Logo. 2006
C-Print on aluminium. 262 cm x 174 cm
© DANIELA KEISER

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Five things you need to know about DANIELA KEISER:

1. She is a Swiss artist
2. who produces installations, objects and photographs
3. revealing a special interest in space and dimension
4. and depicting the inconspicuous part of everyday life, emotions, desire and memories
5. Her unspectacular, everyday motifs for her pictorial is defined by a true poetic spirit
   

all images © HIRAKU SUZUKI

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HIRAKU SUZUKI‘s practice is based on drawing, but embraces installation, wall painting, video, live performance and experimental music culture. His work hinges on the vast library of signs and hieroglyphs he has developed by focusing on the shapes, forms, rhythms and materials of his immediate environment, revealing his solid interest of creating something unknown out of our daily surroundings.

“Road” itself inspires me at any time. Sometimes I feel there is everything on the road. Walking on the roads is just same as listing musics, watching movies, reading books, and scanning the geographical landscapes by my whole body. Even mushrooms are grown if I happen to see the detail. – HIRAKU SUZUKI for shift.jp.org

A year ago, he has released his first book GENGA which contains exactly 1000 illustrations dedicated to language and the galaxy. Since then his second book entitled “Looking for Mineral” has been published by BEAMS in limited edition. And it seems to be a true gem. Stay tuned!

Untitled (16). 2011
Silkscreen on linen. 229.9 x 170.2 cm

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Untitled (1). 2011
Silkscreen on linen. 229.9 x 170.2 cm

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Untitled. 2011
Silkscreen on linen. 229.9 x 170.2 cm

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Untitled (18) 2011
Silkscreen on linen. 229.9 x 170.2 cm

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Untitled (17) 2011
Silkscreen on linen. 229.9 x 170.2 cm

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Untitled. 2011
Silkscreen on linen. 229.9 x 170.2 cm

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Untitled (2). 2011
Silkscreen on linen. 229.9 x 170.2 cm

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Installation view of the 2011 solo exhibition The quick brown fox jumps over the lazy dog at David Zwirner, New York

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Installation view of the 2011 solo exhibition The quick brown fox jumps over the lazy dog at David Zwirner, New York

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Invitation card for the 2005 solo exhibition Neo at David Zwirner, New York

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Printed and unprinted posters. 2008
42 offset prints on paper with accompanying postcard

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Installation view at Michel Rein, Paris. 2010

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MICHAEL RIEDEL is a German artist who uses text since the late ’90s as his source material and employs a wide range of media and formats including large-scale works on canvas, fabric works, film and video, audio recordings, artist’s books, posters, installations and events to examine its various manifestations.

With his most recent exhibition, “The Quick Brown Fox Jumps Over The Lazy Dog,” showing at David Zwirner (New York) through March 19th, RIEDEL uses bits and portions of Internet pages where his works were mentioned and used the “select-all” function to copy-and-paste the contents into a textbox in InDesign, from which the posters were ultimately printed.

Divorced from a graphically-designed layout, the words appear in a linear, but nonsensical, order and include algorithmic commands, search keywords, and links, intermixed with miscellaneous sentences on the artist, copyright phrases, and contact information. RIEDEL affixed a quarter of a circular shape to the corners of each poster, partially obscuring the text. He has further highlighted an individual word on each canvas, such as “click,” “type,” “color,” referring to computational commands, while also reflecting the steps and techniques used to produce the works. Common for the different fragments of text is not so much that names, nouns, verbs, letters, punctuation, and syntax are re-appropriated, but that text itself becomes a material that the artist can work with.

Tactile and playful constructions, these canvases embody the particular “click-aesthetic” that permeates the artist’s larger oeuvre. Good news: the book “Printed and Unprinted Posters” is now available in the WFW Store.

Anonymous, Los Angeles. 2009 © KATY GRANNAN

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Anonymous, Los Angeles. 2009 © KATY GRANNAN

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Anonymous, Los Angeles. 2009 © KATY GRANNAN

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Anonymous, San Francisco. 2010 © KATY GRANNAN

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To be really honest, I had some difficulties with the work of KATY GRANNAN. But since a while, her photographs are haunting me, stuck in my mind. GRANNAN’s photographs are about something else, may be it’s how no-one is making direct eye contact with the camera or may be the color and light which are just extraordinary or may be because everyone seems to contain a story.

These pictures were made over the past three years in Los Angeles and San Francisco. Shooting against white stucco walls in strong midday light, the city streets became GRANNAN ’s outdoor studio. Her subjects are most often people whom others pass by without notice and anonymous individuals. Every picture is shot with mesmerizing intensity and shocking jolts of color.

KATY GRANNAN was born in Arlington, Massachusetts, in 1969. Her works predominantly in portraiture and strives to embody the subject’s personality. The artist’s first monograph, Model American, was published by Aperture in 2005. She received the 2004 Baum Award for Emerging American Photographers. She lives in New York City and San Francisco.

Secret Life. REYNOLD REYNOLDS
Two channel video projection, transferred from 16mm and stills, 10min.
Germany, 2008

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During the Last three years REYNOLD REYNOLDS has been working on The Secrets Trilogy; a cycle that explores the imperceptible conditions that frame life. Secret Life is the first from the three-part cycle and portrays a woman trapped in an apartment that becomes alive. Her thoughts escape from her and come to life growing like plants out into the space around her, living, searching, overtaking her apartment, wild threatening her.

Without the certainty of time, the occupant of the apartment is unable to keep her location, and her mind neglects the organization of the experience, leaving her only with sensations.

REYNOLDS‘ images appear to draw upon 17th-century still lives, with their depictions of flowers and fruits as symbolic allusions to the transience of life. The mix of sounds accompanying the images is produced through the superimposition of different ticking clocks, isolated noises and ringing bells. All this serves to emphasize the passing of time, which creates a narrative half way between hyper-realism and dream.

With 16 mm film, high resolution photography and stop-motion as his main techniques, REYNOLDS developed a unique cinematic language which he uses to discuss scientific and philosophical issues concerning perception and time.

REYNOLD REYNOLDS was born in Alaska in 1966.During his undergraduate schooling at the University of Colorado, Boulder, he initially studied physics receiving a bachelor’s degree under the professorship of CARL WIEMAN (Physics Nobel Laureate 2001). Changing his focus to studio art he remained two more years in Boulder to study under experimental film maker STAN BRAKHAGE. REYNOLDS then finished an M.F.A. in New York City at the School of Visual Arts. He now lives and works in Berlin.

Cover, Aufgang 2008

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Always Late Where I’m Living. DANIEL ROBERT HUNZIKER
with texts from FANNI FETZER, CHRISTOPH DOSWALD, JURI STEINER

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Building KHL, 2010

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Finkenweg 9a, 2002

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Finkenweg 9a, 2002

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Grosse Gehege, 2004

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Canyonuntersicht, 2004

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Canyonuntersicht, 2004

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Terrain, 2005

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Klus, 2010

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Riegel II & Riegel IV, 2010

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Areal, 2006

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Building VBG, 2010

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Always Late Where I’m Living. DANIEL ROBERT HUNZIKER
published by edition fink, Zürich 2010
ISBN 978-3-03746-150-1

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DANIEL ROBERT HUNZIKER is a Swiss artist who creates since the middle of the 1990’s subtle spatial interventions and architecturally inspired installations.

HUNZIKER has a particular affinity to architectonic situations and forms of suburbia (in his own words, he likes looking how things are constructed, how joints works and how details are embedded in a whole ), which he transfers to exhibition rooms as spatial settings and structures.

His choice of materials – industrial materials available on the market (such as pressboards, metal pipes, wire netting, etc.) and modular systems used in construction – is never random, nor the way in which he assembles them. Mixing nature and technical know-how, his works are not on a standard scale: in fact they often manipulate different scales and combine models with life-size structures, thereby allowing the viewer to take a fresh new look at his own perception of space and at the norms society imposes upon him.

DANIEL ROBERT HUNZIKER studied architecture at the Swiss Federal Institute of Technology Zurich (1988/89) and Fine Arts at the Zurich University of the Arts (1993-97). He lives and works in Zurich.

His monography “Always Late Where I’m Living” compiles his work between 1995-2010 and is availabe online via the website of edition fink: http://www.editionfink.ch/

pictures © FLEMMING OVE BECH

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Danish photographer  FLEMMNING OVE BECH has spent the last few years photographing close friends or complete strangers, landscapes, still lifes and interiors around New York city. These pleasantly intriguing photos are just a few from his portfolio.

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found via I like this blog

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Untitled. 2009
Digital print. 52 x 35 cm

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Untitled. 2009
Digital print. 52 x 35 cm

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Untitled. 2009
Digital print. 52 x 35 cm

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Untitled. 2009
Digital print. 52 x 35 cm

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GABELLONE’s works are sculptures, even though a good number of them are only made visible by way of imagery. They are made for a specific place and viewpoint, and are then photographed and destroyed. His photographs may offer few clues about the places where they are taken, but they likewise leave few hints that would enable us to establish any date or specific time.

These untitled digital prints perched on architectural plinths fastened to horizontal grates, which he laboriously transported and photographed on roofs and in vacant lots of warehouses and railroads on the outskirts of Paris pose the question of site, monument, architecture, landscape and memories in one fell swoop, while flattening everything out into two dimensions.

GIUSEPPE GABELLONE is a sculptor. Or we could say that he is an artist who is developing an inquiry into the sculptural elements of architecture, photography, and memory, so that the sculpture is not self-contained but refers to how the mind processes memories. – by FRANCESCO BONAMI

GIUSEPPE GABELLONE is an Italian artist living between Milano and Paris.

Untitled. Berlin. 2010
© SARAH BERNHARD

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Here is one of my favorite shot by German photographer SARAH BERNHARD who’s work has been featured in Opak Magazin (Germany), Frankie Magazine (Australia), Boston Review (USA),  Harvest Magazine (Australia), Visual Candies The Book (France) and Visions (Germany).

Enough said: get lost for hours here.

Full Moon & Foxes. 2009
more at http://www.fullmoonandfoxes.com/

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Through her project, often realised as a website, installation or drawing, Singaporean visual artist GENEVIEVE CHUA researches the fear of the unknown which involves the appropriation of Southeast Asian horror towards new narratives.

Full Moon & Foxes was presented at National Museum of Singapore in 2010. Comprising a video installation and mixtape, the story revolves around a group of late adolescent girls, as foxes:

“Death has taken place in the forest. A fox, awakened from her stupor, discovers that she is separated from the rest of the group. It is said that when you encounter another one of you, understanding yourself suddenly becomes clear. The fox wants to meet her counterpart, her peer, another one like herself. someone of the same age.

She meets a dead version of herself walking about mindlessly. There is brilliance in decay, under a film of perspiration. Other foxes find their own corpses, which are motionless.”

Make sure to watch the video of her installation at National Museum of Singapore, here and to browse her website http://www.genchua.com/

Volym 1964-67
Warszawa Exhibition at Galeria Foksal, Warsaw

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Volym 1964-67
Warszawa Exhibition at Galeria Foksal, Warsaw

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Volym 1964-67
Warszawa Exhibition at Galeria Foksal, Warsaw

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Volym 1964-67
Warszawa Exhibition at Galeria Foksal, Warsaw

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Volym 1964-67
Warszawa Exhibition at Galeria Foksal, Warsaw

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Exhibition at Moderna Museet, Stockholm,2005

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Volym 1964-67
Volume, rubber, 1965

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LARS ENGLUND is one of the best known Sweden’s leading artists, having come to the fore in the 1960s and 1970s. His work is characterized by an obsession with structure, an exploration of form which draws its abstraction from the structural elements of construction, materials and the dynamic relationship between shapes.

Starting initially as a painter, ENGLUND turned to working in three dimension since the 1960s. With scientific exactitude, ENGLUND uses mathematical abstraction to juxtapose forms created according to rules as rigid as they are poetic. And by using unusual, and largely unexplored materials like construction materials, his unique body of work looks at once experimental, industrial and organic.

LARS ENGLUND was honoured with a comprehensive retrospective at the Moderna Museet in Stockholm in 2005

KARIM NOURELDIN, Integrale
Installation view at Von Bartha Garage, Basel. 2011
photo © WFW

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KARIM NOURELDIN, Integrale
Installation view at Von Bartha Garage, Basel. 2011
photo © WFW

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KARIM NOURELDIN, Integrale (detail)
MAX SAUZE, Cassiopé, 1970, aluminium multilevel faceted suspension lamp
photo © WFW

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KARIM NOURELDIN, Integrale
Installation view at Von Bartha Garage, Basel. 2011
photo © WFW

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KARIM NOURELDIN, Integrale (detail)
ALFREDO HÄBERLI, Nais, 2004, wired chair by Classicon (Proto)
YVES LALOY, untitled, 1970ies, oil on canvas, 64 x 91 cm
photo © WFW

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KARIM NOURELDIN, Integrale
Installation view at Von Bartha Garage, Basel. 2011
photo © WFW

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KARIM NOURELDIN, Integrale
Installation view at Von Bartha Garage, Basel. 2011
photo © WFW

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KARIM NOURELDIN, Integrale (detail)
JOHN WOOD/ PAUL HARRISON, Fan/paper/fan, dvd 3’16”
photo © WFW

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KARIM NOURELDIN, Integrale
Installation view at Von Bartha Garage, Basel. 2011
photo © WFW

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KARIM NOURELDIN, Integrale
Installation view at Von Bartha Garage, Basel. 2011
photo © WFW

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KARIM NOURELDIN, Integrale
Installation view at Von Bartha Garage, Basel. 2011
photo © WFW

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KARIM NOURELDIN, Integrale (detail)
FREDERIC DEDELLEY from the series Deeply Superficial Object
glazed polystyrene objects, numbered edition. 2007
photo © WFW

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KARIM NOURELDIN, Integrale
Installation view at Von Bartha Garage, Basel. 2011
photo © WFW

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In spite of the fact that KARIM NOURELDIN is a Swiss artist, his work was a total and enthusiastic discovery this afternoon at Von Bartha Garage in Basel.

KARIM NOURELDIN is best known for his site-specific installations and wall drawings. He began around 1991 by drawing meticulously colourful geometrical abstractions that opened new spatial dimensions. Since then he added interventions in the field of sculptures, photos, wall- and floor paintings and large in-situ installations. He also collaborated on several artistic projects with a younger generation of Swiss architects.

This time at Von Bartha, he is displaying a cycle of drawings created in the past three years. The planned concept of the exhibition is to hang drawings in a free disposition along the outside walls of the gallery in order to create a sequence. Echoing to these drawings, the installation in the middle of the hall consists of grey-painted partition screens which have been conceived by KARIM NOURELDIN. The installation is furnished with works of other artist NOURELDIN chose from the Von Bartha Collection and with designer pieces. All these objects and works reflect not only the dynamic-constructive language of KARIM NOURELDIN but they are also a source of inspiration for him.

KARIM NOURELDIN lives and works in Lausanne. He studied at the University of Art and Design Zurich/Zürcher Hochschule der Künste ZHdK and graduated 1993 in Fine Arts at the University of Art and Design Basel/Hochschule für Gestaltung und Kunst HGK. Since 2002 he is a professor at ECAL/University of Art and Design in Lausanne.

And good news: the exhibition “KARIM NOURELDIN, Integrale” is on view at Von Bartha Garage, Basel (Switzerland) until May 14, 2011

Collision Zone at the 53rd Venice Biennale
Luxembourg Pavilion, 2009
Images from the catalogue exhibition
© Bouschet-Hilbert 2009

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Collision Zone is a multimedia installation presented at the 53rd Venise Biennale and created by GAST BOUSCHET and NADINE HILBERT. This installation featured videos of zones of urban decay and the humans that inhabit them, exploring the geopolitical situation of a world in constant movement. All scenes were shot near the Strait of Gibraltar and on the shores of Sicily at nighttime, references to the animal world. Images of garbage cans and crumbling buildings are cut in with shots of satellites, boats, surveillance and geological imagery of mountains, caves dripping water and insects caught in a web.

Collision Zone, the title of our work is a term used in plate tectonics. It designates a zone where continental plates clash. Tectonics tell us that continents move and the African continent is actually moving towards the European continent. These are very slow processes and Africa moves towards Europe at the speed of 4 or 5 centimeters per year. That is the same speed as our fingernails are growing. So, one day the Mediterranean Sea will be closed and the natural border between Africa and Europe will have disappeared.

Our title is of course also a metaphor for immigration issues at the border between Europe and Africa. The Mediterranean has become one of the most surveilled maritime spaces in the world. We filmed Collision Zone in the straits of Gibraltar and Sicily, where Africa and Europe are at its closest distance. So geopolitical and social concerns about the Mediterranean region are highly relevant to our project.

Collision Zone is not an observation or a documentary recording of a socio-political situation, but an experimental essay on our living on planet Earth.

GAST BOUSCHET and NADINE HILBERT were both born in Luxembourg. BOUSCHET takes and exhibits his photos and videos all over the world since the 1980s, particularly fascinated with the potential of the recorded image as a reflection, a comment and transformation of political and social-economic sign systems. Since 1998 he has worked with NADINE HILBERT. Together their practice has been developing into multimedia installations that seamlessly intertwine still and moving imagery. They use video and photography as magical weapons to make new connections between things and reveal hidden worlds.

I suggest you to watch Collision Zone in a live performance at Philharmonie Luxembourg in 2009 here.

Series of Vulnerable Arrangements, Voice and Wind, 2010
Installation view, “Voice and Wind” at New Museum, New York
© New Museum, New York. Photo by BENOIT PAILLEY

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Series of Vulnerable Arrangements, Voice and Wind, 2010
Installation view, “Voice and Wind” at New Museum, New York
© New Museum, New York. Photo by BENOIT PAILLEY

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Series of Vulnerable Arrangements, Domestic of community, 2009
Installation view at 53rd International Art Exhibition Venice Biennial
© Galerie Barbara Wien, Berlin

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Mountains of Encounter, 2008
Installation view of WHOSE HISTORY at the Kunstverein in Hamburg, Germany, 2008
Photos: FRED DOTT. © Galerie Wien Lukatsch, Berlin, Germany

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Cittadella, 2011. Installation view 2nd floor, Kunsthaus Bregenz
Photo: MARKUS TRETTER © Kunsthaus Bregenz, HAEGUE YANG

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Cittadella, 2011. Installation view 2nd floor, Kunsthaus Bregenz
Photo: MARKUS TRETTER © Kunsthaus Bregenz, HAEGUE YANG

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Cittadella, 2011. Installation view 2nd floor, Kunsthaus Bregenz
Photo: MARKUS TRETTER © Kunsthaus Bregenz, HAEGUE YANG

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Warrior Believer Lover, 2011. Installation view 3rd floor, Kunsthaus Bregenz
Photo: MARKUS TRETTER © Kunsthaus Bregenz, HAEGUE YANG

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Warrior Believer Lover, 2011. Medicine Men, 2010
Installation view 3rd floor, Kunsthaus Bregenz
Photo: MARKUS TRETTER © Kunsthaus Bregenz, HAEGUE YANG

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HAEGUE YANG.Photo: MIRO KUZMANOVIC/miromedia.net
© Kunsthaus Bregenz/MIRO KUZMANOVIC

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HAEGUE YANG, born in 1971 in Seoul, is one of the leading artists of her generation; YANG has participated in numerous exhibitions internationally, and represented South Korea – after long consideration – at the 53rd Venice Biennial where she surprised visitors with complex installations, sculptures and videos in which their atmospheric intensity appear equally poetic and conceptual.

In her architectural interventions, and sculptures, she often employs commercially manufactured venetian blinds to explore hidden spaces that might be considered marginal, but to the artist constitute profound backdrops for understanding vulnerable sites where informal development can occur. In these works, artificial approximations of sensual experiences such as heat, light, and humidity conjure other places, other people, comfort, distress, the familiar, or perhaps something profoundly forgotten.

Ranging from industrial fan to fog machines and scent dispensers, these appliances clicked on and off at intervals, triggered by the movements of visitors, releasing faint wafts of vapour and altering the stability of the blinds as suspended barriers. Bearing no particular relation to one another, the objects appeared as an oddly animated group, connected by a sprawling system of wires giving visitors an immersive sensory experiences.

And good news: you can view in person “Arrivals”, her exhibition at Kunsthaus Bregenz until 3rd April 2011. Additionally “Siblings and Twins”, the exhibition catalog which documents HAEGUE YANG‘s installations at Portikus, Frankfurt in 2008 is now available in the WFW Store.

all drawings by STEPHANE PRIGENT

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Patterns, line, hand drawn, monsters, characters, geometry, sequential works are the words I would use to describe the work of French illustrator STEPHANE PRIGENT.  He is also one of the founding members of the French collective Frédéric Magazine which produces an eclectic range of works on paper, from the graphic to the abstract, historical, or illustrative, using text, collage, pen, and paint.

Make sure to check out his Flickr for his zines and his colorful illustrations