wfw weekend #440

wfw weekend #439

one pic monday. Mimosa Echard

Download typefaces by Bea Schlingelhof dedicated to Women against Hitler –

Lucy Skaer at KW, Berlin, October 13, 2017 – January 7, 2018 via Contemporary Art Daily

one pic friday. Lewis Fidock

wfw weekend #438

Piotr Łakomy. From the Tenth Floor People Seem Smaller

Stephen Prina

wfw weekend #437

wfw weekend #436

Roman Ondak. The Day Before Now

Let’s put it this way: I have little interest in the position of autonomous authorship that I obviously inhabit, and I have absolutely no interest in making it the subject matter of my writing or even present it as something special. So when I’ve written something that, in the process of writing, I believe I’ve never read anywhere else before, I tend to try and find a section that says the same thing before I did. Then I replace my so-called “own” with the so-called “other”. To me it is more important to place myself within a network of thinking and thought-paths rather than trail after the old-fashioned chimaera called ‘artist’ that propounds one has produced something unique and new. Which means that I prefer the quoted text to “my own” but I make a bow towards the sources by stating more than once where they do come from. The quoted idea may come up again about 40 pages later, this time without any hint towards the source, but that’s because I rely on the readers to notice “Ah, here we’ve got someone like Hubert Fichte or Jack Smith again. But they were introduced some time before.” I do not really use quotation marks. Simply because I do not believe in the enclosed autonomy of the Other. I regard that as open as anything else. That’s why I follow a form of writing that was propagated by feminists such as Hélène Cixous, who describes feminine text as openly accessible from the top and the bottom, from both sides, from the front and the back. – Direction Artiste – Appendix – A Conversation with Thomas Meinecke, David Lieske at Lovaas Munich, November 16, 2017 – December 16, 2017

Alan Schmalz. Appareils de Récréation

Michael E. Smith at KOW, Berlin, September 16 – November 12, 2017 via Contemporary Art Daily