wfw comix, August 2016
all images © JEREMY PININGRE and We Find Wildness
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ALEX TURGEON’s performance
on August 19th, 2016 at Center, Berlin
image courtesy the artist and Center, Berlin
According to wikipedia, Charon’s obol is ‘an allusive term for the coin placed in or on the mouth of a dead person before burial’. It is also the title of the solo exhibition of ALEX TURGEON that opened a few days ago at Center in Berlin.
The show started with a performance for which TURGEON was walking throughout the exhibition space with a microphone in his mouth. His voice blasted unintelligible words from a speaker situated outside the gallery, where the visitors witnessed the artist interacting with the works he produced for the exhibition.
Finally the words are alienated, the texts as well as the works are deconstructed, other rhythms and other tunes are created, the spectacle itself has been metabolized.
Airport, A World Alone, 2016
directed by HUNTER PHARIS JOHNSON
In a recent article, Artforum Editor PAIGE K.BRADLEY stated that music videos are ‘back’ by taking for example the video above that has been directed by HUNTER PHARIS JOHNSON for the track entitled A World Alone by Airport.
Like a HIRSCHHORN’s collage, the video is made of 5 minutes and 15 seconds of uncomfortable shifts between explosions, accidents, bodies torn apart and the angelic face of CLAIRE MAISTO, an American teenager covering Lorde’s original song in an amateur youtube video.
➝ read more about this special project for we find wildness here.
detail from Five Car Stud (1969-1972), EDWARD KIENHOLZ
seen at Fondazione Prada, Milano
on Friday, August 26, 2016
image © we find wildness
all images: JACOPO MILIANI, Burning Desire
installation view at La Plage, Paris, 2016
image courtesy the artist and La Plage, Paris
photos: AURELIEN MOLE
La Plage consists of a one-metre deep and five-metres long window transformed into an experimental art space located in the middle of boulevard Saint Martin in Paris
This truncated white cube is currently presenting a solo exhibition by JACOPO MILIANI, titled Burning Desire. The installation includes two sprayed-on-the-wall sentences that embrace a print featuring a lily flower superimposed over a portrait of voguer DERRICK MAGNIFIQUE as well as three silver fitness balls.
Dot Dot Dot became boing boing boing
A group of suspended objects.
Three spheres rolling in the air, they look motionless.
A ball is always still in between the fall and the bounce.
Throwing a Ball…will many people come?
I am looking
You are looking
Gaze on me
My head is upside down
My back lies on a Pilates balloon
This position will affect my thinking
Your hands move like lilies
Instinctive feelings are written on a wall in black spray
Thinking they will last forever but they go, like in a Lana del Rey song.
“I’m driving fast, flash, everyone knows it” *
*press release from La Plage
VALINIA SVORONOU, The glow pt. 2: gravity regimes
exhibition view at Frankfurt am Main, Berlin
image courtesy the artist and Frankfurt am Main, Berlin
‘The glow part 2: gravity regimes is based on a project by VALINIA SVORONOU started in 2015 during a residency on a greek island called Evia.
The exhibition currently on view at the art venue Frankfurt am Main, includes sculptures, videos and wall works which revolve around the phenomenon of island raves. According to the press release, ‘the title takes its cue from the dead glow sticks washed up on the island’s shores. Often construed as the abandoned accessories of island partygoers, these objects belonged in fact to the island’s navy border patrols, becoming a signifier where the idyllic insouciance of a summer beach party and the harsh reality of the migrant crisis collide’.
The first part of this project was entitled Imported Schemes and was presented in Athens in collaboration with the Greek curatorial project Radical Readings in 2014.
World of Troubles (2016)
laminate board, paper, glue, plexiglas, plastic, tape, vodka, gold, sexy lady vanilla,Lamborghini remote control model car, 54 x 190 x 127 cm
image courtesy of the artist and Salon Kennedy, Frankfurt
The exhibition takes its starting point from a prominent real-estate scam uncovered in 2013, involving the S&K Immobilien firm. Besides their fraud, the heads of the company were widely known for their extravagant lifestyle.
Pitfalls consists of a series of prints as well as autonomous sculptures that resemble dollhouses versions of postmodern constructions. By using architectural models that she placed on the exhibition floor, BJERRE not only highlights the act of observation, but also exploits the mnemonic power of the miniature to consider how infantile passions pervade adult pursuits.