If I close my eyes at any point during the day, under any circumstance, I can clearly visualise images that have been etched into my memory. Sometimes they are important ones that bring comfort, that are capable of transporting us to a moment in our lives that makes us feel safe. I like to think of them as a sort of vital pedestal; a base to lean on for support in order to carry on walking. – Juan Canela, Walking with Images, August 2017

wfw weekend #430

She Said Destroy [US, No Wave] (1982)INTERFERENCE 
discovered via Panorama de Frequences, second episode of MANU HOLTERBACH’s introspection on no-wave culture, October 13, 2017


one pic thursday. Kara Walker

Scraps, 2017
sumi ink and collage on paper
40 x 30 inches, 101.6 x 76.2 cm

image courtesy of Sikkema Jenkins, New York

I don’t really feel the need to write a statement about a painting show. I know what you all expect from me and I have complied up to a point. But frankly I am tired, tired of standing up, being counted, tired of “having a voice” or worse “being a role model.” Tired, true, of being a featured member of my racial group and/or my gender niche. It’s too much, and I write this knowing full well that my right, my capacity to live in this Godforsaken country as a (proudly) raced and (urgently) gendered person is under threat by random groups of white (male) supremacist goons who flaunt a kind of patched together notion of race purity with flags and torches and impressive displays of perpetrator-as-victim sociopathy. I roll my eyes, fold my arms and wait. How many ways can a person say racism is the real bread and butter of our American mythology, and in how many ways will the racists among our countrymen act out their Turner Diaries race war fantasy combination Nazi Germany and Antebellum South – states which, incidentally, lost the wars they started, and always will, precisely because there is no way those white racisms can survive the earth without the rest of us types upholding humanity’s best, keeping the motor running on civilization, being good, and preserving nature and all the stuff worth working and living for?

Anyway, this is a show of works on paper and on linen, drawn and collaged using ink, blade, glue and oil stick. These works were created over the course of the Summer of 2017 (not including the title, which was crafted in May). It’s not exhaustive, activist or comprehensive in any way. – KARA WALKER, artist’s statement, press release Sikkema Jenkins and Co., New York, 2017

This work is currently part of the solo exhibition by KARA WALKER entitled Sikkema Jenkins and Co. is Compelled to present The most Astounding and Important Painting show of the fall Art Show viewing season! on view through October 14, 2017.

Silvia Federici. Undeclared War: Violence Against Women

screen capture from http://theorytuesdays.com/wp-content/uploads/2017/09/Undeclared-War-Federici.pdf
on October 11, 2017
image © we find wildness

SILVIA FEDERICI is best known for her book Caliban and the Witch published in 2004 (pdf available here), that is relating the destruction of the social and economic power of women to the transition to capitalism.

Undeclared War: Violence Against Women by SILVIA FEDERICI is a text that has been published the summer 2017 issue of Artforum. It previews her latest research on the staggering acceleration of violence against women worldwide – a quotidian and widespread manifestation of new networks of control.

one message interview #41. Florence Jung (2)

Not even sure what you want for Christmas? Ask for the album Loyalty and Betrayal (2000) by E-40. Obviously it helps for 2 or 3 things.

FLORENCE JUNG is currently based in Switzerland and she was the very person to answer to the one message interview almost two years ago. She has now officially open the second round of the project.


read the previous one message interviews here

V.S.O.P, Pentti Monkkonen at High Art, Paris, September 9 – October 12, 2017 via Contemporary Art Daily

#laterpost 1973. Michael Craig-Martin

An Oak Tree
, 1973
glass, water, shelf and printed text

image courtesy of the artist

An Oak Tree (1973) is work by MICHAEL CRAIG-MARTIN which consists of a glass of water on a wall-mounted shelf (above head height) with an accompanying text, in which he tells a viewer of the work, “What I’ve done is change a glass of water into a full-grown oak tree without altering the accidents of the glass of water.

In an artist interview in May 2003 CRAIG-MARTIN noted that the piece consists of two units; the object and the text. The object, a Duralex glass filled with water, is placed in the centre of a glass shelf and the text is printed in red on a white background. 

The shelf is displayed ideally at 253cm and is attached to the wall with brackets that have been painted matt grey. The printed text is mounted on the wall to the left and beneath the shelf with a sheet of glass and four bolts. CRAIG-MARTIN has specified how much water should be used to fill the glass and the ideal water level should be maintained during display. – BRYONY BERYJune 2005 , http://www.tate.org.uk/art/artworks/craig-martin-an-oak-tree-l02262



wfw weekend #429

exhibition view from Le Charme Indiscret, GINA FOLLY
seen at Kunstraum, Riehen
on Thursday, October 5, 2017
image © we find wildness

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wfw weekend #428

exhibition view from Graue Energie, KARSTEN FÖDINGER
seen at Archizoom, Lausanne
on Monday, October 2, 2017
image © we find wildness

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Options open to painting have in the recent past appeared to be extremely limited. It was not that everything had been done, it was rather that the impulses to create which had functioned in the past were no longer urgent or even the one-to-one relationship experienced in representing a scene or figure in paint – none of these acts was credible in the way it once had been. Abstraction appeared to have been used up; expression through shape and color was very familiar and had become meaningless. The process of flattening out the canvas had reached an end; Formalist painting has soaked color into the canvas and moved shape to the edge presenting an almost but not quite unbroken field. We no longer believed in the transcendency of paint and saw little reason to use the form of painting for making art. In the middle sixties surprise had been expressed that I was still using a brush. – Marcia Hafif, Beginning Again, Artforum, 1978

Yung Chong BaDboI for We Find Wildness #3

image courtesy Yung Chong and We Find Wildness

Read more about this special project by Yung Chong BaDboI  for we find wildness here. Make sure also to explore the complete Yung Chong comics collection via his instagram or tumblr.

wfw weekend #427

seen at Kunsthaus Glarus
on Friday, September 29, 2017
image © we find wildness

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wfw weekend #426

If I can’t sleep at night is it because I’m awake in someone else’s room? (re-stage) (2017), FETTE SANS 
seen at Hotel Zoo (Room 516), Berlin
on Thursday, September 14, 2017
image © we find wildness

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Agnes Martin, Writings / Schriften (English and German Edition), Kunstmuseum Winterthur and Edition Cantz, 1991

#laterpost 1982. Laurie Anderson

Les Nuits Magnetiques is a french radio show that had been created in 1978 by French writer ALAIN VEINSTEIN and that had been broadcasted until 1999. The show took different shapes during 21 years but with some recurrent elements like the length (90 minutes) , the voice of a narrator, a sound ambiance, a specific topic as well as some interviews from experts or anonymous people. Created in 1982 this documentary is dedicated to American artist LAURIE ANDERSON and has been featured again via France Culture in 2016.