wfw weekend #144

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view from the installation Like Child’s Play (2014) by DANIEL BUREN
seen at Modern and Contemporary Art Museum in Strasbourg
on Thursday, July 10, 2014
image © wfw

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wfw weekend #143

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Horses, Trainers and Donkeys (oil on canvas, 2014) by DAVID CHIEPPO
seen at Kunstmuseum Solothurn, Switzerland
on Wednesday, July 9, 2014
image © wfw

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Clement Cogitore

Porteur (excerpt), 2004
DVCam PAL N&B / 2 min (loop)

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Memento Mori – Le discours des vanités au XVII° siècle (excerpt), 2012
video HDCAM – coul – 97min

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Chroniques (excerpt), 2006
fiction exp. 35mm color/ B&W / 30 min
dolby SR/1/1,66

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Passages (excerpt), 2006
35mm color /4min (loop)

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Although I heard about CLEMENT COGITORE before my visit at the Museum of Modern and Contemporary Art in Strasbourg yesterday which is currently presenting a solo exhibition of the French artist, it was a real revelation to discover his short films.

Like his photographic work, his movies continue his practice as an individual intrigued at how the subjective and collective memory, representations of the past and the ways in which people cohabit with their images crash into each other. At the border between cinema and contemporary art, COGITORE’s videos often balance between the familiar and the unexplained wrapped up in tension and fascination. All elements – the positioning of the characters, their posture and interaction, the use of light and colour, the landscapes – seem to have been meticously constructed and appear to fit together like the pieces of a puzzle. And yet the meaning of the whole remains ambiguous, fact and fictons are constantly at odds with each other. The enigmatic quality of COGITORE‘s work offers the viewer the chance to lose himself in the work each time and to discover new readings and narratives.

His exhibitions usually include an assortment of images cased in minimal frames or simply pasted on the walls like in Strasbourg as well as a series of video installations.

Stories arrive in the head in order to be told. Sometimes paintings do the same. - JOHN BERGER, Essays in Seeing, 1979

Here is a selection of not so recent video extracts which are available online via his vimeo, but if you have the chance to see one of his exhibitions or screenings, do not hesitate!

CLEMENT COGITORE‘s exhibition Fictions at Museum of Modern and Contemporary Art Strasbourg runs until 21th september, 2014

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Ettore Spalletti

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Sala delle feste, 1998
exhibition view at Musée de Strasbourg, Strasbourg, 1998 
photo: ATTILIO MARANZANO

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Sala delle feste, 1998
exhibition view at Musée de Strasbourg, Strasbourg, 1998
photo: ATTILIO MARANZANO

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Un giorno così bianco, così bianco, exhibition view at Maxxi, Roma 2014
photo MATTEO CIAVATTELLA

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Stanza azzurra, Dedicata a mio fratello che amava gli azzurri, 2006.
installation view at Museum Kurhaus Kleve, 2009.
photo: WERNER J. HANNAPPEL

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Un giorno così bianco, così bianco, exhibition view at Maxxi, Roma 2014
photo MATTEO CIAVATTELLA

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Un giorno così bianco, così bianco, exhibition view at Maxxi, Roma 2014
photo MATTEO CIAVATTELLA

 

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Nostalgia Roma, 2009.
installation view at Galleria Nazionale d’Arte Moderna di Roma, 2009
Courtesy OREDARIA Arti Contemporanee, Roma

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Veduta dello studio, 2013
photo: WERNER J.HANNAPPEL

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mostra Studio la Città , 2007
installation views at Studio La Città, Verona 

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Stanza, rosso porpora, 2010 

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Rosa, sposa, 2010

Scatola di colore, 1991
Courtesy Studio La Città, Verona

Disegno , 1987 
© Rizziero Arte 

Senza titolo, sottosopra, 2000
photo: DI PAOLO IMMAGINI
courtesy Galleria Lia Rumma, Napoli/Milano

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Studio, 1999

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Disco, 1981

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Pietra dipinta di rosso cinabro. Disco, 1981
photo: GIORGIO COLOMBO

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Rosa, fiore di pesco, 2009
photo: WERNER J.HANNAPPEL

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Documenta IX, Kassel, 1992.
photo © ATTILIO MARANZANO 

all images courtesy of the artist (unless otherwise stated)

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With a current exhibition at MAXXI in Roma, one at GAM in Turin and one at MADRE in Naples under the single title Un giorno così bianco, così bianco, we can easily stated that Italian artist ETTORE SPALLETTI is the man of the moment.

The three exhibitions on display this summer have been conceived like the chapters of a trip through Italy and aim to retrace SPALLETTI‘s whole artistic practice from the 1960s to the present day. According to the press release, the exhibition at the GAM Galleria Civica d’Arte Moderna e Contemporanea in Turin presented (the exhibition closed on June 15, 2014) a selection of works from the artist’s studio and important private collections. In Roma, the exhibition concentrates a series of large environmental installations conceived specifically for the occasion with which the artist confronts such a highly characteristic architectural space. Finally the show at the MADRE Museo d’Arte Contemporanea Donnaregina in Naples is currently featuring an excursus of historic and recent works retracing SPALLETTI’s artistic activities.

ETTORE SPALLETTI (1940) is best known for his minimalist paintings and sculptures that explore geometry, precision, material, colour and light. Finding his roots within Minimalism, Arte Povera and the Renaissance, his work takes the form of freestanding geometric sculptures, volumes and blocks of compact and calculated material – such as alabaster, marble, onyx, gold leaf, metals, precious stones, paper and pure pigment – as well as paintings even there is no painting in the traditional sense of the term, all having a soft color surface that constitutes an active and mobile destiny of seeing and touching.

I always refer to my works as paintings or sculptures. The eternal form of the panel encloses, as it always has for me, the inner content. Inside is the figurative imagination that the fragmentation of the pigment produces in the desire for an atmosphere, for an atmospheric image. . . . We’re in Venice, I’m thinking of San Marco, an amazing place, or of Piazza dei Miracoli in Pisa, the cathedral square: to look at those “objects” placed on the grass and then to think that de Chirico’s little painting with the tower is as big as that piazza. – ETTORE SPALLETTI in conversation with HAIM STEINBACH and GERMANO CELANT, Venice, Italy, 1992

This dynamic dialogue between the three major Italian public institutions not only demonstrates how ETTORE SPALLETTI is a seminal figure in the Italian contemporary art but also reveals a certain proactive nostalgia.

Here is a short summary of the dates and places:

- MAXXI, Rome 13 March – 14 September 2014 
http://www.fondazionemaxxi.it/2013/12/20/ettore-spalletti/?lang=en
- MADRE, Naples 13 April – 18 August 2014
http://www.madrenapoli.it/en/events/a-tribute-to-ettore-spalletti/

If you understand Italian, I highly recommend to watch a short documentary dedicated to the artist  here

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Walter Robinson. Zombie Formalism

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Earlier this year, Art critic WALTER ROBINSON coined – via one of his articles for Artspace - the term of Zombie Formalism in order to identify the current abstract painting trend, an expression taken over by American critic JERRY SALTZ for Vulture in June. Whether I am agree or not with their opinion, it’s really appreciated to see a small attack on the current landscape of the art scene.

Make sure to read the entire article by ROBINSON via http://www.artspace.com/magazine/contributors/the_rise_of_zombie_formalism
and the one by SALTZ http://www.vulture.com/2014/06/why-new-abstract-paintings-look-the-same.html

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wfw weekend #142

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detail from the work The Princess is Caged in the ©  by CARTER MULL
seen at Kunst Halle Sankt Gallen
on Friday, July 4, 2014
image © wfw

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this work is on view at Kunst Halle Sankt Gallen until July 13, 2014

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wfw weekend #141. Virginie Morillo & we make it

trailer from La Procesión de Las Sombras, 2014
© VIRGINIE MORILLO

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Meanwhile, on yet another side of the planet, or Mexico, to be precise, Swiss artist VIRGINIE MORILLO – who offered us a great tour in her Geneva’s atelier earlier this year – is creating some haunting projects like La Procesión de Las Sombras, a movie shot in the desert of Oaxaca in May 2014 with the motorcycle gang the Legionarios. A few days ago she put up this project on the crowdfunding platform we make it, in order to finish the post production and to release the movie in September.

 You could click right here right now to find out all about it,

 a good deed a day can make all the difference!

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Carissa Rodriguez

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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This series of poster-sized inkjet prints entitled It’s Symptomatic/What Would Edith Say? (2013/2014) which is currently on view at Bortolami Gallery in New York, has been started in 2013 when the artist, CARISSA RODRIGUEZ, made her New York debut at the hybrid space Front Desk Apparatus. Actually CARISSA RODRIGUEZ started as an artist in the 1990s, however she worked more actively as art dealer and writer for several years, after which she started again showing her work in the beginning of 2000s.

RODRIGUEZ‘s images of tongues onto which are scribbled health diagnosis, seem more and more relevant, as you look at them. Somehow, they lost the feel of directness achieved by the sharply focused style and instead they convey a certain fascination for the human body via the virtual space.

A service top is one who tops under the direction of an eager bottom. A versatile top is one who prefers to top but who bottoms occasionally. Starting at the top, the artist’s tongue – muscle of conceptual articulation and arbiter of aesthetic disposition – is more simply, the locus of language and taste; while accordingly at the bottom, the filth of distinction gathers in the anus.  Pornography sanitizes anuses by cosmetically bleaching them for the screen, rendering natural  flesh “more uniform with its surrounding area”, similar to the way art galleries light and fluff
their spaces to achieve the cold, fluorescent-white installation shot that emits an ambience akin to the sweatshop– an artwork at its maximum efficiency. Between tongue and anus are the organs, situated midway, or Midtown, much like the art advisor’s position between the artist and the collector. Practitioners of Chinese medicine diagnose the conditions of internal organs as its symptoms appear on the tongue’s surface, which is read and appraised like a rare map, rug, vase or painting, and although it is too overwrought to liken the tongue to a screen (mirroring the artist inside) or to a ‘mood board’ in the case of the branding consultant, the liver and spleen are nevertheless dutifully at work scripting messages to the moist upper surface. *

➝ this work is currently part of the group exhibition Chatbots, Tongues, Denial and Various Other Abstractions on view at Bortolami Gallery in New York until August 22, 2014

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*from the press release at Front Desk Apparatus

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Arthur C. Danto. After the End of Art: Contemporary Art and the Pale of History

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excerpt from After the End of Art: Contemporary Art and the Pale of History (1997) by American critic and philosopher ARTHUR C.DANTO (1924-2013)

read more via http://press.princeton.edu/titles/5911.html

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studio visit #4. Mireille Gros

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MIREILLE GROS
at her studio, Basel
june 2014
images © wfw

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I have read somewhere that a studio space is an intimate space, which puts the critic in an awkward position that he is no longer objective. It’s even more the case with MIREILLE GROS. MIREILLE is a Swiss artist based in Basel and she is probably one of the most engaging person in the city.

After a course of studies in Basel and New York, MIREILLE GROS (born in 1954) traveled the world drawing inspiration from the language, the local culture and the nature in each place she went, especially in China and West Africa. From these trips she has not only adapted her artistic practice by allowing more place in her work for the concept of spontaneity, random and chance but she has also brought back several processes and materials. Made of photographs, paintings, drawings and artist’s books, her body of work depicts universal configurations taking the form of mysterious plants or vegetables, micro and macrocosms.

Her studio reflects her intuitive and experimental process (although the space is very well organized) and her passion for language with a series of sentences or words written on the walls. Over cardamom coffee and the quietness of the neighborhood, MIREILLE GROS talked about her live, her uninterrupted interest in art, her upcoming exhibitions and how to not have ideas.

If you happen to be in Zürich, do not miss her solo exhibition entitled Ouvrir les Archives which presents an overview of pieces by the artist which have been collected over the past twenty years, on view at the Collection of Prints and Drawings at ETH Zurich until July 6, 2014.

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during the summer, WFW is running slowly and features only one pic per day  - WFW comes back with longer posts on Monday August 18, 2014  - <3