Saâdane Afif, The Fountain Archives, 2008 – ongoing, http://thefountainarchives.net

one pic tuesday. Lutz Bacher

Untitled, 2017
installation view at 3320 18th St, San Francisco
image: ROB DIVERS HERRICK

Untitled (2017) is a work by LUTZ BACHER that is on view on the second floor of 3320 18th St. in San Francisco until September 17, 2017 according to artnews.

The installation consists of a paper coursing through the gallery’s walls. The approximatively 35 meters long work features a sort of graphic visualization reminiscent of a seismometer reading from a catastrophic earthquake. The zig-zag trace has been shaped with the official yet amplified signature of DONALD TRUMP.

A signature is a designed artefact about identity. One’s unique autograph can even be used as logo—the ultimate expression and validation of authorship which is at the core of LUTZ BACHER‘s practice and approach.

David Hanes. wfw aware #45

Aware: Bottle Man (Suavely) (2017), VALENTIN CARRON
presented at Galerie Eva Presenhuber, Zürich
shot on June 10, 2017, altered on July 27, 2017 by DAVID HANES*
image courtesy of the artist and we find wildness

*DAVID HANES lives and works in Berlin. He is represented by Birch Contemporary, Toronto.

➝ read more about this special project for we find wildness here.

Lawrence Weiner, That was the trouble with Aristotle, 2010

wfw weekend #418

Harsh Citation, Harsh Pastoral, Harsh Münster (2017), EI ARAKAWA
seen at Skulptur Projekte Münster
on Friday, July 28, 2017
image © we find wildness

➝ follow we find wildness on instagram for instant content

wfw weekend #417

After ALife Ahead (2017), PIERRE HUYGHE
seen at Skulptur Projekte Münster
on Thursday, July 27, 2017
image © we find wildness

➝ follow we find wildness on instagram for instant content

 

 

If I can’t sleep at night is it because I am awake in someone else’s room?_ a final performance inside a hotel room _ Friday, July 28, 2017, 9 pm to 11 pm at Hotel Zoo Berlin

Katinka Bock. _o_o__o

KATINKA BOCK, _o_o__o
installation view at Mercer Union, Toronto, 2017


Danielle, ceramic, cable, 2017
Cameron, ceramic, PVC tube, 2017
Sinistra o destra, 2017, b/w photograph, dyptic (left)
courtesy Galerie Jocelyn Wolff Paris


G, bronze, 2017
Sinistra o destra, 2017, b/w photograph, dyptic (right) 
courtesy Galerie Jocelyn Wolff Paris

KATINKA BOCK, _o_o__o
installation view at Mercer Union, Toronto, 2017


Hot Fountain, 2017
electric heater, PVC tube, tap water, ceramic
courtesy Galerie Jocelyn Wolff Paris


Hot Fountain, 2017
electric heater, PVC tube, tap water, ceramic
courtesy Galerie Jocelyn Wolff Paris

Liegende, 2017
glass, mattress coil, ceramic, walnut
courtesy Galerie Jocelyn Wolff Paris

Liegende (detail), 2017
glass, mattress coil, ceramic, walnut
courtesy Galerie Jocelyn Wolff Paris

Liegende (detail), 2017
glass, mattress coil, ceramic, walnut
courtesy Galerie Jocelyn Wolff Paris

Cool Fountain, 2017
ceramic, PVC tube, tap water
courtesy Galerie Jocelyn Wolff Paris

all images courtesy of the artist, Mercer Union, Toronto and Galerie Jocelyn Wolff, Paris

Art works have their own existence. They do not document reality, they are a part of it. And they are, like our life, subject to constant change. Documents are fragments, they are part of something else. Each has its reason for being, it relays its own experience of time and space. I like unstable and fragile images because they provide a particular perspective. The work can change within the social and physical circumstances that surround it. Movement in time and space generates a void. This void means the disappearance of meaning and the material, but it also produces something new, a horizon. – KATINKA BOCK in conversation with NAZLI GÜRLEK, 2011

 

_o_o__o, a solo exhibition by KATINKA BOCK is on view at Mercer Union, Toronto until August 12, 2017.

Yung Chong BaDboI for We Find Wildness #2

image courtesy Yung Chong and We Find Wildness

Read more about this special project by Yung Chong BaDboI  for we find wildness here. Make sure also to explore the complete Yung Chong comics collection via his instagram or tumblr.

one pic friday. Michael E. Smith

installation view at S.M.A.K, Gent, June – October 2017
photo credit: MICHAEL E. SMITH, Courtesy KOW Berlin and the artist

Each time I encounter the work of MICHAEL E.SMITH, I have a word that comes to my mind: reenactment. I like to think that MICHAEL E.SMITH is creating sculptures following some sort of transcripts of objects, images and existing artworks. That he is using those transcripts as raw material, as a legitimate source with which to build an abstraction. That is to say that he seems to do his best to reenact the objects or images as closely as possible to their transcript. I want to believe that his final objects are fairly accurate to the existing ones although in a degraded way.  And it is in the exhibition space that the abstract aspect, the narrative and speculations, come into play.

The work of MICHAEL E.SMITH is on view at S.M.A.K in Gent until October 1, 2020.

After Kathy Acker, Chris Kraus, The MIT Press, July 2017 https://mitpress.mit.edu/books/after-kathy-acker

Louise Lawler. Prominence Given, Authority Taken

screen capture from https://www.academia.edu/5599317/Prominence_Given_Authority_Taken_An_Interview_with_Louise_Lawler
on July 18, 2017
image © we find wildness

The whole interview between American artist LOUISE LAWLER and art critic DOUGLAS CRIMP that has been published in Grey Room No. 4 in 2001 is available in pdf via https://www.academia.edu/5599317/Prominence_Given_Authority_Taken_An_Interview_with_Louise_Lawler.

Please note also that the Museum of Modern Art in New York is currently presenting a major survey of LOUISE LAWLER on view through July 30, 2017.

DNA is an excellent medium for archiving data. Recent efforts have illustrated the potential for information storage in DNA using synthesized oligonucleotides assembled in vitro. A relatively unexplored avenue of information storage in DNA is the ability to write information into the genome of a living cell by the addition of nucleotides over time. (…) Here we use the CRISPR–Cas system to encode the pixel values of black and white images and a short movie into the genomes of a population of living bacteria. – CRISPR–Cas encoding of a digital movie into the genomes of a population of living bacteria, Shipman, S. L., Nivala, J., Macklis, J. D. & Church, G. M. Nature, July 12, 2017

Reena Spaulings. Her And No

HERE AND NOW at Museum Ludwig: Reena Spaulings. HER AND NO
Museum Ludwig, Cologne, 2017
Courtesy of the artist
photo: Rheinisches Bildarchiv Köln, Cologne, BRITTA SCHLIER

HERE AND NOW at Museum Ludwig: Reena Spaulings. HER AND NO
Museum Ludwig, Cologne, 2017
Courtesy of the artist
photo: Rheinisches Bildarchiv Köln, Cologne, BRITTA SCHLIER

HERE AND NOW at Museum Ludwig: Reena Spaulings. HER AND NO
Museum Ludwig, Cologne, 2017
Courtesy of the artist
photo: Rheinisches Bildarchiv Köln, Cologne, BRITTA SCHLIER

Post Card (Cologne on Rhine) (I), 2010
detail, diptych, acrylic on canvas, 20 x 15 x 12 cm
Courtesy of the artist, and Galerie Buchholz, Berlin/Cologne/New York

Post Card (Cologne on Rhine) (II), 2010
detail, diptych, acrylic on canvas, 20 x 15 x 12 cm
Courtesy of the artist, and Galerie Buchholz, Berlin/Cologne/New York

 

HERE AND NOW at Museum Ludwig: Reena Spaulings. HER AND NO
Museum Ludwig, Cologne, 2017
Courtesy of the artist
photo: Rheinisches Bildarchiv Köln, Cologne, BRITTA SCHLIER

Later Seascapes 9, 2015
acrylic on canvas, 250 x 450 x 5 cm
Courtesy of the artist and Galerie Neu, Berlin

HERE AND NOW at Museum Ludwig: Reena Spaulings. HER AND NO
Museum Ludwig, Cologne, 2017
Courtesy of the artist
photo: Rheinisches Bildarchiv Köln, Cologne, BRITTA SCHLIER

HERE AND NOW at Museum Ludwig: Reena Spaulings. HER AND NO
Museum Ludwig, Cologne, 2017
Courtesy of the artist
photo: Rheinisches Bildarchiv Köln, Cologne, BRITTA SCHLIER

Advisors, Detail 1 (Eleanor Cayre), 2016
acrylic on Dibond, 86,4 x 66 cm
Courtesy of the artist, Private Collection and Campoli Presti, London/Paris

Advisors, Detail 12 (Suzanne Modica), 2016
acrylic on Dibond, 86,4 x 66 cm
Courtesy of the artist, Private Collection and Campoli Presti, London/Paris

HERE AND NOW at Museum Ludwig: Reena Spaulings. HER AND NO
Museum Ludwig, Cologne, 2017
Courtesy of the artist
photo: Rheinisches Bildarchiv Köln, Cologne, BRITTA SCHLIER

Bonjour!, 2017
courtesy of the artist

REENA SPAULINGS is a fictional entity created in 2004 without a face and for unique point of reference a fiction written by BERNADETTE CORPORATION . The now ageless artist based in New York, whose identity has been dissolved by several activities including an art gallery (Reena Spaulings Fine Art) and perpetual collaborations, is showing her work into a solo exhibition in Cologne.

Entitled Her And No, the presentation at Museum Ludwig includes, according to the press release, ‘new works, new ver­sions of ex­ist­ing se­ries of works, and ex­ist­ing works’ that undermine, as with much of SPAULINGS‘ works, traditional notions of authorship and artistic styles.

Her And No by REENA SPAULINGS is on view at Museum Ludwig in Cologne until August 27, 2017.

It’s interesting, for instance, how charcoal becomes trendy today in organic and well-being food, even if it’s been fucking up generations of miner’s lungs. Some use it as a natural way to ease stomach pain and bad digestion. I prefer its vomiting effects: it’s used as an emergency treatment for certain kinds of severe poisoning and OD’s. I like that it’s presented here in the shape of a large, family-size bread we could eat of all together, while expelling all the possible mad-driving toxins. The idea of letting go, of fluidity, of opening the valves, a joyful communal diarrhea prompted me to ask the baker how we could form a sort of orifice in the bread. He folded his arm and pushed his elbow far in the middle of the fresh dough. – The Future of Not Working, Aline Bouvy in conversation with Louise Osieka, June 5, 2017