I find it interesting, how that works. How the original and the copy, the hierarchies, and the authorities who are meant to deliver “the originals” are dependent upon the people they aim to exclude. And maybe that process has been sped up through social media and these feedback loops of exclusivity. Those feedback loops are as valid as the “real deal.” It’s also the real deal. If it exists on its own it’s no longer a copy. – ANNA UDDENBERG, Cura Magazine #24, April 2017

wfw weekend #393

Red wine Spider-man Château Neuf (2016), PHILIPPE DAERENDINGER
seen at Quark, Geneva
on Friday, March 31, 2017
image © we find wildness

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wfw weekend #392

Supplements Models Prototypes, CHRISTOPHER WILLIAMS
seen at gta exhibitions, Zürich
on Thursday, March 30, 2017
image © we find wildness

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Antoine Renard & Libby Rothfeld. 1999

1999, ANTOINE RENARD & LIBBY ROTHFELD
exhibition view at Marsèlleria, Milan, 2017

ANTOINE RENARD, Floor Arrangement #3, 2017

ANTOINE RENARD, Floor Arrangement #3 (detail), 2017

LIBBY ROTHFELD, Eye of the Storm, 2017

1999, ANTOINE RENARD & LIBBY ROTHFELD
exhibition view at Marsèlleria, Milan, 2017

LIBBY ROTHFELD, Flyer, 2017

LIBBY ROTHFELD, How Come You Only Want Tomorrow With Its Promise of Something Hard to Do, 2017

1999, ANTOINE RENARD & LIBBY ROTHFELD
exhibition view at Marsèlleria, Milan, 2017

ANTOINE RENARD and LIBBY ROTHFELD, Interfaith Rack IX (large cross), 2017

ANTOINE RENARD, Floor Arrangement #2, 2017

ANTOINE RENARD, Untitled (DJI-0002), 2016

all images courtesy of the artists and Marsèlleria, Milan
photos: SARA SCANDEREBECH

While walking in a city, one of the best moment is when all the street lights go on like it would be the sign of a spectral presence. A few minutes before this almost unpredictable instant you are just trying simultaneously to walk and to adjust your eyes to the dusk which is flattening every details that could have made the place significant.

Those electric gaps into the public space triggered some unlikely comparisons with the exhibition currently presented at Marsèlleria in Milano.

In 2016, ANTOINE RENARD and LIBBY ROTHFELD were invited by SILIQOON to Bologna to make a work in response to the city and moreover to collaborate with local companies.

The result is an exhibition entitled 1999 which juxtaposes and mingles two works, revealing affinities and provoking unexpected associations while highlighting the individual perspective of each artist.

Nevertheless they both have created works that employ materials and methods from a built environment that seems to engender cryptic, hostile and mystical human activities in the space.

1999 with ANTOINE RENARD and LIBBY ROTHFELD is on view at Marsèlleria, Milano until April 14, 2017.

Irena Haiduk. Against Biography

screen capture from Against Biography (2015)IRENA HAIDUK
on March 28, 2017
image © we find wildness

IRENA HAIDUK is not only against biography but she is also part of the documenta 14 with a project entitled Nine Hour Delay.

Initiated in 2012, the work consists of the distribution of the ergonomic footwear to the workforce of the institution where the project is exhibited. The documenta press release stated that “all those, regardless of gender, who are seduced by the prospect of wearing ergonomic women’s footwear and are employed for documenta 14 are eligible to receive a pair of Borosana Shoes within the rubric of Nine Hour Delay”.

The Borosana shoe was first developed over a nine-year period (1960-69) at Borovo Rubber Industry Headquarters in Vukovar, Yugoslavia. After being designed and tested by the Borovo female workforce and an orthopedic surgeon, the shoe was mandatory for Yugoslav women working in the public sector. Borosana was launched in 1969, in white and navy colors, featuring an ergonomic platform, calculated as ideal for nine hours of standing without hurting the wearer’s spine. In the declining years of Yugoslav communism the model was withdrawn from mass production. Fabrication was abandoned when Vukovar became a war zone in 1991.
Each time this project is exhibited Borosana becomes the official work shoe of the host institution advancing the constructivist maxim of great utilitarian design in service of the working woman. The shoe extends the architecture of labor and provides the wearers with a distinction between labor time and leisure time. Borovo remains the last public Yugoslav infrastructure. The inability to legally split and privatize the company’s public assets prevents Yugoslavia from fully formally splitting to this day. With every new step Yugoslavia persists (insists). – http://yugoexport.com

On March 30, 2017 IRENA HAIDUK will recount the progress of the oral corporation Yugoexport at Parko Eleftherias, Athens Municipality Arts Center (5 pm).

The whole text Against Biography is available here http://yugoexport.com/sitefiles/2_AGAINST_BIOGRAPHY.pdf

 

 

wfw weekend #391

Infection (2017), PAMELA ROSENKRANZ
seen at Fondazione Prada, Milan
on Sunday, March 25, 2017
image © we find wildness

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wfw weekend #390

Structural Psychodrama #3 (2017), MONICA BONVICINI
seen at Galleria Raffaella Cortese, Milan
on Saturday, March 25, 2017
image © we find wildness

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Domenico de Chirico for We Find Wildness #83

all images courtesy of the artist and Société, Berlin

a solo exhibition by NED VENA
on view at Société, Berlin
until April 15, 2017

chosen by curator and editor DOMENICO DE CHIRICO

#laterpost 1993. Olafur Eliasson

Come As You Are, 1993
Courtesy of the artist

Metaphorically and literally blinded by the lights, I never looked at the work of OLAFUR ELIASSON under a witty point of view until I stumbled upon one of his first piece.

Entitled Come As You Are (1993), this installation consisted of a modified projector projecting a horizontal beam of red light at ELIASSON’s eye level onto a doorway in a studio.

I have sensed a danger in phenomenology’s being presented as a kind of truth; there’s a tendency to detach experience from social context by justifying it as a phenomenological situation. And it is a more dynamic conception of phenomenology, of course, that has been a source of inspiration in my work. To me the greatest potential of phenomenology lies in the idea that subjectivity is always susceptible to change. I like to think that my work can return criticality to the viewer as a tool for negotiating and reevaluating the environment—and that this can pave the way for a more causal relationship with our surroundings. – OLAFUR ELIASSON in conversation with ROBERT IRWIN, March 27–28, 2006

Monia Ben Hamouda. Macelleria Antonio Miranda, Milan

Nur Xyderiv (Go Flex), detail, 2017

installation view at Macelleria Antonio Miranda, Milan

Survive, Adapt and Protect (Just Breath), 2017

Survive, Adapt and Protect (Just Breath), 2017

Survive, Adapt and Protect (You’ll Never be Missed), 2017
plastic band, clay, silicone, water, MICHELE GABRIELE’s ‘The Missing Link’

Survive, Adapt and Protect (You’ll Never be Missed), 2017
plastic band, clay, silicone, water, MICHELE GABRIELE’s ‘The Missing Link’

NICOLE COLOMBO, What I think of Miranda, dedicated text, 2017

Survive, Adapt and Protect (Just Breath), 2017 & Survive, Adapt and Protect (You’ll Never be Missed), 2017

Shark. Meat. Demand. Increases, 2017

Shark. Meat. Demand. Increases, detail, 2017

 I’m Just Trying to be Pretty II (Racoon), 2017

 I’m Just Trying to be Pretty II (Racoon), 2017

all images from the exhibition Miranda by MONIA BEN HAMOUDA, Macelleria Antonio Miranda, Milan / March 2017

courtesy the artists and PANE PROJECT

Miranda is the title of the solo exhibition of MONIA BEN HAMOUDA which is taking place into a butcher’s shop of the same name in the centre of Milan.

This exhibition is part of PANE Project, a project run by Milan-based LUCIA LEUCI. PANE Project always took place so far in places where our basic needs such as eating or drinking can be somehow fulfilled.

Miranda by MONIA BEN HAMOUDA is on view at Macelleria Antonio Miranda in Milan until the 21st March 2017.

David Hanes. wfw aware #43

Aware: Hitzefrei (2017), MICHAEL SAILSTORFER
presented at König Galerie, Berlin
shot on March 7, 2017, altered on March 17, 2017 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.

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wfw weekend #389

Ripe Days of Silence (2017), MEGAN ROONEY
seen at Freymond-Guth Fine Arts, Basel
on Saturday, March 18, 2017
image © we find wildness

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wfw weekend #388

outside view into Honeybaked, JAN KIEFER
seen at Salts, Birsfelden/Basel
on Monday, March 13, 2017
image © we find wildness

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The Edmund Felson Gallery can be found in Berlin on Auguststr. 19/67 from March 1st – June 31st Opening hours Thursday 5 – 7pm, Saturday 3 – 5 pm

Look, all this is fraud at Milieu, Bern

Look, all this fraud with VICTORIA ADAM, MARLEN KELLER, JAN KIEFER, DOMINIC MICHEL, ADRIEN MISSIKA, YVES SCHERER, PHILIPP SIMON, PEDRO WIRZ
exhibition view at Milieu, Bern, February – March

all images courtesy of the artists, Milieu and VALENTINA SUTER

 

In law, fraud is deliberate deception to secure unfair or unlawful gain, or to deprive a victim of a legal right. Fraud itself can be a civil wrong (i.e., a fraud victim may sue the fraud perpetrator to avoid the fraud and/or recover monetary compensation), a criminal wrong (i.e., a fraud perpetrator may be prosecuted and imprisoned by governmental authorities) or it may cause no loss of money, property or legal right but still be an element of another civil or criminal wrong. The purpose of fraud may be monetary gain or other benefits, such as obtaining a driver’s license or qualifying for a mortgage by way of false statements.

A hoax is a distinct concept that involves deliberate deception without the intention of gain or of materially damaging or depriving a victim.*

Look, all this fraud with VICTORIA ADAM, MARLEN KELLER, JAN KIEFER, DOMINIC MICHEL, ADRIEN MISSIKA, YVES SCHERER, PHILIPP SIMON, PEDRO WIRZ was on view at Milieu in Bern from February 12 to March 12, 2017

*wikipedia