wfw weekend #379

Motif (2015), DELPHINE REIST
seen at Centre Pasquart, Biel
on Wednesday, February 1, 2017
image © we find wildness

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– 

wfw weekend #378

installation view from Demo, PHYLLIDA BARLOW
seen at Kunsthalle Zürich
on Friday, February 3, 2017
image © we find wildness

see also: wfw weekend #357

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Readymade at House Eva Presenhuber, Vnà

front: Grand Prix Viewing Place, 1994, LIAM GILLICK
back: Doctrine of Total War, 2016, LUTZ BACHER
wall left: Things to See and Do (Millenium Bridge), 2017, GILI TAL
wall right: Readymades Belong To Everyone®, 1951 – 1995, PHILIPPE THOMAS
floor: Galerie Eva Presenburger, 2017, MATHIEU MALOUF

wall left: Things to See and Do (Millenium Bridge), 2017, GILI TAL
floor left: Entrance Mat, 2016, GILI TAL (in collaboration with GEORGIE NETELL)
floor right: Galerie Eva Presenburger, 2017, MATHIEU MALOUF
wall back: Untitled (Trashcan), 2011, KLARA LIDÉN

malewithcorporateoppression3, 2013, GEORGIE NETTELL


back: Box Sculpture #2, 2012, MATIAS FALDBAKKEN
floor right: Rivat Lampe Des Kunstlers II, 1989, FRANZ WEST
table: Betrayal of the Mediocre, 2016, MERLIN CARPENTER 


wall left: Le Snobisme, 2008, VALENTIN CARRON
wall (screen): Kate Moss, 1996, KAREN KILIMNIK

all images: Courtesy Galerie Eva Presenhuber, Zurich
photography: MARC ASEKHAME

 

Readymade is an exhibition which brings together LUTZ BACHER, TIMOTHÉE CALAME, MERLIN CARPENTER, VALENTIN CARRON, MATIAS FALDBAKKEN, SYLVIE FLEURY, LIAM GILLICK, KOO JEONG A, PIERRE JOSEPH, KAREN KILIMNIK, ADRIANA LARA, KLARA LIDÉN, MATHIEU MALOUF, GEORGIE NETTEL, OLIVER PAYNE, READYMADES BELONG TO EVERYONE ®, GILI TAL, CHRISTOPHER WILLIAMS and HEIMO ZOBERNIG.

The exhibition curated by FREDI FISCHLI and NIELS OLSEN is presented into the house of Eva Presenhuber in Vnà, Switzerland until March 25, 2017.

If there is a cat in the house, I want to believe its name is Readymade.

Gregor Schneider: Wall Before Wall is on view at Bundeskunsthalle Bonn until February 19, 2017

Hanne Darboven & Charlotte Posenenske at Konrad Fischer Galerie, Berlin

HANNE DARBOVEN and CHARLOTTE POSENENSKE
exhibition view at Konrad Fischer Galerie, Berlin, 2017
behind: HANNE DARBOVEN, Wunschkonzert, 1984
front: CHARLOTTE POSENENSKE, Vierkantrohre Serie DW, 1967
image courtesy of the artists and Konrad Fischer Galerie, Berlin

HANNE DARBOVEN and CHARLOTTE POSENENSKE
exhibition view at Konrad Fischer Galerie, Berlin, 2017
image courtesy of the artists and Konrad Fischer Galerie, Berlin

HANNE DARBOVEN and CHARLOTTE POSENENSKE
exhibition view at Konrad Fischer Galerie, Berlin, 2017
image courtesy of the artists and Konrad Fischer Galerie, Berlin

HANNE DARBOVEN, Wunschkonzert, 1984
image courtesy of the artists and Konrad Fischer Galerie, Berlin

HANNE DARBOVEN and CHARLOTTE POSENENSKE
exhibition view at Konrad Fischer Galerie, Berlin, 2017
behind: HANNE DARBOVEN, Wunschkonzert, 1984
front: CHARLOTTE POSENENSKE, Vierkantrohre Serie DW, 1967
image courtesy of the artists and Konrad Fischer Galerie, Berlin

HANNE DARBOVEN and CHARLOTTE POSENENSKE
exhibition view at Konrad Fischer Galerie, Berlin, 2017
behind: HANNE DARBOVEN, Wunschkonzert, 1984
front: CHARLOTTE POSENENSKE, Vierkantrohre Serie DW, 1967
image courtesy of the artists and Konrad Fischer Galerie, Berlin

CHARLOTTE POSENENSKE, Vierkantrohre Serie DW, 1967
image courtesy of the artists and Konrad Fischer Galerie, Berlin

HANNE DARBOVEN and CHARLOTTE POSENENSKE
exhibition view at Konrad Fischer Galerie, Berlin, 2017
behind: HANNE DARBOVEN, Wunschkonzert, 1984
front: CHARLOTTE POSENENSKE, Vierkantrohre Serie DW, 1967
image courtesy of the artists and Konrad Fischer Galerie, Berlin

The images above are actually showing a reenactment of an exhibition that took place in 1967 at the Konrad Fischer Galerie located at that period in Düsseldorf. The show in the sixties presented the work of CHARLOTTE POSENENSKE (1930-1985) with four modules from the series Vierkantrohre Serie and DW (1967) as well as the 120 drawings Konstruktionen (1966-1967) by HANNE DARBOVEN (1941-2009).

Fifty years later the pieces are not exactly the same as they were. Nor the location. The walls are still occupied with DARBOVEN‘s work but this time with the major composition entitled Wunschkonzert Opus 17A und B, Opus 18A und B (1984) as well as the work 42/100 Ein Jahrhundert ABC (2002).

Wunschkonzert (1984) is divided into four parts: Opus 17A and B, and Opus 18 A and B. Each opus is comprised of 36 poems, structured vertically in rows of 7. Every poem comprises of six pages including a title page on which a greeting card (for the occasion of a Christian confirmation) has been collaged. Eventually the work consists of 1009 pages of uniform size. The title refers to the Sunday afternoon musical request programme of the Norddeutscher Rundfunk radio station where felicitations are transmitted also.

“The work 42/100 Ein Jahrhundert ABC (2002), comprising 72 panels, is arranged in three parts. According to her own notation and calculation system which she developed in the late 60s, HANNE DARBOVEN uses various graphical representations to depict the timespan of the 20th century”. *

As for the Vierkantrohre Serie (1967) as well as the DW (1968) by POSENENSKE, this body of work has been conceived with the idea that the curators or buyers can arbitrarily assemble and change the installation. The number of unit parts incorporated in each iteration of the work is not defined, meaning that they can be fashioned to fit a space, or continued indefinitely.

I make series
because I do not want to make individual pieces for individuals,
in order to have elements combinable within a system,
in order to make something that is repeatable, objective,
and because it is economical.
The series can be prototypes for mass-production.

They are less and less recognisable as ‘works of art.’
The objects are intended to represent anything other than what they are.

– CHARLOTTE POSENENSKE, ‘Statement’, Art International, no.5, May 1968, p.50

Someone has to reenact this exhibition in 2067.  Meanwhile HANNE DARBOVEN CHARLOTTE POSENENSKE is on view at Konrad Fischer Galerie in Berlin until February 25, 2017.

*press release

one pic tuesday. Nicole Wermers

Moodboard #7, 2017
cast terrazzo in baby changing unit, 21 x 34 x 21 in / 53.3 x 86.4 x 53.3 cm

image courtesy of the artist and Jessica Silverman Gallery

Today’s pic shows a work by NICOLE WERMERS that is currently on view in her solo exhibition Grundstück.

Entitled Mood Boards (2016-2017) the work consists of a series of wall-hung baby-changing stations filled with different types of terrazzo.

Terrazzo is an affordable imitation of marble which was developed in Venice over 500 years ago. Just like the foldable baby stations, this type of flooring is often used in public buildings or apartment buildings among others. The combination of those both materials which are reminiscent of middle-class banality, seems to serve as a viscera in moving through questions of class, culture, and gender.

Grundstück by NICOLE WERMERS is on view at Jessica Silverman Gallery in San Francisco until February 18, 2017.

.

These photographs are primarily operative on the level of their content, which is less the subjects depicted or any psychology their bodies might convey but, rather, the gamut of technical tropes and possibilities within studio photography today. And it is through this seeming evacuation of conventional content via formal manipulation, that these shots shed light on our current relation to the world of images. – ILYA LIPKIN on the Photographic Real, 30 January 2017, Texte Zur Kunst

 

Andrea Fraser

Essential: ANDREA FRASER spoke to DELIA BAJO and BRAINARD CAREY on October 1, 2004 about her work Untitled (2003).The work consists of a DVD in an edition of five showing FRASER having a sexual encounter with a collector who was contractually bound to sleep with her. Untitled (2003) is a ‘silent, unedited, sixty-minute document shot in a hotel room with a stationary camera and existing lighting‘.

Read the whole interview via http://brooklynrail.org/2004/10/art/andrea-fraser

wfw weekend #377

Should I make you a bank transfer?

________________

It’s not me, it’s the culture.

________________

His home in Miami is so gestalt and ungestalt at the same time.

________________

I’m painting a lot, it really impresses people .

________________

I am not queuing !

________________

I am looking for a neon.

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His wife sent us a mail by error, if you receive it, do not open it !

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When I arrive on my booth, I am scared.

________________

Is the guy already disabling his booth?

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The business card is like a pizza margarita: if it is good you can try the rest !

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I don’t know what I have but I am a real hit today.

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You should come for the cheese degustation tonight, those are in plaster!

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It’s a mix of fascism and wallpaper.

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When did you become known?

________________

This is the booth for our soap opera !

________________

I showed them those great dried drops on Franz West’s piece. They did not give a fuck.

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It’s a place of work, the keyword is resistance !

________________

I am waiting for the next big ego artist.

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She is so young and so successful, its good to know it can happen.

________________

Even your credit card is cold.

________________

You forgot an art piece in a train, you are definitely more artist than curator.

________________

she had a minuscule fame in 2000.

a selection of snippets of overhead conversations
gleaned at Art Geneva
on Friday, January 28, 2017 from 12.21 pm to 14.57 pm

wfw weekend #376

TOM OF FINLAND animated by XAVER XYLOPHON
for DJ Hell ‘I want U‘, December 2016
video courtesy Gigolo Records

 

wfw weekend #375

Untitled (2014), JOEL SHAPIRO
seen at Kunstmuseum Winterthur
on Thursday, January 26, 2017
image © we find wildness

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one message interview #37. Marguerite Humeau

MARGUERITE HUMEAU is currently based in London. Her most recent exhibition, entitled FOXP2 was on view at Palais de Tokyo in Paris last year, before heading to Nottingham Contemporary, where it was on view until January 15, 2017. In a few months, she will present a solo exhibition at Haus Konstruktiv in Zürich as recipient of the 2017 Zürich Art Prize.

http://margueritehumeau.com

Please note that this question has been stolen from the discussion between ANTON VIDOKLE and ARSENY ZHILYAEV that has been published on e-flux under the title Art Without Death.

Read the previous one message interviews here.

Domenico de Chirico for We Find Wildness #79


all images courtesy the artist and Christian Andersen, Copenhagen

Steven, a solo exhibition by SVEN LOVEN
on view at Christian Andersen in Copenhagen
until March 11, 2017

chosen by curator and editor DOMENICO DE CHIRICO

one pic tuesday. Lina Viste Grønli

Slipper, 2017
slipper, pebbles, glue, 31 x 10 x 10 cm

image courtesy of the artist and Gaudel de Stampa, Paris


Temporal positioning of events with respect to the transitory present is continually changing; future events become present, then pass further and further into the past.

Or, the temporal position of events become more present, then pass further into the transitory present, then pass further and further and further into the past.*

LINA VISTE GRØNLI‘ solo exhibition entitled Ygoloeahcra is on view at Gaudel de Stampa, Paris until February 24, 2017.

*press release Gaudel de Stampa

wfw weekend #374

detail from Untitled (2016), JAROMÍR NOVOTNÝ
seen at Hunt Kastner, Prague
on Saturday, January 21, 2017
image © we find wildness

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