one pic monday. Elaine Cameron-Weir

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venus anadyomene, 2014
5 similar pieces each consisting of:
giant clam shell, neon tubing, transformer, high-fire ceramic vessel filled with olive oil, wick, flame, sand, mica, frankincense, benzoin, myrrh, brass
installation view at Ramiken Crucible, April 2014, New York

image courtesy of the artist

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ELAINE CAMERON-WEIR’s venus anadyomene is on display in the group exhibition Flat Neighbors at the Rachel Uffner Gallery in New York. Each piece consists of a suspended giant clam shell, edged with neon tubing, and high-fire ceramic vessel each filled with olive oil, sand, mica, and resins of Benzoin, Myrrh as well as Frankincenses that are being heated over a flame releasing their aroma.

I’m not trying to create decorated spaces by any means, but I am interested in that spirit of figuring out how to create a presence, or an atmosphere, using the relationships between objects, rather than a superficial strategy of merely pointing things out to people and asking if they also see those things. And when I work with scent, the idea of what scent it will be evolves alongside the idea of the object. I never make a sculpture and then decide to add a smell. If I’m making a sculpture that was never intended to be scented it never is scented. I’m not trying to illustrate glamour. – ELAINE CAMERON-WEIR in conversation with ISLA LEAVER-YAP

➝  Flat Neighbors is on view at Rachel Uffner Gallery in New York until October 19, 2014

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wfw weekend #154

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view from the exhibition ‘GAETANO PESCE, The Time of Diversity
seen at MAXXI – National Museum of the 21st Century Arts in Rome, Italy
on Sunday, September 28, 2014
image © wfw

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Lena Henke. DIE

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Loukanikos, 2014
megafineart-print auf hahnemühle photorag baryta, 90 × 120 cm

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Upper Part (head) + Relief VI ( square) + Relief VII (small package), 2014
epoxy resin, metal chain, 104 × 120 × 59 cm

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Upper Part (head) + Relief VI ( square) + Relief VII (small package), 2014
epoxy resin, metal chain, 104 × 120 × 59 cm

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Upper Part (head) + Relief VI ( square) + Relief VII (small package), 2014
epoxy resin, metal chain, 104 × 120 × 59 cm

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LENA HENKE, DIE, exhibition view at Parisa Kind, Frankfurt

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Theodoris, 2014
megafineart-print auf hahnemühle photorag baryta, 90 × 120 cm

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LENA HENKE, DIE, exhibition view at Parisa Kind, Frankfurt

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Relief IV (medium package), 2014 (epoxy resin, metal chain, 46 × 25 × 16 cm)

Relief II (large helmet), 2014 (epoxy resin, metal chain, 38 × 22 × 20 cm)

Relief I (large package), 2014 (epoxy resin, metal chain, 45 × 38 × 17 cm)

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Lower Part (legs), 2014
epoxy resin, metal chain, 93 × 98 × 81 cm

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Middle Part (ass) + Relief V (pyramid), 2014
epoxy resin, metal chain, 71 × 109 × 59 cm

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LENA HENKE, DIE, exhibition view at Parisa Kind, Frankfurt

all images courtesy the artist and Parisa Kind, Frankfurt

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DIE is the title of the new solo exhibition of German artist LENA HENKE which brings together new photographs, sculptures and installations within the gallery space of Parisa Kind in Frankfurt, Germany. There is little information about the show apart a poem by PABLO LARIOS, but it seems that HENKE’s images all occupy three dimensions, pushing photography into full object-hood just as sculpture may erode into the pictorial.

LENA HENKE has held solo exhibitions with Real Fine Arts, New York; Neuer Aachener Kunstverein, Aachen; Galerie Parisa Kind, Frankfurt am Main; Kunstverein Oldenburg, Oldenburg; and 1857, Oslo. She has participated in group exhibitions held with Greene Naftali, New York; Pro Choice, Vienna; and the Glasgow International, Glasgow. Together with artist MARIE KARLBERG, she co-founded the itinerant curatorial project M/L Artspace, which has mounted exhibitions in such locations as a nail salon and a parking lot under the Brooklyn-Queens Expressway. HENKE completed her MFA dually at at the Städelschule, Frankfurt am Main and the Glasgow School of Art, Glasgow. She lives and works between in New York.

DIE  is on view at Galerie Parisa Kind in Frankfurt until October 18, 2014. Please note that HENKE will present her work during the FIAC in Paris (Lafayette Sector) that will take place from October 23 to October 26, 2014.

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Neïl Beloufa

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On the occasion of his new solo exhibition entitled Counting on People at ICA London, French-Algerian artist NEÏL BELOUFA talks in the October issue of Artforum about the works presented in the exhibition which premiers two new films Data for Desire (2014) and VENGEANCE (2014) as well as a special commission by the ICA and The Banff Centre (Canada) entitled Home is Whenever I’m with You (2014).

Like his previous displays, the space at ICA seems to be filled with a sprawling array of objects, structures, cabling punctuated by screens playing BELOUFA‘s films. 

Read the entire text here, and be sure to catch the show in person before it closes on November 16th.

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one pic wednesday. Enzo Cucchi & Tristano di Robilant

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Parapetto, exhibition view at The National Exemplar, New York

wall:
Untitled (Arezzo), 2014 (oil on linen, 86″x 124″)
Untitled (Arezzo), 2014 (oil on linen, 77″x 38″)

pedestal:
China Mountain (small), 2013 (glass, 16 1/4″x 6″x 6 1/2″)
Shade Shelter (bronze, 7″x 15 1/2″x 6 1/2″)

floor:
Nestor’s Tub Variation (terracota, 9 3/4″x 22″x 14″)
image courtesy the artists and The National Exemplar, NY

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This is a view from the exhibition Parapetto by Italian painter ENZO CUCCHI (born 1949) and ceramic/ glass artist TRISTANO DI ROBILANT (born 1964) that opened a month ago at The National Exemplar Gallery in New York. Parapetto is – according to the press release – a term used in religious paintings for the dividing line or wall that separates the temporal space of the viewer from the religious/mystical space of the painting.

Parapetto is on view until October 20, 2014 at The National Exemplar, New York

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Touching the Art

Touching the Art – Episode 1 – CATHERINE OPIE, BETTINA KOREK, JORI FINKEL

Touching the Art – Episode 2 – Postmodernism, Post-Net & the Art Market

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There’s a new web talk show called Touching the Art which is moderated by CASEY JANE ELLISON, an American comedian and artist who becomes for the show the perfect art-world cliche – snobby, bored and falsely cool. The guests of the show (only women) discussed topics range from art and celebrity to gender politics to the art market. We’ve already caught appearances from photographer CATHERINE OPIE, artist MARY WEATHERFORD as well as New York Times critic JORI FINKEl among others.

The result is pretty funny and satirical (and yeah…entertaining), while at the same time poses actually interesting questions. Though we’re only two episodes in, but I like what I’ve seen so far.

Find out more on youtube or via http://www.ovationtv.com/touching-the-art/ (note that future episodes will coincide with and cover timely topics and events such as Miami Basel, The Armory Show, etc.).

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wfw weekend #153

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Nase (2013, steel tube) by Swiss artist ERIK STEINBRECHER
from his solo exhibition at Kunsthaus Baselland, Muttenz/Basel
seen on Sunday, September 21, 2014
image © wfw

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this exhibiton is on view until November 16, 2014

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wfw weekend #152

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view from the installation by poet and critic QUINN LATIMER and British artist MEGAN ROONEY
for the exhibiton Der Leone Have Sept Cabeças
seen at Crac Alsace, Altkirch
on Friday, September 19, 2014
image © wfw

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one pic friday. Adam Cruces

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Un Coucher de Soleil, 2014
installation view at Exo, Paris
image courtesy of the artist

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A few days ago, the art space Exo in Paris opened their new show entitled Un Coucher de Soleil; a solo exhibition by American artist ADAM CRUCES  (1985) whose work – objects, sculptures, installations, videos as well as online works –  explores the depths and shallows of globalized vernacular culture, specifically the design and substances developed for consumption.

Un Coucher de Soleil is currently on view at Exo in Paris. Please note that a limited edition book is published at every exhibition, more info via http://www.exoexo.fr/happyexo_sunset.html

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Oliver Clément. Permanent Present / Prospection on surroundings

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untitled (“looks like the sea” after Fellini, athletics reception mat), 2014

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untitled (helix, houseplant), 2013

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untitled (cloud, window), 2014

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mesh

untitled (mesh, trampoline net), 2014

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untitled (lamp post), 2014

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untitled (mailbox), 2013

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untitled (spinnennetz), 2013

all images from the series Permanent Present

© OLIVER CLEMENT

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Permanent Present is photographic series by OLIVER CLÉMENT (1978)  –  a former engineer in the field of biomedical research who finally graduated from the Ecole Nationale Supérieure de la Photographie d’Arles in 2009  –  that hovers on the boundary between the familiar and the strange, where something doesn’t feel right, or where something doesn’t look like what it seems to be, thanks to the precise compositions and the distinct look of OLIVER.

I focused my attention on non-spectacular and modest events standing at the fringe of modernity which can be seen as objects, things and states of affairs directly prehensile by my vision. Things that in the past could embody possible future and which are today unfinished. Through images that flirt with virtuality and abstraction, I’m trying to restore fragments of discrete expired utopias and to regard some blind spots of modernity. – OLIVER CLÉMENT

The a-temporal and dreamlike quality as well as the multiple narratives of his work reflect the conundrums of idealism and ideology of a past generation, and illustrate the development of the sediment of time, which does no longer coincide with the idea of velocity promoted by modernity but, on the contrary, it expresses the manifold time dimensions of progress.

➝ An edition of small prints from the series Permanent Present is currently on view at Castelcoucou in Forbach, France until the end of October.

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