wfw weekend #328

lutzbacher

The Silence of the Whale (2016), LUTZ BACHER
seen at Galerie Buchholz, Berlin
on Thursday, July 28
image © we find wildness

wfw weekend #327

beafremderman-futuregallery

Untitled (2016), BEA FREMDERMAN
seen at Future Gallery, Berlin
on Thursday, July 28, 2016
image © we find wildness

 

Domenico de Chirico for We Find Wildness #70

all images courtesy of David Kordansky Gallery, Los Angeles, CA

DearMeatCutsDevilMayCry, a solo exhibition by ADRIANO COSTA
on view at David Kordansky Gallery in Los Angeles
until August 27, 2016

chosen by curator and editor DOMENICO DE CHIRICO

David Hanes. wfw aware #35

DHanes_Week34_2016

Aware: after Ferox (1982), CARL ANDRE
presented at Hamburger Bahnhof, Berlin
shot on July 28, 2016, altered on August 4, 2016 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.

one message interview #28. Nicolas Raufaste

nicolas-raufaste-onemessageinterview-wfw

I first came across NICOLAS RAUFASTE‘s work earlier this year in a puzzling group exhibition, which led me to send him a question. In a near future his work will be shown in group and solo exhibitions in cities like Brussels (Belgium), Brest (France), Lugano (Switzerland) and Biel (Switzerland).

http://www.nicolasraufaste.net

 

read the previous one message interviews here

this question has been taken from 032c 

 

Michael Assiff. Remediation Flowers

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MICHAEL ASSIFF, Remediation Flowers
exhibition view at First Continent, Baltimore, July 2016

all images courtesy of the artist and First Continent, Baltimore

The art venue First Continent in Baltimore is presenting works by MICHAEL ASSIFF in an exhibition entitled Remediation Flowers. Remediation is actually the act of restoring balance. Combined with plants, the term is called Phytoremediation and is basically the process to use special vegetals to clean up soil, air, and water contaminated with hazardous chemicals.

However ASSIFF‘s flowers in the exhibition are made of plastic and sclerosed on canvas which are hanging on the wall like out-of-date ornamental potpourris. Much of the rest of the gallery is given over to traces of elements that seem to have been removed as if a sanitation had happened in the space.

The results offer a reflection on presence and absence, positive and negative space, thereby reducing a philosophical line of inquiry to the confines of environmentalism.

Remediation Flowers by MICHAEL ASSIFF is on view at First Continent in Baltimore until August 21, 2016.

wfw comix #4

wfw comix, August 2016
all images © JEREMY PININGRE and We Find Wildness

click on the arrows or the dots to navigate the gallery

WFW Comix is a project started earlier this year with French artist JEREMY PININGRE. If you have missed the previous issues, follow this link.

If you want to know more about this special commission, it’s here.

one pic monday. Eva Barto

Eva BARTO To set property on fire Vue exposition 2016

EVA BARTO, To set property on fire
view from the entrance of the exhibition, Villa Arson,  June – August 2016

image: FRANCOIS FERNANDEZ

The image above is the unique exhibition view that is available for the solo exhibition of EVA BARTO currently presented at Villa Arson in Nice. Entitled :to set property on fire, the exhibition is based on the rather incredible story of PIERRE-JOSEPH ARSON, the villa owner’s between the end of the 18th century and the middle of the 19th century.

Before becoming the first consul of the city of Nice, PIERRE-JOSEPH ARSON was a successful banker. He met a mathematician called JOSEF HOËNE-WRONSKY, who pretended than he could find the formula for converting an ordinary metal into gold. Interested by mathematics and metaphysics since a long time, ARSON decided to invest all his money in WRONSKY’s work. Of course, WRONSKY never found the formula, and they both found themselves in an epic process.

For :to set property on fire BARTO arranges a series of minimal interventions that examine the mechanism of exchange of goods and values; a system which is hardly trivial and speculative.

If you are in Nice, I really recommend to visit : to set property on fire by EVA BARTO at Villa Arson, Nice until it closes on August 29, 2016.

David Hanes. wfw aware #34

DHanes_Week33_2016

Aware: after Frank Stella’s Cat (1992), STEVEN PARRINO
presented at Frac Bourgogne, Dijon
shot on July 6, 2016, altered on July 25, 2016 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.

wfw weekend #326

isagenzken_mmk

detail from Schauspieler II (2014), ISA GENZKEN
seen at MMK, Frankfurt am Main
on Saturday, July 24, 2016
image © we find wildness

wfw weekend #325

cadynoland-mamco

Untitled (1999), CADY NOLAND
seen at Mamco, Geneva
on Thursday, July 21, 2016
image © we find wildness

wfw weekend #324

davidhanes-swabasel

Aware n°642 (2016) , DAVID HANES*
seen at Schwarzwaldallee, Basel
on Friday, July 22, 2016
image © we find wildness

*DAVID HANES is also a regular contributor for wfw with the series Aware

Barbara Casavecchia. Hiding in Plain Sight

Screen Shot 2016-07-22 at 16.49.26

The whole essay entitled Hiding in Plain Sight and written by BARBARA CASAVECCHIA, has been published in Spike Art magazine #48 Summer 2016. It is also available online: http://www.spikeartmagazine.com/en/articles/essay-hiding-plain-sight

I also recommend to read the Balconism Manifesto (2014) by CONSTANT DULLAART via http://artpapers.org/feature_articles/feature3_2014_0304.html.

Natalie Czech. One can’t have it both ways and both ways is the only way I want it.

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CLOCK / SEAGRAM’S, 2016
color print, resin, glue, 56 × 83 cm
Courtesy l’artiste, Capitain Petzel, Berlin et Kadel Willborn, Düsseldorf

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from left to right:

PEN / PR SHIRT, 2016
color print, resin, glue, 70,5 × 152,9 cm

JEANS / HOUSE, 2016
color print, resin, glue, 135 x 81 cm

CLOCK / SEAGRAM’S, 2016
color print, resin, glue, 56 × 83 cm

AVATAR / WE, 2016
color print, resin, glue, 128,1 × 87,8 cm

Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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PEN / PR SHIRT, 2016
color print, resin, glue, 70,5 × 152,9 cm

JEANS / HOUSE, 2016
color print, resin, glue, 135 x 81 cm

Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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JEANS / HOUSE, 2016
color print, resin, glue, 135 x 81 cm

Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

natalie-czech-cracalsace-15

A POEM BY REPETITION BY BRUCE ANDREWS, 2013
3 color prints, 58 x 68,1 cm chaque

Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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CAMERA / FJÄLLRÄVEN, 2016
print color, resin, glue, 73,5 × 101,6 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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from left to right:

PAPERDRAFT, 2015
color print, resin, glue, 116,6 × 81 cm

NOZZLE CHECK, 2015
color print, resin, glue, 70 x 93 cm ; 71 x 97 cm

CAMERA / FJÄLLRÄVEN, 2016
print color, resin, glue, 73,5 × 101,6 cm

Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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from left to right:

A CRITIC’S BOUQUET BY VINCENZO LATRONICO FOR THE EDITOR, 2015
print color, 110 x 82,5 cm

A CRITIC’S BOUQUET BY VANESSA DESCLAUX FOR MARC CAMILLE CHAIMOWICZ, 2015
print color, 110 x 82,5 cm
A CRITIC’S BOUQUET BY RACHEL VALINSKY FOR CAMILLE HENROT, 2015
print color, 110 x 82,5 cm

A CRITIC’S BOUQUET BY HILI PERLSON FOR BERLINDE DE BRUYCKERE, 2015
print color, 110 x 82,5 cm

Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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A CRITIC’S BOUQUET BY PETER SCOTT FOR FISCHLI WEISS, 2015
color print, 110 x 82,5 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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from left to right:

A POEM BY REPETITION BY VSEVOLOD NEKRASOV II, 2015
2 color prints, 65,5 x 103 cm each
Collection Josée & Marc Gensollen

A POEM BY REPETITION BY ARAM SAROYAN, 2013
3 color prints, 67 x 67 cm ; 67 x 17,7 cm ; 67 x 20,5 cm
Collection particulière

A POEM BY REPETITION BY ROBERT GRENIER, 2014
2 color prints, 62 × 89 cm each
Courtesy de l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

A POEM BY REPETITION BY ROBERT CREELEY #3, 2013
2 color prints, 114 x 76,3 cm ; 130,6 x 76,7 cm
Courtesy de l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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from left to right:

A POEM BY REPETITION BY BRUCE HAINLEY, 2013
3 color prints, 134,4 × 79,9 each
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

A POEM BY REPETITION BY CID CORMAN, 2015
2 color prints, 89 x 59,4 cm ; 81 x 54 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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A POEM BY REPETITION BY VSEVOLOD NEKRASOV (RED), 2016
2 color prints, 81 x 102 cm ; 81 x 102 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

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IL PLEUT, 1916 (GUILLAUME APOLLINAIRE)

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A POEM BY REPETITION BY CHARLES BERNSTEIN, 2015
4 color prints, each 56 x 41,5 cm
Courtesy l’artiste, Capitain Petzel, Berlin and Kadel Willborn, Düsseldorf

all images: AURELIEN MOLE 

NATALIE CZECH: One can’t have it both ways and both ways is the only way I want it. is currently on view at the Crac in Altkirch. The solo exhibition reveals, over the two floors of the Art Centre, a latent reality thanks to several conceptual photographic series such as Hidden Poems (2010-2012), Poems by Repetition (2013-2016), Il pleut by Guillaume Apollinaire (2012), Voyelles (2013), Critics’ Bouquets (2015) and most recently To [Icon], (2015-2016). All of those works posit the existence of texts and images floating around on everyday objects and existing print materials that CZECH collides and bounces with each others.

My works propose different spaces and different entry levels, and allow various forms of perception and interaction. By this, I mean a space in between, which is difficult to define, one that touches a simultaneous reading and seeing in pieces or fragments and allows space for different associations. Since I see no hierarchy between the poem, the surrounding text, and the picture, I am rather interested in the similarities in their creative processes and in activating the boundaries of their respective mediums. What are the photographer and the writer able to do and where are the interfaces or superimpositions?. – NATALIE CZECH for Bomb Magazine, October 2014

Since the very act of reading is nothing but the word-by-word mental restitution of a text through a series of snapshots, her body of work that fuses written words and images coexisting yet separated from each other in some fashion, leads the viewer into infinitely loopable images.

One can’t have it both ways and both ways is the only way I want it. by NATALIE CZECH is on view at Crac Alsace, Altkirch until September 18, 2016.

actual_size #8. Jean-Charles de Quillacq

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Les Petites Filles, 2015
c-print diasec, 59 x 46,5 cm
image courtesy the artist

This work is not part of the solo exhibition of JEAN-CHARLES DE QUILLACQ that is currently presented at the Parisian gallery Marcelle Alix. It has been shown in the group exhibition entitled L’Après-Midi (curated by MATHIEU MERCIER) almost a year at the Villa Arson, where he was resident of the 5/7 program from 2013 to 2015.

Je t’embrasse tous is on view at Marcelle Alix in Paris until 23 July 2016. Please note also that his work Le mème is presented in the gardens of Cité de la Céramique de Sèvres as part as Sèvres Outdoors until October 23.

found via https://chroniquecuriosite.wordpress.com