Paul Mpagi Sepuya

Portrait (fixed). 2010. Archival pigment print. 40 x 50 inches

Portrait (entanglement). 2010. Digital c-print. 30 x 20 inches

Portrait (displacement 2). 2010. C-print. 17 x 11 inches / 30 x 20 inches

Portrait (Displacement 3). 2010. C-print. 17 x 11 inches / 30 x 20 inches

Installations view here

PAUL MPAGI SEPUYA is Brooklyn-based artist who makes photo-based portrait, zine, and video projects. Actually he has a solo show at NP Contemporary Art Center New York, where he presents new works (pictures above), including several large-scale prints.

Like previous projects, these pieces are situated among the artist’s intimate circle. Rather than a serial collection of portraits that isolate the physical connecting lines between people, these new works focus on the shared emotional lines within the physical site and situation in which portraiture happens.

In this new body of work you really get to see how, while the portrait remains the backbone of my process, the space around it has expanded to include more of the issues surrounding the cross-currents of the gaze. And I am looking more at how the photograph exists as multiple objects across different spaces. – by PAUL MPAGI SEPUYA

And if you can’t make either because you are too far away or you didn’t get a slot, a monograph of his work was published in April 2007. The Accidental Egyptian and Occidental Arrangements, a publication of his collaboration with fellow artist TIMOTHY HULL, was just published in Summer 2010.

Ronald Stoops & Inge Grognard

A.F. Vandevorst, Le Vif/L’Express Magazine. 2010. Images from the book “RONALD STOOPS/ INGE GROGNARD” published by Ludion ISBN 978-90-5544-984-2

INGE GROGNARD (make-up artist) and RONALD STOOPS (photographer) are a creative husband-and-wife fashion who steeped in Antwerp’s fashion scene of the early ’80s.

Their projects together are known for the bright use of colour, original settings and the game with identity. Photographer and make-up artist show discipline, simplicity and interest in the future: a think tank that happens to be design.

The new book “RONALD STOOPS/ INGE GROGNARD”  from publishers Ludion, is an anthology of over 30 years of collaboration, with emphasis placed on the duo’s non-commercial work, including projects with NARCISSE TORDOIR, MARTIN MARGIELA, A.F. VANDEVORST , JURGI PERSOONS or ANDREA CAMMAROSANO (among others). Definitively a book to have!

John Stezaker

London-based artist JOHN STEZAKER has been working with found materials since the 1970s, creating collages from film-stills, pages from books, encyclopedias, catalogues, postcards and autograph cards.

His work is instantly charming, but draws us in only to disturb our initial perceptions. The familiarity of the material and its subject matters gives us tools with which to understand the work, but its arrangement and juxtaposition challenges the very nature of our viewing habits. By playing with the protocols and conventions of visual language, our curiosity and identification is transformed into astonishment, bewilderment and fascination.

JOHN STEZAKER currently teaches Critical and Historical Studies at the Royal College of Art. And good news: you can view his work in person at the Kunstverein Freiburg (Germany) until November 7, 2010. See you there!

Melinda Gibson

“Jeff Wall, Passerby”


from the project “The Photograph as Contemporary Art”


“Photomontage XIV”, “Photomontage VI” andPhotomontage VII

“Photomontage XXVIII”, “Photomontage XXIV” and “Photomontage XXVII”


from the project “The Photograph as Contemporary Art”

all 2009 – 2010 © MELINDA GIBSON

What you NEED to know about British artist MELINDA GIBSON:

  • She studied for a BA in Photography at the London College of Communication and has plans to complete an MA in the next few years
  • After graduating she assisted various photographers, notably MARTIN PARR and WOLFGANG TILLMANS, while still continuing to develop her photographic practice.
  • Her “Photomontage” series is a great work of cut-and-paste art
  • No doubt why the Magenta Foundation has selected MELINDA as one of the UK winners for this years Flash Forward Emerging photographers award

Steve Nishimoto

Yeah it’s probably how 2010 will finish.

But fortunately, NYC-based artist STEVE NISHIMOTO or NISH will be there to create intricate letter forms, collage imagery, and drawings with a massive touch of freshness. And believe me: his work is a joy to discover!

Nobuyoshi Araki

“Sentimental Journey, Spring Journey”
2010 gelatin silver print
Paper size 31×42cm

“Sentimental Journey, Spring Journey”
2010 gelatin silver print
Paper size 31×42cm

“Sentimental Journey, Spring Journey”
2010 gelatin silver print
Paper size 31×42cm

“Sentimental Journey, Spring Journey”
2010 gelatin silver print
Paper size 31×42cm

“Pecchancola” 2010
gelatin silver print mounted on alpolic
Paper size 66×83cm

This series by Japanese photographer NOBUYOSHI ARAKI, exhibited earlier this year at Rat Hole Gallery ( Tokyo), narrates the last few months of ARAKI‘s cat.

My wife Yoko first brought Chiro home from Kasukabe when she was just a four month old kitten.” Almost 20 years later, these images documents the special time that he spent with Chiro leading up to her death. The series holds a special meaning for ARAKI, as it depicts the end of CHIRO’s journey as well as its beginning. It is beyond doubt that Chiro, who continued to model in front of the camera up until her very last breath, was a muse for ARAKI like no other, “No woman has showed as much love for me as Chiro did,” says ARAKI of his cat, who was the apple of his eye.

Images of the sky, flowers and other scenes taken after Chiro’s death reverberate a sentimental melody that is touching to the heart.

Known best for his intimate, snapshot-style images of women often tied up with ropes (kinbaku, Japanese rope-tying art) and of colorful, sensual flowers, NOBUYOSHI ARAKI is an artist who reacts strongly to his emotions and uses photography to experience them more fully. His work is at once provoking and mysteriously tender; a deeply personal artist who is not afraid of his emotions nor of showing them to the world.

JF Julian

all pictures © JF JULIAN

I discovered JF JULIAN‘s work yesterday, and quite simply, I’m blown away. Many of his photos are both beautiful and thought-provoking, and I was even more impressed when I took a glance at his resume: photographer / director graduated from Parsons school, he directs mainly documentaries for television, music videos, and some time commercials. Last year he was asked to shoot a photo documentary on KATE MOSS: a real pleasure! And since then he never stops to shoot. Wow!

He’s definitively one of those people that can turn strange situations into incredible photographs. Click on, friends. Click on!

Niels Peeraer

Kizokusyakai no dorei collection. photo by DIRK ALEXANDER

With his third year collection entitled “Kizokusyakai no dorei”  (the title is japanese and means “enslaved by the aristocracy”), NIELS PEERAER won a price from ANNE CHAPELLE (the owner and CEO of Ann Demeulemeester and Haider Ackermann) for most inovative collection and the RA award ((window display & special event).

NIELS PEERAER was born in Belgium. He went to an artschool at age 14 to study fine arts. After graduating there he went to the Fashion Academy Antwerp where he is now starting his master year.

To be honest with you: I love everything!  His androgynous, bordering on feminine, menswear collection, the color, the genderless geisha-draping, the colors and the whole atmosphere!

Keep an eye on this guy!

Herr Müller

Some details and a double page from his 8-pages contribution to Show Off #3, a magazine by the fashion department of the
Royal Academy of Fine Arts Royal, Antwerpen

HERR MÜLLER is an illustrator and graphic designer who lives in Berlin, focusing on editorial illustrations and publications of handmade zines.

He also shares a studio (183off) with motion graphic designer/director MARTIN SULZER and graphic designer/illustrator SUSE SCHANDELMAIER.

Try and keep up here

Ward Zwart

The only thing better than the artworks by WARD ZWART are his zines. Sh*t, they are sold too fast!

Vanessa Beecroft. VB66

VB66 Perfomance/sculpture
Mercato Ittico, Naples, Piazza Duca degli Abruzzi, Monday February 15th 2010
Installation view

For her last performance at Mercato Ittico (fish market) in Napoli (Italy), VANESSA BEECROFT has been influenced by the sculptures, the reference to the destiny of Pompeii, the colour black (so close to the shadow), the fragments of the bodies and the omnipresent presence of the volcano.

The work consists of a group of sculptures taken from casts of real people and from fragments of the casts and of a vast group of girls with black make-up. The girls hide in the dark of the space and are confused with the sculptures. The fragments recall the carbonised bodies of Pompeii, the sculptural remains of the past, but also the visualisation of the unease of the female body, in which the perception of just one part of the body involves less significance and pain than the entire body.

Each BEECROFT performance is rooted in the artist’s complex inner world, yet disquietingly contemporary, exploring female identity, nature and paradoxes of life. These universal themes can be profoundly moving -and sometimes disturbing. She doesn’t title her work: “I’ve realized the titles must be used only if they’re necessary and it takes a talent – which I don’t have – for that. For this reason I’ve replaced them with the numbering of my database, easier to remember.

Born in Genoa Italy, VANESSA BEECROFT now lives in Los Angeles.

Thomas Hirschhorn

Collateral Thinking. 2007. paper, prints, stickers, felt pen, ball point pen, plastic foil, adhesive tape. 160 x 207 cm

Uncomfortable Truths. 2007. paper, prints, stickers, felt pen, ball point pen, plastic foil, adhesive tape. 160 x 207 cm

Blue Series (Body Mass Index B.M.I). 2001. drawings and watercolors. mixed media

Grape (Anna! Anna!). 2006. paper, prints, stickers, felt pen, ball point pen, plastic foil, adhesive tape. 84 x 89 cm


Concretion I to XVII (exhibition view at Galerie Chantal Crousel). 2007. Paper, printed matters, ball-point pen, plastic sheet, brown adhesive tape. 85 x 88 cm each. Courtesy of the artist & Galerie Chantal Crousel

Light Box (exhibition view at Galerie Chantal Crousel). 2007. Plexiglas, brown adhesive tape and photography. 96 x 130 x 24 cm. Courtesy of the artist & Galerie Chantal Crousel


Last month, Swiss artist THOMAS HIRSCHHORN, together with ANDREA THAL, has been announced as the Swiss representative in the 2011 Venice Biennale. His participation in past international exhibitions has sometimes taken the form of radical interventions, as at Documenta XI in 2002, when he built his installations in a town a few miles from the exhibition’s home base of Kassel, Germany, forcing people to travel to see the work in a modest suburb.

THOMAS HIRSCHHORN is best known for his hypersaturated installations, out of seemingly amateurish accumulations of cardboard, plywood, plastics and tinfoil. Most of them are held together by a paranoid application of masking tape (rolls and rolls of it). Half-sculptural, half-architectural and fully revolutionary, some of his most elaborate installations transform ordinary spaces into a labyrinthine, parallel universe of hybrid forms and fascinating accumulations.

His work gathers together references to philosophy and popular culture, economics and poetry, artists and fashion designers, in a bombardment of information and imagery. The initial effect is overwhelming, but close attention reveals careful explorations of the contemporary socio-cultural climate. THOMAS HIRSCHHORN’s works often scandalise, triggering vehement debate and controversy but his distinctive way of looking for fragile and unstable formal solutions for controversial social, economic and cultural issues has brought the Paris-based Swiss artist international renown.

View more via Galerie Chantal Crousel

Eddie Hara

Fuck Beuys (Hardcore sucks). 2005. acrylic on canvas. 30 x 40 cm

Corat Coret di Tembok Tetangga. 2007. acrylic on canvas. 150 x 220 cm

Dead fuckin Beuys & the Gang. 2009. Acrylic on canvas. 135 x 200 cm

Untitled. 2004. acrylic on canvas. 100 x 140 cm

Untitled. 2008. acrylic on canvas. 150 x 150 cm

During my weekend, I discovered on Sunday the work EDDIE HARA – an Indonesian artist who lives and works in Basel (Switzerland) – through a window-shop.

I fell directly in love with his art which features bold and colorful beasts, cartoon-like figures and animals. The beasts depicted in EDDIE’s paintings are angry, humorous, cynical, diabolic and optimistic. His topics are political, environmental and are reflective of the practices of day-to-day living.

And after few researchs, I can tell you that EDDIE HARA is one of the pioneers of a new minimalistic and symbolistic art movement in Indonesia. He was inspired when he was living on the street on Malioboro, while studying at the Indonesian Institute of the Arts in Yogyakarta. His art was against all those mainstreams at the ISI in the mid of 80s. His mixture of Outsider Art (Art Brut), comic and childlike naive painting, was seen as a rebellion, a breakout, against the fixed conventions. In those days HARA decided to make himself appear like a punk. “

EDDIE HARA has been heavily influential to the next generation of artists, especially in terms of using comics as a new reference of artistic language. Amongst them are EKO NUGROHO and WEDHAR RIYADI, who were students from the same art school in Yogyakarta.

The Japanese Popstars & David Wilson

The Japanese Popstars feat. Green Velvet, Let Go. Directed by DAVID WILSON. Produced by SERENA NOORANI and TAMSIN GLASSON at Colonel Blimp

Yeah I know: it’s e-x-c-e-l-l-e-n-t!

This is the latest music video for THE JAPANESE POPSTARS (an electronic band from Northern Ireland), directed by DAVID WILSON, featuring some mind-boggling animations.

DAVID WILSON is a London-based music video director with an illustration backgroung specialising in in-camera effects and animation. I’ve no doubt why he picked up in 2009 the much coveted title of “Best New Director” at the UK Music Video Awards.

Freaking awesome!

Sophie Wallace

Modern Dandy. 2010

The work of New York based photographer SOPHIE WALLACE is not really what I publish on WFW. But I really appreciate her latest project “Modern Dandy”: “Beautiful men and handsome women interest me. I am struck by the complexity of holding disparate polarities. Strict codes of gender are often taken for granted leaving all of us at various points in our lives policed for over stepping an unstated boundary. In my work, I seek to aestheticize this space of in-between– where gender overlaps“.

In addition to her fine art practice, SOPHIE WALLACE shoots editorially for the New York Times Styles and T Magazine, Time Out New York Magazine, The Guardian and Humanity in Action among others.

View more via her blog or via http://www.sophiawallacephotography.com/