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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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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Rashid Johnson

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Meanwhile, on yet another side of the planet, or Los Angeles, to be precise, the David Kordansky Gallery is currently hosting RASHID JOHNSON‘s solo exhibition entitled Islands, a show (the exhibition views are here) which explores some of the concerns of RICHARD WRIGHT’s novel Native Son (1940). For this occasion, I have chosen to share with you a short excerpt of the very interesting conversation between the American artist and TOM MORTON that has been released in the September Issue of Frieze Magazine. Make sure to read the entire interview via http://www.frieze.com/issue/article/the-history-man

Islands is on view until October 29, 2014 at David Kordansky Gallery, Los Angeles. Additionally his work is part of the group exhibition The Forever Now:Contemporary Painting in an Atemporal World that will take place at the Museum of Modern Art, New York, from December to April 2015.

 

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Jean-Pierre Gorin. Poto and Cabengo

Poto and Cabengo (1979)
written and directed by JEAN-PIERRE GORIN

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Poto and Cabengo (1979) is a documentary essay about American twins GRACE and VIRGINIA KENNEDY (Poto and Cabengo were the names they called each other) who invented a language of their own that they used until the age of eight. Shot in San Diego in 1979, in 16mm color negative by French filmmaker JEAN-PIERRE GORIN, the film attempts to capture the moment before they lost their language, before they were forced to adapt to English.

The film is about an unstructured discourse—the language of the twins—surrounded by structured discourses—the discourse of the family, the discourse of the media, the discourse of therapy, the discourse of documentary filmmaking. There are as well other structured discourses at work in the film: the discourses of science, capitalism, and education. They are each a method of using words that presumes a type of authority. Clearly the twins’ unstructured discourse challenges discursive authority: it erupts as a subversive act which has not been authorized by any social or ideological establishment. In a sense its special threat is that its “unauthorized” nature relativizes the arbitrary nature of those institutionalized discourses. The singsong of the twins reveals the shaky grounds of institutional power. It relativizes discursive authority from the family to the scientific community in their competitive and ineffectual attempts to “define” the twins who spontaneously flit about the screen exceeding any definition. In a fashion, I wanted the viewers to feel the twins made more “sense” than anybody around them. Or at least to perceive that the twins’ way to handle language offered a marker for the way people around them used language and were used by it, and were spoken through it.JEAN PIERRE GORIN in conversation with LYNNE TILIMAN for Bomb Magazine

Poto and Cabengo (1979) is the first part of a trilogy devoted to language by JEAN-PIERRE GORIN. That film was followed by Routines Pleasure (1986) and Crazy Life (1992). Poto and Cabengo was also the starting point of the group exhibition Der Leone Have Sept Cabeças that took place this summer at Crac Alsace in Altkirch.

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