Christopher Williams: The 19th Draft

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I am obviously late to the game since CHRISTOPHER WILLIAMSfirst retrospective at MoMA closed last week but I really recommend to read this conversation between the American artist and  DAVID ANDREW TASMAN together with CATHERINE TAFT.

After its presentation at MoMA, the exhibition travels to Whitechapel Gallery, London in 2015. Note also that the exhibition was accompanied by a publication which seems to be really interesting. Meanwhile you can read the entire conversation via http://dismagazine.com/discussion/69719/christopher-williams-the-19th-draft/.

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one pic friday. Valentin Carron

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The Dawn, 2014
polystyrene, fibre glass, acrylic paint, acrylic resin
138.5 x 76.5 x 51.5 cm. (54.5 x 30.1 x 20.3 in.)

image courtesy of the artist and Eva Presenhuber, Zürich

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This is The Dawn (2014), a sculpture by Swiss artist VALENTIN CARRON which is currently making small waves in the art pond. Presented at the FIAC last month, the sculpture has been highly inspired by l’Aube (1977), a sculpture by Italian artist FRANCESCO MARINO DI TEANA (1920-2012) presented in the public space of Neuchâtel.

His meticulous version is not a forgery, nor is it an homage. But VALENTIN CARRON‘s piece is very interesting for all the questions that rise from it about visual illusion, originality, authorship, the interior structures of art and image culture, and the limitations of any history of art wedded to the image.

Nothing comes from nothing. Someone, somewhere, is doubtless repeating CARRON. The cycle is endless. However the swiss artist seems to get involved in a legal dispute, à suivre!

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source: rts

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Alex Ito & Erika Ceruzzi. Jardin n°19

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Jardin N°19, installation view at Springsteen Gallery, Baltimore
October-November 2014

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Jardin N°19, installation view at Springsteen Gallery, Baltimore
October-November 2014

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ERIKA CERUZZI, City (four-ten), 2014
vinyl, embroidery, dyed canvas 2014

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ERIKA CERUZZI, Denise (detail), 2014  

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ALEX ITO, In Denial of Falling (fair-weather friends), 2014
aluminum, stainless steel, glass, digital vinyl print, digital fabric print, resin, ceramic, moss, wood, and plaster 2014

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ALEX ITO, In Denial of Falling (fair-weather friends), 2014
aluminum, stainless steel, glass, digital vinyl print, digital fabric print, resin, ceramic, moss, wood, and plaster 2014

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ALEX ITO, In Denial of Falling (fair-weather friends), 2014
aluminum, stainless steel, glass, digital vinyl print, digital fabric print, resin, ceramic, moss, wood, and plaster 2014

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Jardin N°19, installation view at Springsteen Gallery, Baltimore
October-November 2014

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ALEX ITO, There is Always an Excuse, 2014
UV curable ink and metal etch on aluminum panel 2014

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ALEX ITO, Think of Me Fondly (touching myself at work), 2014
aluminum, stainless steel, glass, digital vinyl print, digital fabric print, resin, wood, and plaster 2014

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ALEX ITO, Think of Me Fondly (touching myself at work), 2014
aluminum, stainless steel, glass, digital vinyl print, digital fabric print, resin, wood, and plaster 2014

all images courtesy of the artists and Springsteen Gallery, Baltimore

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Jardin n°19, an exhibition of ALEX ITO and ERIKA CERUZZI, captures the tensions between a natural environment that bears the mark of social and economic structures and synthetic material culture. CERUZZI’s hanging horizontal rail system that navigates through the space has a visceral presence, and her unique embroidery works echo the basic assumptions of the artist’s creative path. In contrast, ITO displays his concerns in two sculptures and a series of wall works, all engaged with the existence of the photographic image in a dematerialized format.

There is a graceful synchronicity between these two artists’ work: according to the press release, at a singular point in CERUZZI’s structure, a vertical pole drops to meet with one of ITO’s floor sculptures which acts as a stage for his objects; taking the form of a planter filled with artificially produced floral elements. The peculiar, tortuous growth of the plant towards the square floor sculpture traps the viewer between sculpture and decoration, technological objectivity and human hand, present and idealized representation.

ERIKA CERUZZI (b. 1990) is a New York based artist who has recently relocated to Baltimore, MD. She received her BFA from Cooper Union in 2012. Her recent solo show, m, i, n, e, at Interstate Gallery, Brooklyn, NY, opened in March 2014.  She will participate in the The Still House Group residency program in 2015.

ALEX ITO (b.1991) is an American artist living and working in Brooklyn, NY. Ito received his BFA from Pratt Institute, Brooklyn, NY in 2013, with a double minor in Art History and Cultural Studies. Recent solo and two-person projects include Rod Barton Gallery, London, UK (2014), The Home Tao Tsiao, Art in General, NY (2014); Think of Me Fondly, Water McBeer Gallery (2014); Single Image (with Brendan Lynch), Steve Turner Contemporary, Los Angeles, CA (2014) and Victory, The Still House Group, Redhook, NY (2013). 

→ Jardin n°19 by ALEX ITO and ERIKA CERUZZI is on view at Springsteen Gallery in Baltimore until November 28, 2014

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wfw weekend #159

shirana

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view from the solo exhibition of Iranian-born artist SHIRANA SHAHBAZI
presented at Kunsthalle Bern
seen on Saturday, October 25, 2014
image © wfw

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Monstera is on view until December 7, 2014

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wfw weekend #158

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Sediment Sampling (2014, unfired clay, water) by KARIN LEHMANN
seen at Kunst Raum Riehen in the  group exhibition Narrativ / Performativ*
on Friday, October 24, 2014
image © wfw

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*running through November 9, 2014

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one pic thursday. Shahryar Nashat

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video still from Hustle in Hand, 2014
HD video, color, sound, 10’20’’
courtesy SHAHRYAR NASHAT; Rodeo Gallery, Istanbul; Silberkuppe, Berlin, Museen Dahlem

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This is a still from a recent video (click on the still to watch it) by the Berlin-based artist SHAHRYAR NASHAT (b.1975), called Hustle in Hand (2014). This video is the base of his current installation presented at the Palais de Tokyo in Paris at the moment.

‘Hustle in Hand’ (2014) revolves around secret negotiations carried out between two characters, only their torsos visible in the frame. Money, food, appearances, consumption: the viewer is pulled into a round of transactions, like a rumination on our society in which art occupies a coveted position. The film’s rhythm is suddenly interrupted by the appearance of a green polyhedron that, once licked by one of the mysterious protagonists, becomes golden yellow, a magical event accompanied by an intense swelling of violin music*.

SHAHRYAR NASHAT, Lauréat du Prix Lafayette 2013, is on view at the Palais de Tokyo in Paris until November 23, 2014

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*from the Palais de Tokyo’s press release

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Hannah Black. Further Materials Toward a Theory of the Hot Babe

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I highly recommend to read Further Materials towards a theory of the hot babe, an essay by artist and writer HANNAH BLACK, that she calls a performance text and in which she describes the intangibility that characterizes the hot babe.

Further Materials towards a theory of the hot babe has been released on The New Inquiry in July 2013, read the entire text via http://thenewinquiry.com/essays/further-materials-toward-a-theory-of-the-hot-babe/

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Amalia Ulman. Excellences & Perfections

Do You Follow? Art in Circulation, copresented in London by Rhizome and the ICA
on 17 October 2014

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The video above shows artist AMALIA ULMAN discussing her project Excellences & Perfections last week as part of Do You Follow? Art in Circulation, a series of talks copresented in London by Rhizome and the ICA.

Excellences & Perfections is a fascinating performance, actually a social media performance which started in April 2014 via ULMAN‘s instagram and facebook profiles and which lasted till September 2014. During these couple of months, ‘she allowed her profiles to be exactly what social media seems to demand—that she be a “Hot Babe.” As part of this project, she underwent an extreme, semi-fictionalized makeover: she pretended to have a breast augmentation, posting images of herself in a hospital gown and with a bandaged chest, using a padded bra and Photoshop to manipulate her image. (…) ULMANs Instagram account is a parade of carefully arranged flowers and expensive lingerie and highly groomed interiors and perfectly plated brunches‘*.

As an active instagram user,  I followed AMALIA ULMAN and I unfollowed her in July 2014 after thinking that she had probably lost her mind (!). Of course, Instagram, like all social media, is about presenting a carefully chosen version of yourself, but what’s very interesting about this performance, is to see how social media have blurred our old logic of authenticity, and finally how it keep us tied to clichés.

➝ Excellences & Perfections is presented as part of First Look, the ongoing series of digital projects co-curated and copresented by Rhizome and the New Museum (on view here). Additionally I really recommend you to catch in person her solo exhibition The Destruction of Experience which is currently on view at Evelyn Yard in London through November 13th.

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*from rhizome

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wfw weekend #157

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click here for a wider view

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detail from Socketing in the Digital Age 2 (2014) by JANA EULER
seen at Kunsthalle Zürich
on Friday, October 17, 2014
image © wfw

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JANA EULER, Where the energy comes from, is on view until November 9, 2014

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wfw weekend #156

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detail from the exhibition Legacy
by JACENT VAROYM (JADE FOURÈS-VARNIER and VINCENT DE HOŸM)
presented at Lokal-Int, Biel
on Thursday, October 16, 2014
image © wfw

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