, a spike, a point, a nail, a drip, a drop, the end of the tale
at Ellen de Bruijne Projects, Amsterdam
on Saturday, September 24, 2016
image © we find wildness

 

one pic wednesday. Liz Magor

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Double Cabinet (blue), 2001
polymerised gypsum, cans of beers 23,5 x 68,58 x 43,18 cm
installation view No Fear, No Shame, No Confusion, by Triangle France © Photo : AURELIEN MOLE
private collection, Vancouver

Fairytales have the same interest in finding the animus or the energy in the object, in the material world. I’m doing it not from a religious or ritualistic or a witchy point of view. I’m doing it as a person who has a psychology that’s operating all the time to project and receive meaning from the material world. That’s a business that goes on all day. Like a bat using the walls, using the sonar to sound against the wall to find out how far the wall is. I think a similar process goes on with the objects in a life. That you’re testing your feelings against these things: I like this thing! I hate this thing! I want this thing! This is a beautiful thing. It’s all about me, really. It’s not about that thing. I’m using those things. So what I’m interested in is to stop using things. So when I turn them into sculpture I am stopping their usefulness. It’s no longer a jacket. And when it becomes art, it then becomes free of that sort of endless process of using objects for my ego or for my purposes. I want them to have this integrity of their own where they are recognized as having qualities that are independent of me. – LIZ MAGOR about Double Cabinet (2001) via 

The tension or play between the cast objects and the actual ones in Magor’s small pieces involves a complex relationship between history and memory. One of the elements in the small sculpture Still Alive (2016) is a very used, actual deerskin jacket, such as what might have been worn by the late 1960s, a hippy-era “back-to-the-landers” item in her photo series Field Work (1989). The jacket retains its own history, its marks and scars, and its strange, embroidered, leather-fringed materiality forfeits nothing. – E.C WOODLEY, Liz Magor Waits, But Not For You, August 17, 2016.

Habitude by LIZ MAGOR was presented at the Musée d’art contemporain de Montréal and closed on September 5th. In 2017 MAGOR‘s work will presented at the Migros-Museum für Gegenwartskunst, Zurich and at the Kunstverein in Hamburg.

 

one message interview #32. Paul Feigelfeld

paul-feigelfeld-omi

When PAUL FEIGELFELD is not working at the Digital Cultures Research Lab of Leuphana University in Lüneburg, he is actively developing and discussing the actual media landscape.

https://twitter.com/monadologia

This question has been taken from the Drawing Room Confessions . Make sure to read the previous one message interviews here

Domenico de Chirico for We Find Wildness #73

all images courtesy of the artist and Minerva, Sydney

Flea, a solo exhibition by LEWIS FIDOCK
on view at Minerva in Sydney
until October 22, 2016

chosen by curator and editor DOMENICO DE CHIRICO

wfw weekend #341

jason-dodge-iac

White to rose light, rose to white light over and over, JASON DODGE
seen at Institut d’art contemporain, Villeurbanne
on Wednesday, September 21, 2016
image © we find wildness

wfw weekend #340

stephanie-cherpin-moly

Happy House III (2012), STEPHANIE CHERPIN
as part of the group exhibition Les Epis Girardons
seen at Moly-Sabata Fondation Albert Gleizes, Sablons
on Tuesday, September 20, 2016
image © we find wildness

one pic friday. Daniel Turner

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DANIEL TURNER, Particle Processed Cafeteria (2016)
installation view at König Galerie, Berlin

image: ROMAN MÄRZ, courtesy the artist and König Galerie, Berlin

At the question of ‘What have you been up to this summer?American artist DANIEL TURNER answered as rudimentary as a post-internet alchemist would do: ‘reducing a cafeteria into a liquid’*.

Basically DANIEL TURNER salvaged a cafeteria from southeast Virginia which housed an array of public and civic functions. Then the 36 steel folding chairs and 3 collapsible steel/wooden tables have been reduced by hand before being further chemically processed. Finally the cafeteria which has been transformed into particles has been sprayed onto the gallery floor of the Berliner art gallery König.

Particle Processed Cafeteria by DANIEL TURNER is on view until October 30th, 2016 at König Galerie’s St Agnes Nave.

* DANIEL TURNER via

Switchers at fiebach, minninger, Cologne

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Switchers, installation view

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REAL POSITIVE

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Switchers, installation view

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CAMILLA STEINUM, RAHEL PÖTSCH, ROBERT BRAMBORA

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CAMILLA STEINUM, ROBERT BRAMBORA, LUCY SOTTY

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Switchers, installation view

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REAL POSITIVE, ROBERT BRAMBORA

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ANNE FELLNER, BURKHARD BESCHOW

all images courtesy the artists and fiebach, minninger, Cologne

The art venue fiebach, minninger in Cologne is presenting the group exhibition entitled Switchers.

One of the main element in the exhibition is a white translucent plastic membrane that settles radically he pervasive qualities of virtual space. The show becomes a stage in which the viewer is enveloped within and with the artworks and where there is no possibility of standing outside it.

In a world in which so much human interaction is mediated through electronic and digital technologies, where information exists not in tangible form but in a netherworld known as “the cloud,” it is increasingly difficult for the stage to exist meaningfully as a site of physical and tangible interaction. The new technologies are emphasizing the dematerialization of the stage: the stage as a permeable and ephemeral space that more accurately represents our perception of the experiential world. – ARNOLD ARONSON, The Simulacrum of Reality, 2014

Switchers with FIONA MACKAY, ROBERT BRAMBORA, ANNE FELLNER & BURKHARD BESCHOW, RAHEL PÖTSCH, REAL POSITIVE AND CAMILLA STEINUM is on view at fiebach, minninger in Cologne until October 8, 2016.

 

David Hanes. wfw aware #37

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Aware: after the quiescence of the inorganic worldJUSTIN MATHERLY
presented at Eva Presenhuber, Zürich
shot on September 16, 2016, altered on September 22, 2016 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.

laterpost #2. Jason Dodge interview 2013

JASON DODGE, 2013
video courtesy Lentos Kunstmuseum Linz, Austria

As a short preview of an upcoming post about the solo exhibition of JASON DODGE at the Institute of Contemporary in Lyon, here is an interview that the American artist did on the occasion of his solo presentation at the Lentos Kunstmuseum of Linz during Spring 2013.

Meanwhile a few images of the exhibition at IAC entitled Behind this machine anyone with a mind who cares can enter are available on the wfw instagram.

one pic monday. Graham Wilson

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Buried Alive, 2016
matresses, oil on canvas, twine, dimensions variables
© photo: GREGORY COPITET / Courtesy of the artiste and Valentin, Paris

Buried Alive (2016) is a work by GRAHAM WILSON that is part of his solo exhibition currently on view at Valentin in Paris.

The work consists of a series of mattresses recovered with patchwork made of ‘quilt paintings’, which he has, according to the press release, ‘for several years presented as wall-hanging structures’. These soft sculptures are finally turned into flags and strewn in a pile in the middle of the main gallery.

Buried Alive (2016) echo the patterns of traditional quilts and postmodern compositions, along with historically contiguous modes of painting and sculpture, while dragging the whole installation into a present marked by consumption, global war, and economic collapse.

Cauling All My Contemporaries… (To Come Burst My Bubble) by GRAHAM WILSON is on view at Valentin, Paris until October 8, 2016.

wfw weekend #339

cousboy-1_1_basel

view from the solo exhibition Life Was Ok, COUSBOY
seen at 1.1, Basel
on Saturday, September 17, 2016
image © we find wildness

wfw weekend #338

latifa-presenhuber

All over (31.50) (2016), LATIFA ECHAKHCH
seen at Eva Presenhuber, Zürich
on Friday, September 16, 2016
image © we find wildness