Fernando Pessoa. The Anarchist Banker (1922)

screen capture from http://www.csend.org/images/articles/files/20101009-FernandoPessoa.pdf
on May 19, 2018
image © we find wildness

The Anarchist Banker is a short story by FERNANDO PESSOA (1888-1935) that has been published in May 1922 on the first issue of the Portuguese journal Contemporanea. The text takes the form a Platonic dialogue in which a wealthy banker defends his lifelong commitment to the anarchist cause, portraying his career as the natural outcome of a clever practice of radical individual freedom.

The Anarchist Banker by FERNANDO PESSOA from which the above screencapture is coming from, is available online via http://www.csend.org/images/articles/files/20101009-FernandoPessoa.pdf.

I use the Internet a lot. I would even think of oral communication as a technology and a dissemination tool. When the work is just the beginning of a speculation (some sort of private rumor) it doesn’t matter what medium carries it. In that sense, if we think the Internet now possess some sort of credibility -although we all know that its not necessarily true all the time-, it has become a great broadcasting vehicle, just as the museum is. – Jonathan Monk in Jonathan Monk catalogue, Lisson Gallery & Galerie Yvon Lambert, 2003

David Hanes. wfw aware #50

Aware: Sophia, DAVID HANES
presented at Ultrastudio Pescara
shot on December 17, 2017, altered on April 10, 2018 by DAVID HANES*
image courtesy of the artist and we find wildness

*DAVID HANES lives and works in Berlin. Read more about this special project for we find wildness here.

one pic wednesday. Joe Sola

Studio Visit, 2005
still from single-channel color video, 8 minutes.
Courtesy Blackston, New York and NYE + Brown, Los Angeles

Studio Visit (2005) is a eight minute video in which JOE SOLA is inviting collectors, curators, and critics to his Los Angeles studio to talk about his art. He would chat amiably for a few minutes, and then take a flying leap out the closed window in an explosion of shattered glass. His guests would dash to the window, only to find SOLA chortling on top of a pile of strategically arranged cardboard boxes eight feet below. Over a period of two years, he repeated this act 22 times.


June 1999. When artist Adam Chodzko was invited to make a piece of work as part of this off-site programme, he questioned the notion of an identifiable ‘public’ and the possibility of producing an ‘accessible’ work. His intervention, Better Scenery (2000) consisted of two signs, one located in the Arizona Desert and the other in the car park of a new shopping centre, the O2 Centre, in Camden. The plain yellow lettering on the black face of each sign gives clear directions of how to get to the other sign. Both sets of directions end with the phrase: ‘Situated here, in this place, is a sign which describes the location of this sign you have just finished reading. – Jane Rendell about Adam Chodzko, Better Scenery (1999)

Laure Prouvost. Lisson Presents…ON AIR

Lisson Presents…ON AIR is a series of podcasts produced by Lisson Gallery. This episode is focused on the sound work of French artist LAURE PROUVOST and includes the following track list:

This Voice is a Big Whale, 2013
Sound work by LAURE PROUVOST

We are Waiting for you, 2017

Tea-song, 2014
Music by DAN ARAN

Grand dad, 2010

UKstaywithusEU, 2018
Lyrics by LAURE PROUVOST & Nick Aitkens

Please note that LAURE PROUVOST is actually having a solo exhibition at Lisson Gallery in New York. The exhibition is on view until April 14, 2018.

wfw weekend #449

exhibition view from An Idea of Late German Sculpture To the People of New York, LENA HENKE
seen at Kunsthalle Zürich
on Saturday, March 10. 2018
image © we find wildness

➝ follow we find wildness on instagram for instant content


wfw weekend #448

Untitled (2018), LEONARD DE MURALT
seen at Smallville, Neuchâtel
on Saturday, March 24, 2018
image © we find wildness

➝ follow we find wildness on instagram for instant content

wfw weekend #447

exhibition view from Stepping Stairs, JUDITH HOPF
seen at KW, Berlin
on Thursday, March 16, 2018
image © we find wildness

➝ follow we find wildness on instagram for instant content

Jason Dodge at Franco Noero via Mottalciata, Turin

all images:

JASON DODGE, installation views at Franco Noero, Turin

images courtesy of the artist and Franco Noero, Turin

Galleria Franco Noero in Turin is presenting a solo exhibition by JASON DODGE. The exhibition has been basically split into the two locations that the gallery runs in the city. The exhibition at Via Mottalciata is showing a series of new sculptures while the one at Piazza Carignano is hosting an installation specifically conceived for that space.

Just an half of the exhibition is still on view. The one at Piazza Carignano closed on March 17, the one at Via Mottalciata is running through May 5, 2018.


Art Without Rules, Texte Zur Kunst, No.109, March 2018

Money is a festering excuse, often used to block transformation. But in a way, I believe that capitalism (which is still in its infancy) helps keep institutions from getting too comfortable. Like democracy, capitalism needs constant engagement, and I prefer the growing pains that come with this process to any alternative. Humor is one option to sweeten the pill. – Rita McBride in conversation with Mitch Speed, Mousse 62, February – March 2018

wfw weekend #446

Silbergrau (2018), MATHIAS SANDER
seen at Kunstverein Bielefeld
on Friday, February 15, 2018
image © we find wildness

➝ follow we find wildness on instagram for instant content

wfw weekend #445

Fruit (2018), MANDLA REUTER
seen at Galerie Mezzanin, Geneva
on Saturday, January 24, 2018
image © we find wildness

➝ follow we find wildness on instagram for instant content

laterpost 2015. Bea Schlingelhoff at Taylor Macklin, Zürich

all images:

exhibitions views and details at Taylor Macklin, Zürich, June 14 – July 19, 2015

courtesy of the artist and Taylor Macklin, Zürich

In the summer of 2015, BEA SCHLINGELHOFF presented a solo exhibition at the artist-run space Taylor Macklin in Zürich. Entitled Bazaarro, the exhibition consisted mainly of the removal of a portion of the gallery floor. This was the press release.

“Why Don’t You … ?” – Diana Vreeland


I find participating in art fairs close to Arendt’s insight on the banality of evil. It’s an extreme comparison, however, most artists and friends I speak with do not find art fairs an interesting context for their work, to say the least. Institutions have been successfully dismantled in a critical discourse in the past 40 years, but what about the stall architecture of art fairs? 

Maybe art fairs are too vernacular to be bothered with critically or artists feel that their sole function is to accumulate income. In that case, what reason can there be to sabotage your own income? Book fairs are great, for example, but somehow different, aren’t they?

Bizarro is a genre – a recent usamerican literary genre – roughly denoting absurdist fiction or horror comedy. Bazaarro, too, is a genre – a contemporary art genre – recognizable because of (at least) one missing wall. Artists decide to use floating compartments like L-, H-, or E- shaped exposition bays to make their works of art a more assertive and singular statement, practical modular cells. These bays or booths spring up like mushrooms. Bazaarro takes the architecture of the fair outside the fair. Absurdist fiction.

The genre is visible in graduation shows at art schools, art conventions or competitive settings for prize money. To ‘booth’ is a verb replacing the seared expressions of ‘exhibition making’ or ‘installing,’ and has finally been recognized as the common denominator for meaning itself… even poetry is boothing! However, Bazaarro is not the horror comedy of the grey area. In fact it’s architecture’s new mercenary: a booth for hire.

Taking away the metal plates from the floor has gained an additional 15 cubic meters of exhibition-space for Taylor Macklin, sinking the entire room approx. 35 cm. The drywall that had been built into the former gym in order to separate the space from another gallery in the same room, Plymouth Rock, floats. An enlarged blackmail letter hangs on the wall that separates Taylor Macklin from the Capoeira school next door, in the same way a painting was hung in Hitler’s antechamber in Munich in 1942. Gymnastic rings are installed in front of the painting, completing the Bazaarro gymnasium. Words that rhyme with ‘genre’: ‘Double entendre’, ‘amour proper’, ‘Le Nôtre’, ‘contra’.

→ The laterpost series is featuring past exhibitions that have slipped under our radar. More laterposts here.