Domenico de Chirico pick #16

all images courtesy of the artist and Francesca Minini, Milano

Buongiorno Signor Courbet, a solo exhibition by SIMON DYBBROE MØLLER
on view at Francesca Minini in Milano
until July 31, 2015

chosen by curator and editor DOMENICO DE CHIRICO

wfw weekend #206

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detail from the installation Pave Me A River* by DANIEL PETERSON
seen at Taylor Macklin, Zürich
on Friday, May 15, 2015
image © wfw

*on view until June 7, 2015

wfw weekend #205

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view from Plymidae, a solo exhibition by URBAN ZELLWEGER
seen at Plymouth Rock, Zürich
on Friday, May 15, 2015
image © wfw

one pic thursday. Kate Cooper

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Care Work, 2015

image courtesy of the artist and Neumeister Bar-Am, Berlin

This work was made by KATE COOPER specifically for Der Würfel, the 80 cm cubed project space at Neumeister Bar-Am in Berlin and it’s called Care Work (2015).

As with much of Rigged, KATE COOPER’s recent exhibition at KW in Berlin,  this piece, featuring a delicate portrait of computer-generated female model, stresses the visual strategies of commercial brands and thus explores the misrepresentations we encounter in many forms everyday, but also questions the hierarchy of consumerism and art.

In all images, particularly of women, there’s a relationship to desire, and within that a real violence; especially within these CG images. Still, I feel like there must be a way to negotiate these worlds, explore their potential, and make them one’s own. It’s not about reclaiming the world or aesthetics of hypercapitalism, but about occupying or invading it. I find that an interesting proposition to myself as an artist. Maybe there’s a freedom in the things that are supposed to restrict us. – KATE COOPER in conversation with JEPPE UGELVIG for Dis Magazine

Care Work is on view at Der Würfel at Neumeister Bar-Am in Berlin until June 27, 2015.

 

Chris Burden. Ghost Ship

Ghost Ship, 2005
thirty-foot handmade sixern sailboat, computers and software, hydraulics, Global Positioning System, auto rudder, rigging; Mast: 360 in (914.4 cm); Overall: 72 x 102 x 360 in (182.9 x 259 x 914.4 cm)
Courtesy the artist and Gagosian Gallery
© The Locus+ Archive

Ghost Ship (2005) is probably one of my favorite artworks by the late American artist CHRIS BURDEN. The project involved the construction of a crewless, self-navigating sailing boat that the artist guided remotely by a computer, on a 400-mile journey from off the coast of Scotland down to Newcastle during the Tall Ships race in July 2005.

The project consisted also to develop its own specifically designed website used to show and archive the projects development; during the sailing itself photographic footage and to the progress reports.

You have to tack and you are trying to get to a point but to tack to get there you have to integrate the different elements like wind speed, and wind angle. It’s theoretically possible I believe, I don’t know of anyone who has done it yet. I know there is a little contest of model sailboats in England that was approaching that but I never really followed up on that. The Ghost Ship was semi autonomous, in other words you couldn’t really put in latitude and longitude and there were British Maritime laws and we had to be on a mother ship, basically it was a giant radio controlled sail boat. You still couldn’t dial in the latitude and longitude but it was a step in the right direction. They were both about the same theme. I believe it’s possible and it will probably happen someday because it makes sense. Why wouldn’t you want a freighter with only one or two crew members on board? Why wouldn’t you use the wind to sail across the ocean? – CHRIS BURDEN in conversation with GARY WISEMAN, November 2011

Ghost Ship (2015) offered a popular science point of entry into understanding the complexities of universal technologies.  And as with much of CHRIS BURDEN’s work this body of work cannot be reproduced and exists only in a certain place and time, recorded only through carefully selected video and photographic documentation.

In a certain kind of sense I am trying to push a limit. I did about 70 performances and I thought of myself as a sculptor too. That is how I got into performances. I think the first time, after graduate school, that I didn’t do a performance was the B-Car. That was a change in my career because I was supposed to go to Europe and do two performances, but then came up with this idea of building a car that I could build myself, that would be revolutionary, and showing the car in one space and then driving it to the second venue in Paris, where I had a show, would constitute the “performance”. That’s how I got there. Yeah, I think there is a question about where the limits are and the B-Car was tiny, I could pick it up. I could hold it over my head. – CHRIS BURDEN in conversation with GARY WISEMAN, November 2011

After its maiden and only voyage, Ghost Ship (2005) hung on the façade of the New Museum as part of the Façade Sculpture Program from September 2013 to January 2015.

Please note that an exhibition of recent sculptures by CHRIS BURDEN opened at Gagosian Le Bourget on May 2 and will remain on view till September 19, 2015.

Domenico de Chirico pick #15

all images courtesy of the respective artists and Tomorrow, New York

‘—‘, a group exhibition with ROSA AIELLO, NADIA BELERIQUE, MAX BRAND and DAVID RAPPENEAU
on view at Tomorrow in New York
until May 24, 2015

chosen by curator and editor DOMENICO DE CHIRICO*

Hito Steyerl & Laura Poitras

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Here is a short excerpt from the very interesting conversation between German filmmaker and writer HITO STEYERL and LAURA POITRAS that has been released in the latest issue of Artforum and which is now available online.

Please note also that a survey of HITO STEYERL‘s video work from 2004 to the present is on view at Artists Space in New York until May 24. She is also part of the German pavilion at the 56th Venice Biennale. Filmmaker, and journalist LAURA POITRAS will present her work at the Whithney Museum of American Art in New York next year from February 5 to May 15, 2016.

Pamela Rosenkranz. Our Product

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PAMELA ROSENKRANZ, Our Product
installation view at the Pavilion of Switzerland, Venice
photo by MARC ASEKHAME

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PAMELA ROSENKRANZ, Our Product
installation view at the Pavilion of Switzerland, Venice
photo by MARC ASEKHAME

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PAMELA ROSENKRANZ, Our Product
installation view at the Pavilion of Switzerland, Venice
photo by MARC ASEKHAME

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PAMELA ROSENKRANZ, Our Product
installation view at the Pavilion of Switzerland, Venice
photo by MARC ASEKHAME

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PAMELA ROSENKRANZ, Our Product
installation view at the Pavilion of Switzerland, Venice
photo by MARC ASEKHAME

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PAMELA ROSENKRANZ, Our Product
installation view at the Pavilion of Switzerland, Venice
photo by MARC ASEKHAME

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PAMELA ROSENKRANZ, Our Product
installation view at the Pavilion of Switzerland, Venice
photo by MARC ASEKHAME

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PAMELA ROSENKRANZ, Our Product
installation view at the Pavilion of Switzerland, Venice
photo by MARC ASEKHAME

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PAMELA ROSENKRANZ, Our Product
installation view at the Pavilion of Switzerland, Venice
photo by MARC ASEKHAME

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screen capture from Our Product, an e-book version of the publication, which accompanies the exhibition

Entitled Our Product, the exhibition, created by PAMELA ROSENKRANZ for the Swiss Pavilion at this year’s 56th Art Biennale in Venice, is all about Carneam, Evoin, Gleen, Magmelia, Neoten, Rilin, Solood, Silicone, Evian, Viagra, Bionin, Necrion or Visorb among others. All these names which sound highly synthetic, correspond to substances used in everyday items like make-up, creams, medications or even food.

For Our ProductPAMELA ROSENKRANZ employed the knowledge mobilized by marketing strategies and brands who develop these substances in order to create an immersive installation with so-called organic components like light, colour, scent, sound, hormones as well as bacteria, which triggers the senses as well as the perception.

ROSENKRANZ isolates the large interior space with plastics, filling it with a monochrome liquid mass matching a standardised northern European skin-tone. This Eurocentric skin colour, reminiscent of the «carnate» used in Renaissance painting to render the visual qualities of human flesh, is employed in today’s advertising industry as a proven way to physically enhance attention. ROSENKRANZ contrasts this skin colour—the product of a natural history involving migration, exposure to the sun, and nutrition—with a verdant green coating the institutional mantle of the Swiss Pavilion. Whereas the artificial green light in the patio blurs the distinction between inside and outside, a special wall paint that is biologically attractive further dissolves the clean separation between culture and nature. Smells and sound penetrate the architecture. The synthetic sound of water, generated by an algorithm in real time, disseminates throughout the space, and a scent evoking the smell of fresh baby skin billows through the Pavilion. Invading all of our 2/3 senses, this installation appropriates immemorial aesthetic reflexes that both art and commercial culture rely on, but renders them cognitively disturbing. As in a placebo effect, it’s hard to know here whether our physiological responses are triggered by imagination alone or if the effects we’re experiencing are the hallucinatory product of our bodies and their natural/cultural histories. – press release

This tension between ‘synthetic’ and ‘natural’ is at the core of ROSENKRANZ‘s work which explores the elements, the concept of purity, the body, the emotions and other non-economic aspects of individual subject in relationship with contemporary ways of consumerism.

Our Product is on view at the Swiss Pavilion at the 56th International Art Exhibition – la Biennale di Venezia until November 22, 2015.

wfw weekend #204

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view from the exhibition Hope for the Best by NEIL BELOUFA
seen at Schinkel Pavilion, Berlin
on Saturday, May 3, 2015
image © wfw

wfw weekend #203

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Halb offen mit Neon (2013-2014) by VÁCLAV POŽÁREK
seen at Francesca Pia, Zürich
on Saturday, May 9, 2015
image © wfw