wfw comix #6

wfw comix, October 2016
all images © JEREMY PININGRE and We Find Wildness

click on the arrows or the dots to navigate the gallery

WFW Comix is a project started earlier this year with French artist JEREMY PININGRE. This is the 6th episode and if you have missed the previous issues, follow this link. If you want to know more about this special commission, it’s here.

one pic wednesday. Edward Kienholz


Jody Jody Jody, 1993-94
photo SISTO LEGNAN, Courtesy Fondazione Prada


In the mid-1950s, EDWARD KIENHOLZ (1927-1994) was part of a generation of artists engaged in multi-disciplinary practices such as gallerist and curator in his native United States. By the end of the decade, KIENHOLZ started to reconstitute a sort of a creepy version of the Madame Tussauds made in US. His life-size installations or tableaux are composed of trashes or found objects as well as figures carrying in place of their face, the signs of their decay, their despair, and their obsessions.

The current exhibition at Fondazione Prada in Milano brings together a selection of artworks realized between 1959 to 1994 by EDWARD KIENHOLZ and NANCY REDDIN KIENHOLZ. The pieces which include installations and sculptures seem to have been frozen in sometimes grotesque, gruesome and somehow literal dramas in which the viewer is whether in a voyeuristic or complicit position.

In an essay, writer and artist DAVID COLOSI who aimed to locate the literary aspect in the work of KIENHOLZ, wrote about the infamous and controversial scene entitled Five Car Stud (1969-1972) that is the centrepiece of the Milanese exhibiton:

The act of looking at a piece of art is a commitment to responsibility:  once s/he has looked, the choice and act are irreversible. (…). To ignore the scene and escape the tent to view the Frankenthaler in the next room implicates the viewer with turning his/her back on the issue; to stay forces one to take a position in relation to it. –

Five Car Stud (1969-1972) is an immersive installation which depicts precisely a scene of racial violence, where four cars and a pickup truck encircle a group of masked men holding down and castrating a black man. His white girlfriend is vomiting and watches helplessly from one of the cars. The license plates read “State of Brotherhood.”

The artwork has been shown in 1972 during the Documenta 5 in Kassel, and has been in storage in Japan for nearly forty years. It is now part of the Prada Collection.

Kienholz: Five Car Stud is on view through 31 December 2016.

Cédric Fargues. Bébéfleurs


exhibition view at New Galerie, Paris, September – October 2016


Serre Christique, 2016
green house, cake, suagar paste, terracotta pot


Bébéfleurs, 2016
framed prints, each 28,5 x 37 cm


Bébéfleurs, 2016
framed print, 28,5 x 37 cm


Bébéfleurs, 2016
framed prints, each 28,5 x 37 cm


Bébéfleurs, 2016
framed print, 28,5 x 37 cm


Bébéfleurs, 2016
framed prints, each 28,5 x 37 cm


Bébéfleurs, 2016
framed print, 28,5 x 37 cm


Bébéfleurs, 2016
framed print, 28,5 x 37 cm


Bébéfleurs, 2016
framed print, 28,5 x 37 cm


Bébéfleurs chapelle, 2016
silicone pots, cake, wooden furniture


Bébéfleurs chapelle (detail), 2016
silicone pots, cake, wooden furniture


Notre-Dame Des Bébéfleurs, 2016
framed print, 85 x 107,5 cm

all images courtesy of the artist and New Galerie, Paris

When the press release is as hallucinatory as the exhibition, it well deserves to be featured entirely:

CEDRIC FARGUES has long remained a mysterious figure. From Figeac, town located in the damaged hills of Lot, his name got attached to aggressive collages of BRITNEY SPEARS’ face (Preteen Gallery, Mexico City, 2010), coquette compositions of pink ribbons (Courtney Blades, Chicago) or wallpaper dedicated to Henry, the vacuum cleaner star of the English housewife in the 1980s (Weekends, Copenhagen). As a seasoned and a little skewed housewife, he bobbles between searching for the perfect cedar candle, TERI HATCHER’s Amazon page and new age specialized forums, transforming his domestic activities into metaphysical experiences. Busy between the classifying flower petals according to their caloric intake, the sweating of a chicken in a jacuzzi of vegetable broth (Artsoup) and the frosting of stigmata shaped cookies (Stigmateye Cookies), he lays the foundation for a return to tradition somewhere between the Catechism of TAYLOR SWIFT and the description of cycles by the practitioner of esotericism JEAN PHAURE. Gardener, beekeeper, ufologist, mystical confectioner or simple diner, CEDRIC FARGUES is the unexpected encounter between DOCTOR FAUSTROLL and BREE VAN DE KAMP, a great inventor of everyday life.

For his exhibition at the New Galerie, fifty-five “baby flowers” collected in the lands of the Causse plateau act as a digital herbarium. Decadent offspring of the photographer KARL BLOSSFELDT, they foreshadow the end of worlds according to him. Violets, thistles and wild orchids are adorned with Facebook stickers to announce the advent of a new era. If their blooms augured the birth of a cycle, they also foretell the fierce design of an apocalypse. Encircling a frayed wooden kindergarten greenhouse, flower babies celebrate the crystallized Christ child. Resurrected by a pastry operation, the newborn is coated, glazed and then finally topped with ornaments. Recalling ROLAND BARTHES discussing recipe cards in Elle magazine, his Christcake is both baroque and commonplace, artificial and irresistibly heavenly in its shroud of sugar. Even if this chemical transformation could have had its place on the kitchen counters of MARTHA STEWART discussing the tone of a baby shower with JOHN WATERS, or in a last minute collaboration between CLAES OLDENBURG and the JONAS BROTHERS, here it is rather the result of a kinship with the alchemist Fulcanelli predicting the ascension of the big event.

In the basement thirty pipettes contain sediment of a past world. Transformed, then liquefied, they exhale chaotic notes: legendary laurel, herbs and sandalwood, moss, and psychedelic mushrooms. Designed with the perfumer ANGELO ORAZIO PREGONI, this oil condenses the vital forces of flower babies. Placed not far from an icon of the VIRGIN MARY, they evoke tears of our Lady of La Salette, the one cited by LEON BLOY with ‘her white dress spangled with straw and its ruined shell of multicolored roses’ that is said to have appeared alone in the Hautes-Alpes.

After the altar, the time of judgment is in the last room. In this Priory, plants proliferate and prophesy the passage in the great Adamic cycle. Bringing together ancient and modern times, liturgy and camp fantasies, their branches run to an unexpected world. An eschatology in short, where in turn cosmic powers, antiquity, Gaga hermeticism and queerituality are summoned.

Bébéfleurs by CEDRIC FARGUES is on view at New Galerie in Paris until October 13, 2016.

wfw weekend #345


Catachresis (2016), AMALIA PICA
seen at Kunstverein Freiburg
on Saturday, October 1, 2016
image © we find wildness

wfw weekend #344


view from the exhibition Mustard, MAGALI REUS
seen at Stedelijk Museum, Amsterdam
on Sunday, September 25, 2016
image © we find wildness

wfw weekend #343


view from the exhibition Slapstick, STEFAAN DHEEDEN
seen at P/////AKT, Amsterdam
on Sunday, September 25, 2016
image © we find wildness

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wfw weekend #342


Slab 72 (Fourteenth Assault), Slab #73 (L’aventura) (2016), MATHEUS ROCHA PITTA
seen in the group exhibition A spear, a spike, a point, a nail, a drip, a drop, the end of the tale
at Ellen de Bruijne Projects, Amsterdam
on Saturday, September 24, 2016
image © we find wildness


one pic wednesday. Liz Magor


Double Cabinet (blue), 2001
polymerised gypsum, cans of beers 23,5 x 68,58 x 43,18 cm
installation view No Fear, No Shame, No Confusion, by Triangle France © Photo : AURELIEN MOLE
private collection, Vancouver

Fairytales have the same interest in finding the animus or the energy in the object, in the material world. I’m doing it not from a religious or ritualistic or a witchy point of view. I’m doing it as a person who has a psychology that’s operating all the time to project and receive meaning from the material world. That’s a business that goes on all day. Like a bat using the walls, using the sonar to sound against the wall to find out how far the wall is. I think a similar process goes on with the objects in a life. That you’re testing your feelings against these things: I like this thing! I hate this thing! I want this thing! This is a beautiful thing. It’s all about me, really. It’s not about that thing. I’m using those things. So what I’m interested in is to stop using things. So when I turn them into sculpture I am stopping their usefulness. It’s no longer a jacket. And when it becomes art, it then becomes free of that sort of endless process of using objects for my ego or for my purposes. I want them to have this integrity of their own where they are recognized as having qualities that are independent of me. – LIZ MAGOR about Double Cabinet (2001) via 

The tension or play between the cast objects and the actual ones in Magor’s small pieces involves a complex relationship between history and memory. One of the elements in the small sculpture Still Alive (2016) is a very used, actual deerskin jacket, such as what might have been worn by the late 1960s, a hippy-era “back-to-the-landers” item in her photo series Field Work (1989). The jacket retains its own history, its marks and scars, and its strange, embroidered, leather-fringed materiality forfeits nothing. – E.C WOODLEY, Liz Magor Waits, But Not For You, August 17, 2016.

Habitude by LIZ MAGOR was presented at the Musée d’art contemporain de Montréal and closed on September 5th. In 2017 MAGOR‘s work will presented at the Migros-Museum für Gegenwartskunst, Zurich and at the Kunstverein in Hamburg.


one message interview #32. Paul Feigelfeld


When PAUL FEIGELFELD is not working at the Digital Cultures Research Lab of Leuphana University in Lüneburg, he is actively developing and discussing the actual media landscape. Catch him via

This question has been taken from the Drawing Room Confessions . Make sure to read the previous one message interviews here

Domenico de Chirico for We Find Wildness #73

all images courtesy of the artist and Minerva, Sydney

Flea, a solo exhibition by LEWIS FIDOCK
on view at Minerva in Sydney
until October 22, 2016

chosen by curator and editor DOMENICO DE CHIRICO

wfw weekend #341


White to rose light, rose to white light over and over, JASON DODGE
seen at Institut d’art contemporain, Villeurbanne
on Wednesday, September 21, 2016
image © we find wildness

wfw weekend #340


as part of the group exhibition Les Epis Girardons
seen at Moly-Sabata Fondation Albert Gleizes, Sablons
on Tuesday, September 20, 2016
image © we find wildness

one pic friday. Daniel Turner


DANIEL TURNER, Particle Processed Cafeteria (2016)
installation view at König Galerie, Berlin

image: ROMAN MÄRZ, courtesy the artist and König Galerie, Berlin

At the question of ‘What have you been up to this summer?American artist DANIEL TURNER answered as rudimentary as a post-internet alchemist would do: ‘reducing a cafeteria into a liquid’*.

Basically DANIEL TURNER salvaged a cafeteria from southeast Virginia which housed an array of public and civic functions. Then the 36 steel folding chairs and 3 collapsible steel/wooden tables have been reduced by hand before being further chemically processed. Finally the cafeteria which has been transformed into particles has been sprayed onto the gallery floor of the Berliner art gallery König.

Particle Processed Cafeteria by DANIEL TURNER is on view until October 30th, 2016 at König Galerie’s St Agnes Nave.


Switchers at fiebach, minninger, Cologne


Switchers, installation view




Switchers, installation view






Switchers, installation view





all images courtesy the artists and fiebach, minninger, Cologne

The art venue fiebach, minninger in Cologne is presenting the group exhibition entitled Switchers.

One of the main element in the exhibition is a white translucent plastic membrane that settles radically he pervasive qualities of virtual space. The show becomes a stage in which the viewer is enveloped within and with the artworks and where there is no possibility of standing outside it.

In a world in which so much human interaction is mediated through electronic and digital technologies, where information exists not in tangible form but in a netherworld known as “the cloud,” it is increasingly difficult for the stage to exist meaningfully as a site of physical and tangible interaction. The new technologies are emphasizing the dematerialization of the stage: the stage as a permeable and ephemeral space that more accurately represents our perception of the experiential world. – ARNOLD ARONSON, The Simulacrum of Reality, 2014

Switchers with FIONA MACKAY, ROBERT BRAMBORA, ANNE FELLNER & BURKHARD BESCHOW, RAHEL PÖTSCH, REAL POSITIVE AND CAMILLA STEINUM is on view at fiebach, minninger in Cologne until October 8, 2016.


David Hanes. wfw aware #37


Aware: after the quiescence of the inorganic worldJUSTIN MATHERLY
presented at Eva Presenhuber, Zürich
shot on September 16, 2016, altered on September 22, 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.