one pic wednesday. Enzo Cucchi & Tristano di Robilant


Parapetto, exhibition view at The National Exemplar, New York

Untitled (Arezzo), 2014 (oil on linen, 86″x 124″)
Untitled (Arezzo), 2014 (oil on linen, 77″x 38″)

China Mountain (small), 2013 (glass, 16 1/4″x 6″x 6 1/2″)
Shade Shelter (bronze, 7″x 15 1/2″x 6 1/2″)

Nestor’s Tub Variation (terracota, 9 3/4″x 22″x 14″)
image courtesy the artists and The National Exemplar, NY


This is a view from the exhibition Parapetto by Italian painter ENZO CUCCHI (born 1949) and ceramic/ glass artist TRISTANO DI ROBILANT (born 1964) that opened a month ago at The National Exemplar Gallery in New York. Parapetto is – according to the press release – a term used in religious paintings for the dividing line or wall that separates the temporal space of the viewer from the religious/mystical space of the painting.

Parapetto is on view until October 20, 2014 at The National Exemplar, New York


Touching the Art


Touching the Art – Episode 2 – Postmodernism, Post-Net & the Art Market


There’s a new web talk show called Touching the Art which is moderated by CASEY JANE ELLISON, an American comedian and artist who becomes for the show the perfect art-world cliche – snobby, bored and falsely cool. The guests of the show (only women) discussed topics range from art and celebrity to gender politics to the art market. We’ve already caught appearances from photographer CATHERINE OPIE, artist MARY WEATHERFORD as well as New York Times critic JORI FINKEl among others.

The result is pretty funny and satirical (and yeah…entertaining), while at the same time poses actually interesting questions. Though we’re only two episodes in, but I like what I’ve seen so far.

Find out more on youtube or via (note that future episodes will coincide with and cover timely topics and events such as Miami Basel, The Armory Show, etc.).


wfw weekend #153



Nase (2013, steel tube) by Swiss artist ERIK STEINBRECHER
from his solo exhibition at Kunsthaus Baselland, Muttenz/Basel
seen on Sunday, September 21, 2014
image © wfw


this exhibiton is on view until November 16, 2014


wfw weekend #152



view from the installation by poet and critic QUINN LATIMER and British artist MEGAN ROONEY
for the exhibiton Der Leone Have Sept Cabeças
seen at Crac Alsace, Altkirch
on Friday, September 19, 2014
image © wfw


one pic friday. Adam Cruces


Un Coucher de Soleil, 2014
installation view at Exo, Paris
image courtesy of the artist


A few days ago, the art space Exo in Paris opened their new show entitled Un Coucher de Soleil; a solo exhibition by American artist ADAM CRUCES  (1985) whose work – objects, sculptures, installations, videos as well as online works –  explores the depths and shallows of globalized vernacular culture, specifically the design and substances developed for consumption.

Un Coucher de Soleil is currently on view at Exo in Paris. Please note that a limited edition book is published at every exhibition, more info via


Oliver Clément. Permanent Present / Prospection on surroundings


untitled (“looks like the sea” after Fellini, athletics reception mat), 2014



untitled (helix, houseplant), 2013



untitled (cloud, window), 2014



untitled (mesh, trampoline net), 2014



untitled (lamp post), 2014



untitled (mailbox), 2013



untitled (spinnennetz), 2013

all images from the series Permanent Present



Permanent Present is photographic series by OLIVER CLÉMENT (1978)  –  a former engineer in the field of biomedical research who finally graduated from the Ecole Nationale Supérieure de la Photographie d’Arles in 2009  –  that hovers on the boundary between the familiar and the strange, where something doesn’t feel right, or where something doesn’t look like what it seems to be, thanks to the precise compositions and the distinct look of OLIVER.

I focused my attention on non-spectacular and modest events standing at the fringe of modernity which can be seen as objects, things and states of affairs directly prehensile by my vision. Things that in the past could embody possible future and which are today unfinished. Through images that flirt with virtuality and abstraction, I’m trying to restore fragments of discrete expired utopias and to regard some blind spots of modernity. – OLIVER CLÉMENT

The a-temporal and dreamlike quality as well as the multiple narratives of his work reflect the conundrums of idealism and ideology of a past generation, and illustrate the development of the sediment of time, which does no longer coincide with the idea of velocity promoted by modernity but, on the contrary, it expresses the manifold time dimensions of progress.

➝ An edition of small prints from the series Permanent Present is currently on view at Castelcoucou in Forbach, France until the end of October.


Rashid Johnson



Meanwhile, on yet another side of the planet, or Los Angeles, to be precise, the David Kordansky Gallery is currently hosting RASHID JOHNSON‘s solo exhibition entitled Islands, a show (the exhibition views are here) which explores some of the concerns of RICHARD WRIGHT’s novel Native Son (1940). For this occasion, I have chosen to share with you a short excerpt of the very interesting conversation between the American artist and TOM MORTON that has been released in the September Issue of Frieze Magazine. Make sure to read the entire interview via

Islands is on view until October 29, 2014 at David Kordansky Gallery, Los Angeles. Additionally his work is part of the group exhibition The Forever Now:Contemporary Painting in an Atemporal World that will take place at the Museum of Modern Art, New York, from December to April 2015.



Jean-Pierre Gorin. Poto and Cabengo

Poto and Cabengo (1979)
written and directed by JEAN-PIERRE GORIN


Poto and Cabengo (1979) is a documentary essay about American twins GRACE and VIRGINIA KENNEDY (Poto and Cabengo were the names they called each other) who invented a language of their own that they used until the age of eight. Shot in San Diego in 1979, in 16mm color negative by French filmmaker JEAN-PIERRE GORIN, the film attempts to capture the moment before they lost their language, before they were forced to adapt to English.

The film is about an unstructured discourse—the language of the twins—surrounded by structured discourses—the discourse of the family, the discourse of the media, the discourse of therapy, the discourse of documentary filmmaking. There are as well other structured discourses at work in the film: the discourses of science, capitalism, and education. They are each a method of using words that presumes a type of authority. Clearly the twins’ unstructured discourse challenges discursive authority: it erupts as a subversive act which has not been authorized by any social or ideological establishment. In a sense its special threat is that its “unauthorized” nature relativizes the arbitrary nature of those institutionalized discourses. The singsong of the twins reveals the shaky grounds of institutional power. It relativizes discursive authority from the family to the scientific community in their competitive and ineffectual attempts to “define” the twins who spontaneously flit about the screen exceeding any definition. In a fashion, I wanted the viewers to feel the twins made more “sense” than anybody around them. Or at least to perceive that the twins’ way to handle language offered a marker for the way people around them used language and were used by it, and were spoken through it.JEAN PIERRE GORIN in conversation with LYNNE TILIMAN for Bomb Magazine

Poto and Cabengo (1979) is the first part of a trilogy devoted to language by JEAN-PIERRE GORIN. That film was followed by Routines Pleasure (1986) and Crazy Life (1992). Poto and Cabengo was also the starting point of the group exhibition Der Leone Have Sept Cabeças that took place this summer at Crac Alsace in Altkirch.


wfw weekend #151



Emotional Mesh (2014) by EMANUELE MARCUCCIO
seen in the group exhibition Metarave I – it’s only a fantasy *
presented at WallRiss, Fribourg
on Friday, September 12, 2014
image © wfw


* this exhibition is on view until September 29, 2014



one pic thursday. Julien Gremaud


from the series Thatcher is Dead, 2013



JULIEN GREMAUD is a Swiss photographer who – for this project solely – set aside his camera and turned to preexisting media imagery. The project Thatcher is Dead (2013) started at the death of former British prime minister in April 2013. The medias and the newspapers particularly were flooded by pictures of MARGARET THATCHER, it’s at that time JULIEN began to underline the moment when two pictures collide randomly by superimposition in newspapers.

I capitalize on this posthumous visual treatment and turn it aside by juxtaposing contemporary images according to a strict protocol of reappropriation of newspaper clippings. I seek indeed to obtain a two-sided image, a perfect collage in the grid of the newspaper that will offer an image in both sides. I then scan it as I do with a positive film. – JULIEN GREMAUD via his website

By selecting, scanning and printing these double images in large format, JULIEN GREMAUD developed an elegant strategy for exploring press photography and finally giving theses images an original meaning at odds with their origin.

JULIEN GREMAUD was a recipient of the 2014 Swiss Design Award for this project and he is also part of the new Talent Issue Summer 2014 in Foam Magazine (ps. make sure to follow Foam on instagramJULIEN is also taking their account for this week)!

Congrats Julien!