wfw weekend #400

One form of resistance is to go dark, to stop making artwork that can in any way be represented on the platforms that facilitate these forms of recuperation. But even if you as an artist don’t post images of your work on social media, other people might. You could institute a Berghain rule and administer stickers over phone’s camera lenses upon entering an exhibition, but then, hashtags are indexable forms of language that don’t require images and are still a useful metric for brands. You could literally never show your work to anyone. You could embrace chaos and illegibility, creating visual or written work that is non-instrumentalizable, but legible across many parts over a longer period of time. This might mean making work that operates at a different tempo than that of branding and social media, work that occupies multiple sites and forms, work that fights for the complexity of identity (as artist or otherwise) and form, and believes in a creaturely capacity for patience with a maximum dedication to understanding. – Dena Yago, on Ketamine and Added Value, e-flux, May 2017

Laure Prouvost

Irena Haiduk. Against Biography

Eric Troncy. Very Entertaining

Arriving for the opening of ERIC WESLEY’s survey-scale exhibition at the Los Angeles gallery 356 S. Mission Rd. in January 2015, visitors encountered a new Nissan parked at a rakish angle in the back lot, with its front doors ajar and music blaring from its speakers. That this was an artwork would surely never have occurred to many of those in attendance had it not been for the checklist, where it was designated Infinity Project (Black), 2015, with materials given as “clear lacquer paint on Infiniti.” (…) As a found object that was in fact rented, the vehicle could also be seen as a monument to transience and ephemerality. After the close of the show, one had to imagine the automobile undergoing a further turn in this Duchampian game of contextual transposition, mingling inconspicuously with all the other non-art cars in the rental fleet upon return. Moreover, once replaced within its original context, WESLEY’s Infiniti can only be faced with steady depreciation, the fate of all uncollected cars. – JAN TUMLIR on ERIC WESLEY, Artforum February 2017

Repetition in choreography is a useful procedure that brings out the materiality of what might often be considered as immaterial. By experiencing something again and again and again you go through waves of proximity, observation of detail, boredom and desire. When a structure becomes very apparent, you begin to see the way the performer is navigating and engaging with that structure. The split between the performer and what they are doing, between the dancer and the dance becomes more apparent. The opposite is also true, there is an impossibility because these two elements can never be split. – ALEX BACZYNSKI-JENKINS in conversation with ELLEN GREIG, Chisenhale Gallery London, January 2017

one pic wednesday. Nairy Baghramian

The distrust of abstractions (…) finds expression in a widespread reduction of cultural ideas and activities to psychobiography. We are invited to see the ‘inner life’ of individuals as the most authentic level of reality.- Mark Fisher, Real Abstractions / The application of theory to the modern world, for Frieze Magazine, January 16, 2017

These photographs are primarily operative on the level of their content, which is less the subjects depicted or any psychology their bodies might convey but, rather, the gamut of technical tropes and possibilities within studio photography today. And it is through this seeming evacuation of conventional content via formal manipulation, that these shots shed light on our current relation to the world of images. – ILYA LIPKIN on the Photographic Real, 30 January 2017, Texte Zur Kunst

Andrea Fraser

Ian Wilson. The Discussions

Ajay Kurian. The Ballet of White Victimhood: On Jordan Wolfson, Petroushka, and Donald Trump

Trevor Paglen. Invisible Images (Your Pictures Are Looking at You)

Paul Taylor, Richard Prince, Sherrie Levine