wfw weekend #188

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view from the group exhibition Clouds in the Cave
with FLORIAN AUERNEÏL BELOUFAALAN BOGANA & MARTA RINIKER-RADICH, CARMEN GHEORGHE, AURÉLIEN MOLE & SYNDICAT, ARTIE VIERKANT and PHILLIP ZACH
presented at Fri Art, Fribourg
image © wfw

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Clouds in the Cave is on view till May 3, 2015

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Austin Lee. No Fair

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all images:
AUSTIN LEE, No Fair, exhibition views at Isbrytaren, Stockholm
courtesy the artist and Carl Kostyál, Stockholm

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No Fair is the new solo exhibition of American artist AUSTIN LEE that opened last weekend at the artist-run space called Isbrytaren in Stockholm.

There is little information about the exhibition but it seems that the show clearly follows LEE‘s grotesque and bold approach to painting. No Fair consists of a series of 3D printed portraits as well as new paintings including large works applied directly on the gallery walls.

LEE often begins his process by using an iPad to make digital drawings. Drawing, perhaps one of the quickest ways for an artist to translate a thought into something visual, is made almost immediate by sketching with the iPad. Drawing and erasing become swiping and undoing, enabling the ability to endlessly render and alter images. This method of working is inherently more visceral than analog drawing techniques, in that the hand is actually freer, unrestrained, and spontaneous, yielding entirely expressive results from what seem to be the simplest of lines. Mistakes, chance, and the accidental thus become central to Lee’s playful and curious explorations on and through the screen, and subsequently on canvas.  – KERRY DORAN, January 2014

Like for his previous works and exhibitions, he combined different painting styles and techniques on the same pictorial medium, lush and liberal application of color as well as different sizes of formats, which thus undermine traditional positions in painting with a tongue in cheek attitude.

No Fair by AUSTIN LEE is on view at Isbrytaren in Stockholm until April 3, 2015.

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Oscar Tuazon at Le Consortium

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Goodbye, 2008
dome, tents, nylon, duct, tape 396.24 x 231.14 x 152.4 cm

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installation view at Le Consortium Dijon, February 2015

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installation view at Le Consortium Dijon, February 2015

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installation view at Le Consortium Dijon, February 2015

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Stand In, 2013
plaster, grey paint, fiber glass, steel 165,5 x 165,5 x 5 cm, 150 kg

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Steel, oak post, office chair, 2011
steel, wood, chair 154 x 142 x 83 cm

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It is it, 2015
marble tiles

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Numbers, 2012
steel, screws, 240 x 360 x 240 cm

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WORK NOW, 2011- 2012
styrofoam, wood, concrete, mirror, 228 x 90 x 50 cm

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installation view at Le Consortium Dijon, February 2015

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4 frames / What’s a wall, 2015
wood, steel section, 4 plaster panels, approx. 350 x 322 x 21,5 cm

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Real Effects, 2015
concrete 171,5 x 1,133 x 10,5 cm

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Real Effects, 2015 (detail)
concrete 171,5 x 1,133 x 10,5 cm

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installation view at Le Consortium Dijon, February 2015

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Scott Burton (version 1), 2012
concrete 106 x 50 x 86 cm

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Scott Burton (version 2), 2012
concrete 106 x 50 x 86 cm

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installation view at Le Consortium Dijon, February 2015

all images © wfw

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This feature is part of the ongoing collaboration with Novembre Magazine who presents more view of the exhibitions on http://novembremagazine.com/oscar-tuazon-studio-at-le-consortium-dijon

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For his first survey in an institution in France, American artist OSCAR TUAZON (b.1975) presents new and previous sculptural interventions that revolve around his investigations on the fields of architecture, sculpture, and performance.

The exhibition, titled Studio, fills the two-thirds of the Centre d’Art in Dijon with works that might be best described as sculptures in an abandoned construction site after dark. On both levels of the art center, visitors encounter a series of objects and structures that he mainly constructed on the exhibition site with materials that were available there because TUAZON is a doer or at least he is truly interested in the physical process of constructing something rather that in design as he explained*. Just like a scientist, he likes using the properties of these fund materials and let them dictate the resulting work.  Often in wood, metal, stone, and concrete, the results which look very contemporary nevertheless straddle the fashionable and divide between outsider and insider, self-taught and educated, trash and assemblage, and among art, craft and design.

What’s even more striking than the works which cover the spectrum between found and made in a fresh way, is how the pieces discuss together and engage ingeniously with the existing architecture of the Consortium. Each room appears to have the perfect portion of art properly placed in the proper amount of space enabling the works to not be contemporary art cliches but to offer a multitude of lessons in looking.

Studio by OSCAR TUAZON is on view at Le Consortium in Dijon till May 17, 2015

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Domenico de Chirico pick #5

all images courtesy the artist and Ginerva Gambino, Cologne

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Crawler, a solo exhibition by French artist AUDE PARISET
presented at Ginerva Gambino in Cologne, Germany
on view till March 28, 2015

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chosen by curator and editor DOMENICO DE CHIRICO

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Benjamin Bratton. Machine Vision

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Sociological, media, and design theorist BENJAMIN BRATTON talks to MIKE PEPI and MARVIN JORDAN from DIS Magazine about his recent researches revolving around what he calls the ‘planetary-scale computation’ (basically a new geopolitical architecture on how we divide up the world into sovereign space), but also more generally about ‘the digital’, and contemporary art.

A really interesting discussion, may be not so easy to grasp but that I really recommend to read via http://dismagazine.com/issues/73272/benjamin-bratton-machine-vision/

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one pic monday. Stephanie Cherpin

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C’est déjà un abri, 2015
exhibition view from Foreign Parts at l’Assaut de la la menuiserie, St Etienne
photo: CYRILLE CAUVET 

image courtesy the artist

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‘C’est déjà un abri’ or ‘it’s already a shelter’ is a work by French artist STEPHANIE CHERPIN which is probably the central piece of her new solo exhibition entitled Foreign Parts currently presented at the art space L’Assaut de la Menuiserie on the occasion of the Biennale Internationale Design of Saint-Etienne in France.

For this exhibition, but like much of her previous works, STEPHANIE CHERPIN constructed a series of sculptures out of industrial and common materials, that she did not hesitate to put together in such a way as to endow them with a completely different dimension. More specifically Foreign Parts consists of camping materials such as tents, tarps as well as metallic structures, tools, or even tar that she took to pieces, dismembered, ripped up to eventually patched, glued and resewn them back together.

Bringing to mind ruins of sculptures, the works featured in Foreign Parts seem to deal with decay, decline and post-apocalyptic feelings, but at the same time it expresses an incredible sense of beauty, an exceptional attention to materials, colour and an undoubtedly fragility.

Foreign Parts by STEPHANIE CHERPIN is on view at L’Assaut de la Menuiserie in St Etienne until April 11, 2015. More infos about the Biennale Internationale Design of St Etienne here.

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found via

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wfw weekend #187

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Christiane (2015, oyster, glue, plastic eyes) by FABIAN BOSCHUNG
seen in the group exhibition Swamp Thing*
presented at Schwarzwaldallee, Basel
on Saturday, March 7, 2015
image © wfw

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follow We Find Wildness on instagram to see more photos from the exhibitions I see

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* this exhibition is on view till April 18, 2015

 

wfw weekend #186

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a glimpse into the studio of Swiss artist VALENTINA STIEGER
visited on Friday, March 13, 2015
image © wfw

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the entire visit will be on view in a few days on wfw, stay tuned!

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Domenico de Chirico pick #4

all images courtesy the artist and the Oldenburger Kunstverein, Oldenburg
photo credit: NICK ASH

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Think Thank, a solo exhibition by HENNING STRASSBURGER
on view at Oldenburger Kunstverein, Oldenburg (Germany)
until Sunday, April 12, 2015
more infos via http://www.oldenburger-kunstverein.de/

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Additionally HENNING STRASSBURGER wrote a novel for this exhibition. You can view a video of him reading a short part at the opening and a second one that shows an excerpt of his video installation.

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chosen by curator and editor DOMENICO DE CHIRICO

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AIRBNB Pavilion. Schöner Wohnen

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all images:
Schöner Wohnen, installation views at Armada, Milan
Courtesy of armada, Milan. Photo by BEPPE RASO

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AIRBNB Pavilion is a London-based collective founded by architects FABRIZIO BALLABIO, ALESSANDRO BAVA, LUIS ORTEGA GOVELA and OCTAVE PERRAULT and which is best known for having interfered the Architecture Biennale in Venice in 2014 by creating a series of unofficial exhibitions held in rented Airbnb apartments across Venice.

Like this previous project, Schöner Wohnen, currently presented at Armada, examines displays of domesticity as constructed through spaces, things as well as through media platforms. More specifically this single installation investigates ‘on the status of domestic objects as (biographical) signifiers of our dwelling selves in an age of savage mediatic reproduction‘ according to the press release.

Schöner Wohnen consists basically of filling the Milan’s art space with furniture and decoration borrowed from members of Armada. The title of the exhibition refers to publications or department stores instructing consumers on how to make the best dinners, living rooms, or lifestyles, and eventually leads the whole exhibition into the critical perspective on how the notion of domestic space, and all it encapsulates, has been redefined in contemporary culture.

Schöner Wohnen by AIRBNB Pavilion is on view at Armada in Milano till March 29, 2015

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