Andy Warhol & Los Angeles

Purple Magazine, Issue 10, Fall Winter 2008/09 (page 388)

Few weeks ago, I read a good article by JEFF RIAN* about Los Angeles and its spirit in an old issue of Purple Magazine. I found this extract so excellent and a bit surprising for me european that I decided to share it with you!

Enjoy. Pop!

* JEFF RIAN is an art critic and teacher at the École nationale supérieure des beaux-arts of Cergy. He collaborates regularly to several magazines like Art in America, Frieze, Flash Art or View on Colour among others. He is also a member of the Purple magazine crew. Recently he released a monograph about the work of STÉPHANE DAFFLON published by Editions Presses du réel.

Héctor Zamora

Atopic Delirium, Plaza San Victorino, Bogotá, Colombia. 2009
Bananas are an important part of every Colombian’s diet and have been used for this installation as an element to deform the skin of two building in central Bogotá


Volatile Topography, Busan, South Korea. 2006
39 helium-filled balloons (each mesuring 2.5 m in diameter) and covering 4500 m2 redesigned constantly the landscape thanks to the atmospheric conditions

Pneu, Garash Gallery, Mexico City. 2003
This handmade red plastic cylinder (inflated continuously with air) invades the gallery’s exterior and interior spaces to create a loop

Zeppelins Swarm, 53rd International Art Exhibition Venice Biennale, Venice. 2009
Zeppelin Swarm includes a massive campaign to publicise a zeppelin fair that never really occurred and it spans from the participation of Venetian street artists to the implantation of viral media on the Internet. The event/fiction has been supported in different ways: the design of a virtual zeppelin for use in all media imagery, the production of a series of photomontages, combining the image of the virtual zeppelin with classic photographs of the Venice cityscape and a real zeppelin remains stuck in a thin corridor between two buildings within the Arsenale exposition space of the Venice Biennal


HÉCTOR ZAMORA is a Mexican artist based in São Paulo, Brazil. Over the past decade, he has created his most significant pieces by working on public spaces, often rearticulating the physical characteristics of a specific urban or architectural environment.

Creating structures that enhance or highlight particular characteristics or patterns of social use of that space and environment, the artist often utilises materials that also carry a particular resonance within that location. ZAMORA often draws the local community into the process of not only experiencing the work of art, but also as a part of the creation. The artist reimagines these public spaces through the implementation of sculptural additions made from materials with a specific significance within each site to interact with the community consciousness.

Irony and a sense of humour are also key elements in his art. ZAMORA’s playfulness compensates for the seriousness of his interventions, just as his organic approach to architecture and urban planning ensures that his work is never overbearing but suggestive, appealing and insightful.

Make sure to watch other compelling projects via his website: http://www.lsd.com.mx/

Frédéric Malette

from the series Entité. 2010



from the series Entité. 2010


from the series Résidence Lieu Unique. 2010



from the series Manimals, tête de singe. 2010

FRÉDÉRIC MALETTE is a French artist who distinguishes himself through his style, at once realistic and oniric.

His drawings are showing an obsession for details as well as a minutely precision which projects the spectator in a universe mixing childhood fears and humor. He completed it with his experience and his imagination. And sometimes his illustrations take its author as its main subject.

Following the unrolling of a dream, playing with the free association of shapes and ideas, he seems to say that everything is transforming, metamorphing, opening itself to the most diverse interpretations.

Birgit Jürgenssen

all pictures © BIRGIT JÜRGENSSEN

Viennese artist BIRGIT JÜRGENSSEN didn’t reach public recognition during her lifetime. But outside the limelight, and on the quiet she created an artistic oeuvre of highly conceptual and intellectual value that ranks her today as one of the top contemporary artists. Her outstanding contribution to 20th century feminist avant-garde art has been discovered only recently and her national and international recognition is about to arrive just now. Unfortunately, due to her premature death in 2003, at age 54, BIRGIT JÜRGENSSEN could not enjoy these merits during her lifetime.

A photographer, painter, graphic artist, curator and pedagogue, she worked against the background of the body art of the 1960s with feminist and socially critical views. In her oeuvre she studied constructions of femininity, using her own body as a critical projection surface of cultural codes.

And good news: SAMMLUNG VERBUND and the Bank Austria Kunstforum invite you to the opening of the exhibition Birgit Jürgenssen Wednesday, 15. December 2010, 19:00 at Palais Ferstel, Vienna. Additionally a book published by Hatje Cantze is now available in the WFW Store!

Chris Beckman

oops by CHRIS BECKMAN. digital video. 2009. concept by BILLY RENNEKAMP

Earlier this year Oops – a video by CHRIS BECKMAN who graduated from Drury in May 2010 with a degree in Fine Arts in the Department of Art and Art History – won the 2010 Vimeo Awards in the Experimental category.

Oddly enough, this ten-minute video (originally created for a class assignment called Video Art), somewhere between a home-video mixtape and a postmodern travelogue and composed entirely of appropriated YouTube videos, is bizarrely compelling.

He began the project by selecting 100-150 videos off of YouTube of people doing accidental things, such as, dropping the camera. Eventually, he used portions of 40-45 YouTube videos. Then he seamlessly stitched together these videos: “It’s cool that people feel free enough to upload videos of them dropping the camera, it’s another thing that kind of attracted me to the videos. Salvaging almost useless things to make something that people want to watch.”

CHRIS BECKMAN has been invited to attend the 2011 Sundance Film Festival where his video will be screened in the short film program.

Madi Ju

all images © MADI JU

Three rad facts about Chinese photographer MADI JU:

  1. In 2005, she founded After 17, an online magazine dedicated to giving female artists exposure.
  2. Then later, 2006 to 2007 she and fellow photographer boyfriend PATRICK TSAI launched the bitter-sweet project My Little Dead Dick, a kind of visual love diary, which ended just before their break up
  3. She self-published her first book Madi Ju: A Personal Anthology I last year

Make sure to check out her website, www.madiju.com and to browse her flickr

Karla Black

Nothing Is A Must. exhibition view at Modern Art Oxford. 2009

Nothing Is A Must. exhibition view at Modern Art Oxford. 2009

Nothing Is A Must (detail)

Don’t Adapt, Detach (detail). exhibition view at Migros Museum für Gegenwartskunst Zürich. 2010

Don’t Adapt, Detach (detail)

Exhibition view at Migros Museum für Gegenwartskunst Zürich. 2010

Principles of Admitting. Exhibition view at Migros Museum für Gegenwartskunst Zürich. 2010

Principles of Admitting (detail)

Wish List. exhibition view at Tate Britain. 2008

Persuader Face. exhibition view at Der Kunstverein, Hamburg. 2009

Persuader Face (detail)

Scottish artist KARLA BLACK uses plaster, chalk dust,vaseline or substances such as face powder, lipstick and nail varnish to develop her ephemeral and delicate work.

Through their colours and materiality, BLACK’s sculptural works create an extremely subtle effect. The surfaces of some of the objects can be recognised as rough cardboard or sensitively transparent cellophane, other areas are covered by gentle pastel colours. Breaks and cracks in the structural materials split through the layers of paint. Just a tiny movement could cause the paint to rip the paper, altering the sculpture. Her fragile works are never in a stable condition as they are threatened by persistent decay.

The artist seeks to interrupt this natural process in her works, and transform them to obtain a timeless condition as close to perfection as possible. With various methods and materials, the artist probes for a more constant and unchanging condition for the work. Nonetheless, some sculptures have a lifespan only as long as the exhibition itself, after which they are destroyed. The sculptures’ very properties necessitate that her work is produced on site.

When I’m nearly finished making a work, I ask myself, “If this was a painting, would it be a good painting?” If I decide that the answer is yes, then I’m done. I use impermanent and raw materials like paper, polythene, plaster powder, and cosmetic products in my sculptures not because they easily change and decay but because I want the energy, life, and movement that they give. I would much rather have the sculptures stay exactly as they are the moment I finish making them. But I also know that if my first priority were to preserve the work forever, or for as long as possible, then I’d use stone, metal, or wood. But those materials don’t have the qualities I want. It’s a double bind (…)

(…) In art school critiques, my classmates sometimes said my work looked “feminine” and “domestic.” I could see what they meant, but that was never my intention and still isn’t. I like pink, and if someone wants to say that’s because I’m a woman, then perhaps it is. I’m interested in those kinds of cultural judgments that come from the outside. In the end, I decided to just do what I want to do, to use the materials and colors I want to use, because I want to enjoy making the work as much as I can. It’s hard enough to make something that’s any good, so you may as well start with some sort of self-indulgence.as told to LAUREN O’NEILL-BUTLER for artforum

And good news: you can view in person the sculptural work of KARLA BLACK at Capitain Petzel, Berlin until 22 December 2010

Arabeschi di Latte

ARABESCHI DI LATTE by Gestalten.tv. 2010

Oh man, everything about this video by Gestalten.tv inspires me and makes me want to experiment!

It’s all about ARABESCHI DI LATTE, a Florence-based collective who creates food-related workshops, exhibitions, and events.

Founded in 2001 by FRANCESCA SARTI and SILVIA ALLORI, together with CRISTINA CORTESE and ARIANNA PESCETT, ARABESCHI DI LATTE is based on the idea of creating a “daily sense of happiness” that is pursued through various strategies of participation and interaction that respond to basic and pleasurable needs in our social life. The group believes that food is not just “food on the plate” but everything relating to it. Food becomes an experience.

Don’t miss the website, www.arabeschidilatte.org/: it tastes good!.

Lukas Wassmann

portraits of PIPILOTTI RIST for Another Magazine 11th Issue. 2006

Editorial work for Das Magazin, Wir sind Fleischfresser. 2009

all pictures © LUKAS WASSMANN

Born in Zurich, LUKAS WASSMANN was trained as a carpenter from 1996 to 1999 in a small town in Switzerland before assisting different photographers in Milan, Zurich and New York. In 2003 LUKAS attended a professional course at FAS Berlin Photography School by German photographer ARNO FISCHER and studied at the Zurich University of Arts in the Photography department from 2003 to 2006. Currently he lives and works in Berlin and Zurich.

There is no doubt why the Swiss Institute/ Contemporary Art, New York commissioned LUKAS WASSMANN to shoot the calendar 2010 featuring NYC artists on their bicycles. Delicious!.

Guillaume Pinard. Tomate

Tomate by GUILLAUME PINARD. 20 illustrations, 10 euros. ISBN:978-2-35906-043-0. available in library: February 2011. Published by LIENART éditions for the exhibition “Guillaume Pinard-Tomate” (September-October 2010) at galerie Anne Barrault, Paris (view the exhibition views here) © LIENART éditions © GUILLAUME PINARD

Exactly a week ago, I published a short post about French artist GUILLAUME PINARD. Definitely not enough! So during the last few days, I managed to grab a copy of one of his last book “Tomate”: an outrageously and delicious selection of twenty preparatory drawings to oil paintings.

Whether they are a solar rabbit drinking the brew from a headless body, a proud well-hung horse, a virgin meaning fiercely to remain so, or a vase with balls, GUILLAUME PINARD’s figures reveal his obsession for clarity. His use of the codes of regressive drawing plays on this fixed idea. Accessible forms, simple colours, academic setting. With the subject as with the material, what is to be seen must be accepted, understood at once. Everything must be clear. Nothing must arouse interpretation. A horse with a hard-on is a happy horse, that is all. In the same way, oil painting, excluding apparent outlines – in the sense that it is understood as elborate, refined matter, or its opposite- is an oil painting, because it is in oils, that is all. – by FRANK G. RICHARD

Forget to mention the entire design – typo plus the colorful and simple binding – that I love !

Martin Kippenberger

Untitled (Don’t Wake Daddy). crayon on hotel stationery. 10,5″ x 7″. 1995. courtesy Metro Pictures

Untitled. pencil, ink, marker on paper. 11,5″ x 8″. 1990. courtesy Metro Pictures

Untitled. pastel on paper. 11,5″ x 8″. 1990. courtesy Metro Pictures

Untitled. 1993. R. Jeffrey Edwards
Untitled. 1993. Freidrich Christian Flick Collection

Untitled. pencil on paper. 11,75″ x 8.5″. 1992. courtesy Metro Pictures

German artist MARTIN KIPPENBERGER had a short life (1953-1997) but he managed to test and probe a dizzying range of styles and medias like painting, performance, sculpture, collage, video, drawing and installation.

His most intimate works were his “Hotel Drawings”. KIPPENBERGER made hundreds of drawings on hotel stationery, a body of work that comes across as a kind of travel diary. Although he often lived in hotels for weeks or even months, he didn’t stay at all the hotels whose notepaper he used, often picking it up from other sources. The stationery became, like so many things he encountered, a readymade material for his art.

Using common writing and drawing implements, he expressed the ideas that occupied his mind at particular times. He often made these sketches after or in the middle of a painting, sculpture or larger project, and each work is both a standalone artwork and a fragment or extension of an ongoing narrative.

Definitively legendary, just like his extravagant author!

Vincent Fournier

MDRS #01, Mars Society, USA. 2008

MDRS #00, Mars Society, USA. 2008

MDRS #04, Mars Society, USA. 2008

House searchers, Caussols Observatory, France. 2006

Meeting Room, Guiana Space Center. 2007

General Boris V., Star City, Russia. 2007

Space Gloves, Star City, Russia. 2007

French-born, Brussels-based photographer VINCENT FOURNIER’s “Space Project” tackles the unknown world of space exploration head on.

He has spent the past decade and a half gaining access to some of the most controlled environments on earth – and sometimes in some of the most desolate places in the world – including the Yuri Gagarin Cosmonaut Training Center of the Russian Federation, the Mars Desert Research Station in Utah, and the Atacama Desert Observatories in Chile. In these fascinating – and a bit weird- images, FOURNIER explores the paranoia and darkness of man’s attraction to the disconnect of space.

And good news: you can find the book “Space Project” by VINCENT FOURNIER in the WFW Store

Barbara Ellmerer

Thoughtphotography 1 © BARBARA ELLMERER

Visual artist BARBARA ELLMERER is a swiss-austrian painter and drawer, educated at the Academy of Art and Design in Zürich and at the University of Arts in Berlin.

I’ve discovered her work and her experiments through www.journalfuerkunstsexundmathematik.ch, the blog of YVES NETZHAMMER, where she is an activ contributor.

Make sure to check out her work on www.ellmerer.com/

Stephen Gill

all pictures from the “Hackney Flowers” series

Hackney Wick is a little known area in East London, and also STEPHEN GILL´s latest fascination. In Hackney Flowers, he collected flowers, seeds, berries and objects from Hackney, then pressed them in his studio and rephotographed them alongside his own photographs and other found ephemera, thus building up multi-layered images built from the area. The collage-like images thus produced are a reference to unexpected ecological riches while also serving as a metaphor for the beauty that may sometimes be found in the banal.

Six relevant dates in the life of STEPHEN GILL:

  1. At an early age, STEPHEN was introduced to photography by his father.
  2. In 1985, while still at school, he worked with a Bristol-based photographer, copying and restoring old photographs and helping to take family portraits.
  3. Two years later, he began working full-time in a one-hour photo lab in the city.
  4. In 1992 he enrolled in the Photography foundation course at Filton College in Bristol,
  5. and a year later, he began to work at Magnum Photos in London, firstly as an intern and then full-time.
  6. In 1997 he become freelance and since has continued to make a variety of personal photographic series. STEPHEN’s photographs are now held in various private and public collections and have also been exhibited at many international galleries and museums.

And good news: you can find the book “Stephen Gill: Hackney Flowers” in the WFW Store

No Layout

NO LAYOUT frontpage

inside f.ART, Issue one. published by f.ART. 2010

inside Famous 5 bis. published by Famous. 2002


inside Kate Moss Rorschach n°3. published by ASHER PENN. 2009


inside Tell Mum n°3. published by FPCF

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