wfw weekend #320

wade guyton - dijon

Untitled (2015-2016), WADE GUYTON
seen at Le Consortium, Dijon
on Wednesday, July 9, 2016
image © we find wildness

Domenico de Chirico for We Find Wildness #68

all images:
installation view, Marian Goodman Gallery, London
© Nairy Baghramian – Photo: THIERRY BAL
Courtesy the artist and Marian Goodman Gallery

Scruff of the Neck, a solo exhibition by NAIRY BAGHRAMIAN
on view at Marian Goodman Gallery, London
until July 29, 2016

chosen by curator and editor DOMENICO DE CHIRICO

one pic tuesday. Wilfredo Prieto

Wilfredo_Prieto_No_se_puede_hacer_una_revolucion_kurimanzut28

10 fingers, 2016
installation view You Can’t Make A Revolution With Silk Gloves, Kurimanzutto, Mexico City, 2016
image courtesy the artist and Kurimanzutto, Mexico City

In the art venue called Kurimanzutto in Mexico City, the Cuban artist WILFREDO PRIETO is currently occupying the exhibition space and its surrounding with a series of minimal and anti-monumental interventions.

PRIETO is best known for producing installations, and works that are at the same time delicate, highly minimal and loaded with conceptual intentions. For his new exhibition in Mexico City entitled You Can’t Make A Revolution With Silk Gloves, PRIETO spent almost six weeks before the opening in the exhibition space that he used as his studio.

Almost like traces of human activity, a few familiar objects are placed precisely in the gallery space such a fan that blows a single piece of hair attached to a raisin, two drawers in the kitchen filled with salt and the other with Maldon, a smartphone that lights on a rope that runs into the main gallery and connects to a 20 ft piece of rebar, layers of plates of glass sourced from a local window shop, a tomato can filled with magnets rolls as well as ten clippings from the artist’s fingernails (image above) among others.

All these objects that reciprocally connect and disconnect each others, appear to be at an ambiguous intersection between abstraction and figuration, and thus leaving room for the viewer many doors, and many other entrances to get inside.

You can’t make a revolution with silk gloves by WILFREDO PRIETO is on view at Kurimanzutto in Mexico City until August 27, 2016

one message interview #26. Viktor Timofeev

viktortimofeev-onemessageinterview

VIKTOR TIMOFEEV is a Latvian artist, who seems (according to google) to be constantly shifting between countries, spaces and mediums. Since a few days and until July 3, 2016, his work is on view in the group exhibition Vaporents presented at Voidoid Archive in Glasgow.

http://viktortimofeev.com

➝ read the previous one message interviews

David Hanes. wfw aware #33

01DHanes_Week32_2016

Aware: after the exhibition Exhibit Model OneJONATHAN MONK
presented at Kunsthaus Baselland
shot on June 4, 2016, altered on June 27, 2016 by DAVID HANES*
image courtesy of the artist and we find wildness

*DAVID HANES lives and works in Berlin. He is represented by Birch Contemporary, Toronto.

➝ read more about this special project for we find wildness here.

wfw weekend #319

julie beaufils_kunsthalle-mulhouse

Looking for a way off (2016) and Never a turn off (2016), JULIE BEAUFILS
seen at Kunsthalle Mulhouse
on Saturday, 25 June 2016
image © we find wildness

wfw weekend #318

valentina-vetturi-deuxpiece-basel

detail from the exhibition A Bit for Your Thoughts, VALENTINA VETTURI
seen at Deux Piece, Basel
on Friday, 24 June 2016
image © we find wildness

wfw weekend #317

hannahweinberger

view from the exhibition On Seen, HANNAH WEINBERGER
seen at Freymond-Guth, Basel
on Friday, June 24 2016
image © we find wildness

wfw weekend #316

thomas dank - les mouettes

view from the exhibition Mérinat, THOMAS ADANK
seen at Les Mouettes, Vevey
on Wednesday, June 22, 2016
image © we find wildness

Domenico de Chirico for We Find Wildness #67

all images courtesy the artist and Eric Hussenot, Paris

PROGRAM HELLO, PRINT*, ‘Hello World !’ END, a solo exhibition by PRISCILLA TEA
on view at Eric Hussenot, Paris
until July 23, 2016

chosen by curator and editor DOMENICO DE CHIRICO

Rubén Grilo. Proof of Concept

1

RUBÉN GRILO, Proof of Concept
exhibition view at Union Pacific, London / June 2016

2

1 Kit Kat 16 Bites, 4 Lindt 30 Bites and 4 10 Bites, 4 Smarties Sharing Block 16 Bites, 2 Galaxy Smooth Milk 42 Bites (More or Less), 6 Niederegger Lubeck Marzipan Classic 10 Bites, 4 Nestle 50 Bites, 2 Cadbury Bournville Classic Dark 32 Bites, 2 Nestle Aero 28 Bites, 7 Reese‘s Filled with Peanut Butter 15 Bites, 1 Milka Avellanas Enteras 32 Bites, 2016
tinted hard plastic, magnets, aluminum foil, laser-cut, bent and powder coated steel sheet, 179 cm x 73 cM

3

1 Milka Avellanas Enteras 32 Bites (Aprox), 3 Lindt 30 Bites, 1 Smarties Sharing Block 16 Bites, 4 Kit Kat 16 Bites, 5 Nestle Aero 28 Bites, 3 Green & Black‘s Thin Milk Chocolate 8 Bites, 4 Valor 11 Bites and 2 12 Bites, 3 Cadbury Dairy Milk Marvellous Creations Cookie Nut Crunch 16 Bites, 2 Reese‘s Filled with Peanut Butter 15 Bites, 4 Niederegger Lubeck Marzipan Classic 10 Bit, 2 Galaxy Smooth Milk 42 Bites, 2016
tinted hard plastic, magnets, aluminum foil, laser-cut, bent and powder coated steel sheet, 179 cm x 73 cm

4

RUBÉN GRILO, Proof of Concept
exhibition view at Union Pacific, London / June 2016

6

RUBÉN GRILO, Proof of Concept
exhibition view at Union Pacific, London / June 2016

7

Untitled, 2016
tinted hard plastic cast from UV-cured photopolymer, baling twine, laser-cut, bent and powder-coated steel sheet. 179 cm x 73 cm

8

Untitled, 2016
tinted hard plastic cast from UV-cured photopolymer, baling twine, laser-cut, bent and powder-coated steel sheet. 179 cm x 73 cm

9

RUBÉN GRILO, Proof of Concept
exhibition view at Union Pacific, London / June 2016

10

To Whom it May Concern, 2016
cast plastic, translucent vinyl, cork, rubber tips, chromed steel rods, polyurethane resin on extruded polystyrene foam, baling twine, wire mesh, earth plaster and hay bales, 110 cm x 110 cm x 50 cm

11

To Whom it May Concern, 2016
cast plastic, translucent vinyl, cork, rubber tips, chromed steel rods, polyurethane resin on extruded polystyrene foam, baling twine, wire mesh, earth plaster and hay bales, 110 cm x 110 cm x 50 cm

12

To Whom it May Concern, 2016
cast plastic, translucent vinyl, cork, rubber tips, chromed steel rods, polyurethane resin on extruded polystyrene foam, baling twine, wire mesh, earth plaster and hay bales, 110 cm x 110 cm x 50 cm

15

Sincerely Yours (Outer Left Section), 2016
automotive clay and clay modeling lm on extruded polystyrene foam, mirror, chipboard, steel table and paper cups, 150 cm x 63 cm x 196 cm

17

RUBÉN GRILO, Proof of Concept
exhibition view at Union Pacific, London / June 2016

18

Sincerely Yours (Outer Right Section), 2016
automotive clay and clay, modeling lm on extruded polystyrene foam, mirror, chipboard and steel table, 150 cm x 63 cm x 196 cm

19

Sincerely Yours (Inner), 2016
automotive clay and clay modeling lm on extruded polystyrene foam, wood, earth plaster and hay bales, 140 cm x 100 cm x 95 cm

all images courtesy the artist and Union Pacific, London

Dear Grace and Nigel,
In the last months I have been preparing this exhibition from pure disaffection.
I swear. I tried by all means not to get involved more than necessary. I chose working as in an assembly line, making shifts and planning tasks with coldness and distance. I have been strategic and I was seeking the effect. I copied as much as I could and, in general, I let other others make the most of the work. I took so much distance from the work that if my skin was just thicker it would become plaster.

So please, when you type my name in the press release, remember it means nothing. That my emotions are not mine. That I don‘t deserve any credit for the exhibition. That I won‘t celebrate when they greet me neither they will be talking about me when they criticise me. That we are not made of clay. That the “self” is a fraud. Mine, ours. It’s nothing more than a delusion, a virtual machine, a network, a mere proof of concept.

Sincerely yours, Rubén*

Proof of Concept by RUBÉN GRILO is on view at Union Pacific, London until July 2, 2016

*press release provided by Union Pacific

one pic tuesday. Louise Lawler

Lawler_helms-amendment

detail from Helms Amendment, 1989
94 black-and-white photographs, vinyl wall texts, grey painted wall
image courtesy the artist and Blondeau & Cie

With the ‘Helms amendment’ piece, I knew what I was doing in a different way than I often do. There were reasons that determined my choices. It was produced for an exhibition at the Photographic Resource Center in Boston at a time when there was much controversy over the content of photographs by MAPPLETHORPE and SERRANO in exhibitions funded by the NEA.

I made ninety-four prints of a black-and-white photo of a plastic cup sort of archetypal Weston peppers-, with bright whites and dense blacks. They were matted with the name of each senator in press type on the mats–red for Democrats, blue for Republicans. They were installed in pairs, one above the other, alphabetically by state around the room. The frames were dark wood, and the wall was painted gray. In the six spaces where there was no photo there was an excerpt of the Helms amendment which stated that no federal funds could be used to support AIDS educational material that condoned a homosexual lifestyle. The text stood in place of the four senators who abstained from the vote and the two who voted no.

The cup to me had a certain feeling of a medicalized environment, and it also had a classical element to it. You don’t know how people are going to perceive or read it they wouldn’t necessarily think about anonymity, and what gets taken when you’re always drinking from a plastic cup in .1 hospital. But the work in general was very much a product of its times. The codes which produced. conventions of display pictures, text, paint, quantity– embraced braced the issues wholeheartedly with a fervor that is hopefully recognized and felt.LOUISE LAWLER in conversation with MARTHA BUSKIRK, June 14 1994

Helms Amendment by LOUISE LAWLER has been shown at Art Unlimited 2016 in Basel that closed a few days ago.

one message interview #25. Devrim Bayar

devrim-bayar-onemessageinterview

DEVRIM BAYAR is a curator based in Brussels, where she is working for the art centre Wiels and the online platform Le Salon among other curatorial projects.

http://welcometolesalon.be

http://www.wiels.org

one pic wednesday. Gabriele Beveridge

tumblr_o7uap1jaZ71rp6vwro1_1280

GABRIELE BEVERIDGE
Daydream Lotion (detail), 2016
stainless steel sinks, rope, hand-blown glass, powder-coated MDF
104 x 92 x 40 cm / 40 15/16 x 36 1/4 x 15 3/4 inches

This is an image from the exhibition Eternity Anyways by GABRIELE BEVERIDGE currently presented at Chewday’s in London.

Eternity Anyways is running through July 9, 2016.

Oliver Laric. Photoplastik

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik

installation view at Secession, April- June 2016

Thucydides-and-Herodotus

-http://threedscans.com/institut-fur-klassische-archaologie/thucydides-and-herodotus/

Double Herm of Thucydides and Herodotus
stereolithography, TuskXC2700T (transparent) 50 x 28,3, x 35,7 cm, aluminium base http://threedscans.com/vienna/thucydides- and-herodotus/
Courtesy: Institut für Klassische Archäologie der Universität Wien

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view at Secession, April- June 2016

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view at Secession, April- June 2016

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view at Secession, April- June 2016

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view at Secession, April- June 2016

Eisbaer-v2

OTTO JARL: Polar Bear and Seal, 1902
selective laser sintering, polyamide
46,8 x 51,9 x 34,9 cm, aluminium base
http://threedscans.com/vienna/eisbaer_und_s eehund/

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view Hermes Fastening his Sandal and Johann Christian Wilhelm Beyer: Lucius Quinctius Cincinnatus, between 1773 and 1780, Secession 2016

Oliver Laric Photoplastik Secession, Wien, 22. April – 19. Juni 2016
OLIVER LARIC, Photoplastik
installation view François Willème, Self Portrait, around 1860, Secession 2016

all images courtesy the artist and Secession, Vienna
photos: IRIS RANZINGER

In 1947, novelist and politician ANDRE MALRAUX put forward the concept of the ‘musée imaginaire’ (translated as the ‘museum without walls’). His idea revolved around the fact that art history had become ‘the history of that which can be photographed.(1)’ The sculptural medium was actually one of the first subject to be documented, mostly because of it’s difficulty to be transported, but also because of its staticity, which made easier the long exposure process.

Sixty years later, OLIVER LARIC’s work is intricately bound to that history of documentation and sculpture and how these medium have been implicated in the analysis and redefinition of the other.

Photoplastik, his current exhibition at Secession in Vienna, features a series of 3D printed objects which are based on scans of art pieces that LARIC found in various museums and public locations in Vienna. This exhibition is actually a continuation of a work that the Austrian artist started in 2012 with the Collection Museum and Usher Gallery in Lincoln, UK for which he built a publicly accessible 3D archive of pieces of art.

The materiality of the image, its reproducibility and paradoxically its disappearance is at the root of OLIVER LARIC‘s practice. This work not only questions the mainstream politics of representation and endless reproducibility heralded by the digital era, but explores also notion of transparency, democracy, and access that have been loosely ascribed to the newly digitized institutions.

Photoplastik by OLIVER LARIC is on view at Secession, Vienna until June 19, 2016.

1.MALRAUX, Le Musée imaginaire, ed. Gallimard, Paris, 1963, 1965, p 111.