wfw weekend #165

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Out of the Absurdity of Life. Global Music, a conference by ethnomusicologist, music journalist and cultural producer THOMAS BURKHALTER 
screened and performed at the Post Digital Cultures Symposium*, Lausanne
on Saturday, December 6, 2014
image © wfw

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* all the talks that took place during the symposium are available online here

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wfw weekend #164

offspace-lesurbaines

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detail from the installation it’s too hot to sleep (2014) by CEDRIC FARGUES
seen at Offspace Garage during the Festival Les Urbaines*, Lausanne
on Saturday, December 6, 2014
image © wfw

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Stefan Tcherepnin. Hypocrisy Ladders

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all images from the exhibition Hypocrisy Ladders by STEFAN TCHEREPNIN
at Real Fine Arts, Brooklyn NY, November-December 2014
courtesy of the artist and Real Fine Arts, Brooklyn NY

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Born in St Petersburg in 1977, STEFAN TCHEREPNIN works as a multimedia artist whose practice consists of creating live electronic environments from a complex system of sampling, referencing and creation.

Nevertheless his last exhibition entitled Hypocrisy Ladders currently presented at Real Fine Arts in Brooklyn features a completely new body of work mainly composed of moments and objects including branches, walls, shadows as well as three large fluffy creatures which seem to have been stopped or frozen in their action.

According to the press release ‘All of these elements could appear as central but then the next moment they balance each other with differing weights, entering into a complex and literary narrative about notions of hypocrisy. (…) Following his extensive earlier practice in collaboration as an artist, composer, and performer, STEFAN TCHEREPNIN continues to transform these experiences, conceding that all artistic work is based on collaborations but often concealed in hypocrisy. According to psychology, the hypocrite is one who has no awareness of his shadow self, of his dark side’.

Be sure to catch the show in person at Real Fine Arts in Brooklyn before it closes on December 7, 2014!

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Agnes

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Today I spent almost one hour chatting with PHIL about life, insecurity, human being and love affairs. A very nice chat but utterly strange since PHIL is a spam bot, an automated computer program which takes the form of the late PHILIP SEYMOUR HOFFMAN. PHIL has been created by Belgian-American artist CECILE B. EVANS for the second edition of the Post Digital Cultures Symposium which is going to take place this weekend in Lausanne.

In our conversation this afternoon, PHIL talked about his friend AGNES, also a spam bot created by EVANS in 2013 and who lives on the Serpentine Galleries website. To know more about how spam bots are feeling, I highly recommend to read this conversation AGNES had with HANS ULRICH OBRIST earlier this year via art papers.

If you are interested you can also talk to PHIL in real time from December 1st until the 7th via the Post Digital Culture website. Or simply come to the symposium in Lausanne from Friday, December 5 2014 to Saturday, December 6, see you there!

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one pic monday. Peles Empire

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exhibition view at Wentrup Gallery, Berlin / November 2014

image courtesy of the artist and Wentrup Gallery, Berlin

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This a view from the exhibition DUO, a solo exhibition by PELES EMPIRE that opened a few days ago at Wentrup Gallery in Berlin. PELES EMPIRE is KATHARINA STOEVER (1982) and BARBARA WOLFF (1980), two girls respectively from Germany and Romania who started to collaborate in 2005. Their name as well as the source of their artistic practice comes from a Romanian castle sited at the foot of the Carpathian Mountains called Peles. Built between 1873 and 1913, the castle’s architecture is a clash of historical styles ranging from Renaissance to Gothic Revival, Art Deco to Rococo.

According to the press release by Wentrup Gallery, their photographic appropriations of this “edifice of copies” and their subsequent ongoing spatial interpretations of the source material constitute a central point of departure for their works. An important strategy used by PELES EMPIRE is copying the copy; inherent as well is the process of translating something spatial into two-dimensionality, which ultimately again manifests itself in three-dimensional objects.

DUO is on view at Wentrup Gallery in Berlin until January 17, 2015

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wfw weekend #165

ryojiikeda-hek

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still from C⁴I [screening version] (2004-06) by RYOJI IKEDA
seen at Haus der elektronischen Künste, Basel
on Friday, November 21, 2014
image © wfw

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RYOJI IKEDA solo exhibition at HeK is on view until March 29, 2015

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wfw weekend #164

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I will call you later (2014) by GINA FOLLY
as part of the group exhibition Approaching
seen at the Kunsthaus Baselland Satellit, Basel
on Sunday, November 30, 2014
image © wfw

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Un pour la route at Taylor Macklin

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BRYAN SCHUTMAAT, PASCUAL SISTO, BRIAN KHEK

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BRIAN KHEK, Sam 2a, Sam 2b, Sam 2c, 2014
acrylic on newspaper

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BRIAN KHEK, AMY YAO

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AMY YAO,  Jouissance, PCH: Milan; 2014
fiberglass, synthetic rice paper, crayon, polyester resin

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AMY YAO, Italian Tickler

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PASCUAL SISTO, Obstructed Views, 2008
digital prints on postcards

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PASCUAL SISTO, Obstructed Views (Eiffel Tower), 2008
digital print on postcard

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PASCUAL SISTO, Obstructed Views (Notre Dame), 2008
digital print on postcard

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JENNIFER TEETS, Buffalo Mozzarella

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BRIAN KHEK, Sam 1a, Sam 1b, 2014
acrylic on newspaper

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BRIAN KHEK

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BRYAN SCHUTMAAT, Paul, 2010, photograph

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BRIAN KHEK, Kalimotxo

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JENNIFER TEETS ft. NICHOLAS HATFULL, BRYAN SCHUTMAAT

all images courtesy Taylor Macklin

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Un pour la route was a witty group show organized by American artist ADAM CRUCES as part of the artist-run space Taylor Macklin that he founded with GINA FOLLY, and THOMAS JULIER this spring. The exhibition which gathered works, drinks and foods by BRIAN KHEK, PASCUAL SISTO, BRYAN SCHUTMAAT, JENNIFER TEETS featuring NICHOLAS HATFULL, and AMY YAO took place in CRUCES‘ apartment in Paris earlier this month.

Contrary to the collective beliefs, the aperitif obeys a meticulous master plan, a series of conventions that strictly delimits the contour of this pre-dinner ritual. Too much alcohol makes you forget that you have to eat. A lack of it frustrates the participants. It is also a time of deceleration that reverses the principles of the high-speed train: fast immobility. As such it somehow acts as a testing ground for discourses and positions. The antiquity privileged the symposium in which wine acted as a catalyst to address issues that gathered philosophers, historians, and mathematicians. But now it is the ambiguities that pertain this tradition toward the post-industrial economy that makes it relevant: working outside the domain of productivity, the aperitif is nonetheless one of the most effective social laboratories. – CHARLES TEYSSOU, November 2014

→ http://taylormacklin.com/

 

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one pic wednesday. Charlie Riedel

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© AP CHARLIE RIEDEL

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This is an image taken by American photographer CHARLIE RIEDEL in Ferguson, Missouri after the protests over the decision not to indict a police officer in MICHAEL BROWN‘s death turn violent. This shot not only provides a political and social perspective of Ferguson right now, but I think that the story this picture tells in aggregate is universal.

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via

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wfw weekend #163

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two other views of the exhibition here and here

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a glimpse into Animal Que No Existeix, a solo exhibition by DANIEL STEEGMANN MANGRANE
presented at Crac Alsace, Altkirch
seen on Wednesday, November 19, 2014
image © wfw

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more about this exhibition next week on wfw

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