one pic friday. Vittorio Brodmann

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Full of emptiness, 2013
oil on canvas, 40 x 60 cm

courtesy of the artist

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Today’s pic shows a painting by VITTORIO BRODMANN entitled Full of emptiness (2013). For those not familiar with his work, VITTORIO (1987) is a swiss artist who deals almost exclusively with painting. The images he produces outlined human relationships and, at the same time, reflects social and political themes. It is often grotesque, raw, melancholic, yet timeless. 

The good news is that tonight on Friday 29 August 2014, VITTORIO BRODMANN opens his new solo exhibition at Gregor Staiger gallery in Zürich that will last until October 4, 2014.

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Walid Raad

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The text above is part of the ongoing project entitled Scratching on Things I Could Disavow: A History of Art in the Arab World started in 2007 by New York-based Lebanese artist WALID RAAD. This work takes a critical look at the accelerated emergence of art spaces and institutions in the Arab world, and finally to inexplicable physical phenomena like the flattening of art spaces, the shrinking of artworks, and the availability of colors, lines, and forms for contemporary Arab artistic creation.

I highly recommend to visit http://www.scratchingonthings.com/ for more texts and images.

WALID RAAD is currently having a solo exhibition at Carré d’Art in Nîmes, France which is running until September 14, 2014.

 

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Tiril Hasselknippe

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The Shapers, installation view at Grünerløkka Kunsthall, Oslo, July 2014

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The Shapers, installation view at Grünerløkka Kunsthall, Oslo, July 2014

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installation view at Vestfossen Kunstlaboratorium, Norway, July 2014

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Standing Couch, 2012
Standing Couch, 2012
Lilac horizons Lavender sky, 2013, installation view at KHM Gallery, Malmö
detail from Lilac horizons Lavender sky, 2013, installation view at KHM Gallery, Malmö
detail from Lilac horizons Lavender sky, 2013, installation view at KHM Gallery, Malmö

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all images courtesy of the artist (unless otherwise stated)

 

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TIRIL HASSELKNIPPE employs traditional sculptural techniques and a range of materials— resin, polyester, plastic, steel — to create forms which are mostly familiar and seem to be tied to commercial products. Inspired by minimal art, yet less strict and instead adding a touch of humour, her focus is on the work process which is based on text and imagery, and plays a major role in defining the shape the objects, sculptures and installation.

The surf board represents the height of the wave, the hubris, and its consecutive crash. It’s connected to the two previous themes of cars and crashing waves and the ocean, about having a Moby Dick moment or a longing for Moby Dick; to be swallowed whole and to disappear willingly, a death and an afterlife. It is the ecstasy of mania and the guilt of all endings. California was a muse for this project too, as it was also for the car project before that. Geographical muses are interesting. It’s like a site specific fan fiction. – TIRIL HASSELKNIPP about his solo exhibion Swim Good at Landings Project Space, 2013

TIRIL HASSELKNIPPE (born 1984, Norway) lives and works between Oslo and New York. She has most recently exhibited at Lunds Konsthall, Lund, Sweden; Toves Galleri, Copenhagen, Denmark; and Peinture et Sculpture, Copenhagen, Denmark (all 2013). HASSELKNIPPE ran CEO Gallery in Malmö from 2011-2013.

➝  her work is currently part of Skulptur Odense, an extensive sculpture exhibition throughout the city of Odense in Denmark, on view until September 21, 2014!

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wfw weekend #146

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a glimpse into the book Blind Gestures by NICOLÁS LAMAS (previously featured on wfw) which gathers 25 images scanned from dormant IPad screens. Each scan registers the marks, scratches, fingerprints and dust indefinitely accumulated on the screen surface.

published by alt editions in 2014 (available here)
image © wfw

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thank you Manu!

wfw weekend #145

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Souffleuse, 2014 by Swiss artist LUC MATTENBERGER
presented at the 12th edition of the Bex & Arts triennial exhibition, Bex (Switzerland)
seen on Sunday, August 24, 2014
image © wfw

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➝ a few more images of this event are available on the wfw instagram: http://instagram.com/wefindwildness

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Estrid Lutz & Emile Mold

Keep driveway clear, thank you, 2014
© ESTRID LUTZ and EMILE MOLD

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Keep driveway clear, thank you (2014) is a video by ESTRID LUTZ and EMILE MOLD,  drawn from the infinite recombination capacity of the internet’s crazed mashup culture and paired with the manipulation potential of digital imaging tools. In the twisted world of Keep driveway clear, thank you (2014), surface phenomena are the content and unstable structures of color, shape and spatial motion become narrative and protagonist at the same time.

There is very little information about the artists but I can tell you that their work will be part of a group exhibition entitled A Sip of Cool at Galerie Arnaud Deschin in Marseille that opens next week on Saturday August 30, 2014.

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one pic thursday. Angelika Loderer

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DIA, 2013
pu foam, stones

courtesy of the artist

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ANGELIKA LODERER is an Austrian artist whose work explores her ongoing interest in matter and time by creating fragile and vulnerable compositions or elements that become worthless once again when dismantled, just like these floating stones presented above.

Her toolbox is elemental and frequently organic, including soil, water, stones, sand, plaster, wood and grass among others. In her installations, LODERER transmutes these materials, oftentimes fixing them in ephemeral states, suspending matter in a transfiguration that envelops and inundates the viewers’ senses.

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Ed Atkins

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Here is an extract of British artist ED ATKINS‘s 500 words for Artforum who speaks about his three-channel video entitled Ribbons (2014) which is currently on view at the Serpentine Sackler Gallery in London until August 25, 2014, as well as at the Palais de Tokyo in Paris until September 7, 2014.

Make sure to read the entire text via http://www.artforum.com/words/#entry47876

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Ian Law

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At Laura Bartlett Gallery with Eddy Bailhache (RAM 2580), four unfinished paintings and various non-ambient heating elements (10-14.02.2014), 2014
plexiglass cover, fibre based bromide print, Barbie Dream House flooring, framed 34 x 32,2 x 3,5 cm

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At Laura Bartlett Gallery with Eddy Bailhache (RAM 2580), four unfinished paintings and various non-ambient heating elements (10-14.02.2014), 2014
plexiglass cover, fibre based bromide print, Barbie Dream House flooring, framed 34 x 32,2 x 3,5 cm

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At Laura Bartlett Gallery with Eddy Bailhache (RAM 2580), four unfinished paintings and various non-ambient heating elements (10-14.02.2014), 2014
plexiglass cover, fibre based bromide print, Barbie Dream House flooring, framed 34 x 32,2 x 3,5 cm

all images: courtesy of the artist, and Laura Bartlett Gallery, London

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These three pieces presented above are part of a series of work by British IAN LAW, entitled at Laura Bartlett Gallery with Eddy Bailhache (RAM 2580), four unfinished paintings, and various non-ambient heating elements (10-14.02.2014). According to the artist, ‘they were attempts to reconcile the aforementioned quandary into objects, employing a life model to carry out the job they do on a regular basis, whilst placing myself in the position of image maker, using equipment I’d not previously used. Using simple directives, asking Eddie to respond and interact with these unfinished canvases, we made a series of images at the gallery during a period between shows which were casual set-ups; utilizing what was to hand as a way to recondition the way I was thinking about the space, and how to work with this for the exhibition. Both these instances are operating within clearly defined and established contracts between artist/photographer and model‘. – IAN LAW in conversation with MARTA RAVASI for Apt Diary

IAN LAW (b.1984) has developed a body of work that engages with his direct environment during the processes that underlie the cycle of producing, exhibiting and contextualising his works. The result often takes the form of objects, installations as well as writings that interact each other, come together and construct the sense.

 

➝ http://www.ianlaw.org/ or http://www.laurabartlettgallery.com/artists/ian-law/

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one pic #12. Pedro Barateiro

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Notes on Sadness by PHILLIPE TROTI
© 2013 Duvida Press, the author

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This image comes from The Sad Savages, a tumblr project started in 2012 by Portuguese artist PEDRO BARATEIRO as a storage space during the research he made when he was writing a novel of the same name. Little by little the tumblr gained independance and became a work in its own right. The Sad Savages is now conceived as a flux, a collection of thoughts and pictures that questions how images are constructed and read, an how images construct a language of their own: http://the-sad-savages.tumblr.com/.

➝  this work is currently part of the exhibition Der Leone Have Sept Cabeças at Crac Alsace in Altkirch (on view until September 21, 2014)

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