wfw weekend #124. Adventice Magazine

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Adventice #2, Reverie & Industry, 2013
image © wfw

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Published twice a year, Adventice Magazine delves into the confrontation of two opposing topics per issue, teasing out the tension between them from a diverse series of vantages, positions and perspectives. For those who appreciate well designed magazines, the latest issue has been released in October 2013 and concentrates on the themes of Reverie and Industry bringing together contributions from SIMON LADOUX, LOUISE PARADIS, FRANCOIS STERNBERGER, ROBERT LONGO, DAVID MASSON and PONTUS ALV among others, get yours!

More info about Adventice via tumblr or facebook !

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Mathieu Pernot

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all images from the series: The Migrants, 2009
color photography,  95 × 135 cm
courtesy of the artist and Galerie Eric Dupont, Paris

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The Jeu de Paume in Paris is showing The Crossing, a selection of photographs by MATHIEU PERNOT (b.1970). For the last 20 years, the French photographer examines and documents the lives of people living on the margins of society. Whether he is working with migrants, prisoners, inhabitants from high-rise estates, gypsies or demolition sites, PERNOT questions the status of images and the way we look at them.

For the series The Migrants (2009) MATHIEU PERNOT photographed Afghan migrants very early in the morning, near a square where they gather in the 10th arrondissement in Paris. Created quickly, between daybreak and the usual intervention by the police, the images show the ghostly presence of clandestine people in the city. Invisible and silent, reduced to the condition of simple forms, they rest and seem to hide, as though they wish to isolate themselves from a world that no longer wants to see them.

I was moved by the presence of those “repressed” by history, by these figures of an inverted globalisation. I was confused by the ambiguous beauty of forms bringing back those of another History. I thought that the best picture to take would be one during their sleep, an elsewhere that we will never know, and which surely constitutes their last escape. I didn’t want to wake them up. I didn’t see anything of the migrants / I didn’t see migrants at all. - MATHIEU PERNOT

The Crossing is currently on view at Jeu de Paume Paris and is running through May 18, 2014. Additionally the Maison Rouge in Paris is showing L’asile des photographies, an exhibition for which MATHIEU PERNOT and PHILIPPE ARTIERES, historian, were invited to work on the archives of Le Bon Sauveur psychiatric hospital in Picauville, Normandy.

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MATHIEU PERNOT was born in Fréjus in 1970 and he currently lives and works in Paris. After studying art history at the University of Grenoble, he enrolled at the Ecole Nationale de la Photographie in Arles, from where he graduated in 1996.

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Helen Marten

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British artist HELEN MARTEN discusses her influences for Frieze Magazine Issue 155, May 2013. Read the entire article here

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wfw weekend #123. WFW Instagram

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Click here to follow We Find Wildness on instagram for more exclusive content!

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Ken Okiishi

gesture/data (thumbnail scale), 2014
chroma key blue video paint on flatscreen, Barco CRT blue screen videoed by HD camera transferred to .mov transferred to .mp4 re-compressed to 2000 kbps (color, silent, usb stick)

exhibited at Maccarone, Light Industry Benefit Art Auction, January 28-31, 2014
courtesy the artist and Reena Spaulings

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In KEN OKIISHIs work gesture/data, the screen surface itself becomes a tension-laden crystallization point. It’s dynamic blue spectrum is generated by means of digital hand-video shots, which show the display of a BARCO monitor. With the so-called ‘blue screen’, gesture/data documents the visual testimony of a loss of signal, whose glowing blue varies in tone and intensity depending on camera setting and proximityBrought close the convex honeycomb of the analog screen, the handheld camera gives the pixelated blue tone a digitally generated depth. This effect is further reinforced through the transcoding of the material into the exhibited .mp4 format: Pixels begin to emerge from the honeycomb structure to subsequently hover above the blue surface. 

OKIISHI‘s works not only stage a collision of digital and analog technologies, but also, and more significantly, constitute the supposedly emptied product of  repeated transcoding. As digital artifacts, they embody the clash of various image and signal disruptions  - phenomena in which the materiality of modern media manifests itself. (…) Their unique aesthetic is the result, not least, of a dynamic interplay between foreground and background, ‘in screen’ and ‘on screen’.*

Good news: you still have a few days to catch KEN OKIISHI’s exhibition at Reena Spaulings in New York. If you can’t make it either because you are too far away or you didn’t get a slot, you can see some of the exhibition views via contemporary art daily.

KEN OKIISHI lives and works in New York and Berlin. Recent solo exhibitions include MIT List Visual Arts Center, Cambridge, Massachusetts (2013); Hessel Museum of Art, Bard Center for Curatorial Studies (2013); Mathew, Berlin (2012); Take Ninagawa, Tokyo (2012); Alex Zachary, New York (2010); and Mehringdamm 72, Berlin (2010). Recent group exhibitions include: Artists Space, New York (2013); Arnolfini, Bristol (2013); Kunsthaus Bregenz (2013); Kunsthalle Bern (2012); White Columns, New York (2012); GAMeC, Bergamo (2012).

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* text from the press release Speculations on Anonymous Materials at Fridericianum Kassel

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Vito Acconci

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VITO ACCONCI in conversation with JEFF RIAN published in Purple Magazine S/S 2014 issue 21

➝ read the entire interview here

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Jeff Elrod

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echo painting [b/w], 2012. uv ink on canvas

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Green Echo, 2013
UV ink on canvas, 26.7 x 22 in (67.82 x 55.88 cm)

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Wavelenght (b/w), 2013
UV ink on canvas, 84 x 144 inches (213.36 x 365.76 cm)

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Wavelenght (red), 2013
UV ink on canvas, 84 x 144 inches (213.36 x 365.76 cm)

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Echo Painting (green), 2013
UV ink on canvas, 119 x 84 inches (302.3 x 213.4 cm)

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Nobody Sees Like Us, 2013
installation view at MoMA PS1

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West Gray, 2013
UV ink on fisher canvas, 88 1/4 x 88 1/4 in. (224.2 x 224.2 cm)

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installation view at Simon Lee Gallery, London, 2013

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ESP, 2012
acrylic and spray paint on canvas, 72 x 59 inches (182.9 x 149.9 cm)

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esp, 2013
acrylic on canvas, 30 x 24 in (76.2 x 60.96 cm)

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Orange Julius, 2013
acrylic and spray paint on canvas, 72 1/4 x 62 1/4 in. (183.5 x 158.1 cm)

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Figment, 2012
acrylic and ink on canvas, 78 x 64 inches

all images courtesy of the artist

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JEFF ELROD is an American artist who creates large-scale abstract paintings which all come from images first made on a computer screen. Using programs such as Illustrator or Photoshop he draws and reworks imagery that he then renders on canvas by hand, using a projector and tape. He paints over the taped out lines using any one of a variety of techniques, including spraying and digital printing; once he arrives at a point that satisfies him, he removes the tape to reveal his line drawing. In a recent evolution in his work ELROD uses ink jet printing on canvas, with little or no manual intervention.

I use automatic drawing as a device to make images with. But I’m a formalist painter. It’s always about the form, the composition. My task is to get the painting off the screen and onto the canvas. – JEFF ELROD in conversation with CHRISTOPHER BOLLEN

Born in Texas in 1966, JEFF ELROD had his first New York solo exhibition at Pat Hearn
gallery in 2000. Since that time he has been living and working between New York City
and Marfa, Texas, where he has lived since doing a residency at the Chinati Foundation
in 1998. His work has been exhibited at galleries and museums worldwide; recent
museum exhibitions include Jeff Elrod: Nobody Sees Like Us at MoMA PS1, Long Island
City, New York in 2013 and in FOCUS: Jeff Elrod at the Modern Art Museum of Fort Worth
in 2009. ELROD was nominated for the 2013 Rob Pruitt Art Award in two categories:
Artist of the Year and Solo Show of the Year.
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Good news: Rabbit Ears is running at Luhring Augustine Chelsea, NY till April 12, 2014
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Dirk Braeckman

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27.1/21.7/045/2014
2014, 120 x 180 cm
ultrachrome ink jet print on matte paper mounted on aluminium

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27.1/21.7/037/2014
2014, 180 x 120 cm
gelatin silver print mounted on aluminium

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27.1/21.7/031/2014
2014, 90 x 60 cm
ultrachrome inkjet print on Japanese silk paper mounted on Japanese paper

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27.1/21.7/030/2014
2014, 90 x 60 cm
gelatin silver print mounted on Japanese paper

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27.1/21.7/023/2014
2014, 90 x 60 cm
gelatin silver print mounted on japanese paper

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27.1/21.7/009/2014
2014, 180 x 120 cm
gelatin silver print mounted on aluminium

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twentyseven.one.seven, March 2014
installation view at Zeno X Gallery, Antwerp Borgerhout

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27.1/21.7/010/2014
2014, 90 x 60 cm
gelatin silver print mounted on japanese paper

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all images courtesy of the artist

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A new series of photographs by Belgian photographer and filmmaker DIRK BRAECKMAN are currently on display at  Zeno X Gallery in Antwerp. Meditative, intimate, and often opaque, his large-scale photographs in shades of grey tell intriguing stories charged with an odd atmosphere.

I delete all references to when and where the picture is taken. In a way I work against the medium and do the opposite of what photography is originally meant for. My goal is to make the viewer guess and wonder. I want the image to stand by itself – a story is not necessary. It could be taken anywhere. I don’t want to show a certain reality, rather a sensation. My pictures are very tactile, they become objects, like a painting. – DIRK BRAECKMAN in conversation with SARAH SCHUG

Good news: Twentyseven.one.seven is currently on view at Zeno X Gallery in Antwerp until April 12, 2014. Additionally his installation Anonymous / Dirk Braeckman / / Schwarzschild is on view at S.M.A.K., Ghent. Meanwhile I really recommend this interview between DIRK BRAECKMAN and ERIK EELBODE for American Suburb X.

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wfw weekend #122

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Obstacle (mimetic pillar, 2014) by Swiss artist KARIN HUEBER
as part of her solo exhibition Traceur/Traceuse*
seen at Kunsthaus Baselland, Muttenz (Basel)
on Sunday, March 16, 2014
image © wfw

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*on view till March 23, 2014

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wfw weekend #121

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3 Hammer Blows (2013, silkscreen inks on PVC tarpaulins, metal wires, plumbing pipes) by Swiss artist VALENTIN CARRON
seen at Kunsthalle Bern
on Saturday, March 1, 2014
image © wfw

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Do ré mi fa so la si do , VALENTIN CARRON’s first all-painting exhibition, is on view at Kunsthalle Bern until March 23, 2014

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Cyprien Gaillard. Cities of Gold and Mirrors

Cities of Gold and Mirrors, 2009
16 mm film, color, with sound,  8:52 min
© CYPRIEN GAILLARD, Courtesy Sprüth Magers Berlin London and Laura Bartlett Gallery, London

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Rediscovered during one of my daily internet routines, I forgot how I love that video: each time I view it I find it as powerful as the first time. Of course, watching the work online is a very different experience to witnessing it in the gallery. However, CYPRIEN GAILLARD’s 16mm film Cities of Gold and Mirrors (2009) which has been shot in Cancun, is haunting: the video juxtaposes views of isolated ruins, golf courses and post-modern hotel resorts with images of the drinking rituals of young men, over an atmospheric background music taken from the soundtrack of  a 1980 Japanese-French cartoon series, The Mysterious Cities of Gold, a docu-fiction about the discovery of America.

There’s always the possibility of an architectural hangover, something we regret that we built. That’s entropy — the impossibility of getting a site back to the state it was. One could be nostalgic, but I think of all these layers as one great, expanded archaeological site. There’s no nostalgia in my work. It’s always about now. – CYPRIEN GAILLARD for the NY Times, April 2013

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