wfw weekend #413

Living Currencies (2017), BIRGIT MEGERLE
seen at Kunsthaus Glarus
on Wednesday, June 29, 2017
image © we find wildness

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Yung Chong BaDboI for We Find Wildness #1

image courtesy Yung Chong and We Find Wildness

Yung Chong BaDboI is a series of comic strip that portrays the human condition through deceptively simple lines and yellow birds. Every now and then Yung Chong’s birds will be featured on wfw, and will delve as usual into the realms of social anxiety, depression, relationships, and sleeplessness.

To explore the complete Yung Chong comics collection, head on over to his instagram or tumblr.



Isaac Contreras. The Creeps

The Creeps, installation view at HEAD, Geneva, 2017

The Creeps, installation view at HEAD, Geneva, 2017

The Creeps (detail), 2017
hand molded plastic, glue and artist’s hair, 17 x 6,5 x 7,5 cm

The Creeps, installation view at HEAD, Geneva, 2017

The Creeps, 2017
hand molded plastic, glue and artist’s hair
left:  6,5 x 6,5 x 7,5 cm, right: 18 x 10,5 x 11 cm

Settings, 2017
ink on photographic print, 20 x 11,3 cm

The Creeps (detail), 2017
hand molded plastic, glue and artist’s hair, 14,5 x 11,5 x 10,5 cm

The Creeps, 2017
hand molded plastic, glue and artist’s hair
left:  9 x 10,5 x 11 cm, right: 7,5 x 6 x 7,5 cm

Unbecoming you, 2017
ink on photographic print, 42,5 x 30 cm

all images courtesy ISAAC CONTRERAS
photos: IC Studio

When arriving in Switzerland in 2014, ISAAC CONTRERAS decided to let grow his hair. Three years later, in February 2017 during the snow moon, he cut it all off marking an end to a long-term performative process.

The process was punctuated by unannounced actions when I opened my hair, most notably in social gatherings or art openings. I was trying to produce this act as an event and frequently I played excessively with my hair whenever was a camera to try to “catch” a picture. To look for images, I sent an email to people I met during this time. Friends and co-workers that somehow were there while this thing was happening. Since this long term action was naturally happening in a myriad of places, the images are really diverse and far from a normative neutral white background. – as told by ISAAC CONTRERAS for we find wildness

His hair, collected in February, have been turned into a series of miniature sculptures that has been presented at his graduation exhibition at the University of Art and Design of Geneva. The sculptures which look like tiny hairdo helmets, were complemented by portraits of the artist with various hairstyles.

This body of work entitled The Creeps challenges the notion of ‘being’.  ISAAC CONTRERAS captured a moment in time and then removed himself from that moment. That is to say that after he cut off his hair, CONTRERAS was no longer a part of the moment but a member of the audience. A public that is now beseting with the question: What does it mean to ‘be present’ or to ‘be there’?




Cady Noland

screen capture from
on June 22, 2017
image © we find wildness

Imagine, then, each of CADY NOLAND ’s installations as an entry into an ever-collecting, mortally transient, tactile encyclopedia of visceral Americana, where each entry is constructed of principled materials (for instance, aluminum), storied objects (handcuffs, rubber tires, Budweiser beer cans, bug sprayers, American flags, wire mesh baskets and fences), and embodied ephemera (Patty Hearst, Charles Manson, Wilbur Mills, Vince Foster): Art as encyclopedia, history as vaudeville.–  THYRZA NICHOLS GOODEVE,  Parkett No. 46, 1996

Please note that CADY NOLAND’s work is currently part of a presentation at Mamco in Geneva along with sculptures and installations by LAURIE PARSONS and FELIX-GONZALEZ-TORRES. Their works are on view until September 10, 2017.

Meanwhile you can read the whole interview between MICHELE CONE and CADY NOLAND for the Journal of Contemporary Art via


one message interview #40. Luc Mattenberger


On the topic of non-performance induced by the answer of LUC MATTENBERGER, here is an excerpt from the fantasy novel Monday Begins on Saturday written by ARKADY and BORIS STRUGATSKY in 1964.

In the premises of the Department of Absolute Knowledge all the small upper windows were open, because the smell of Professor Vybegallo’s herring heads was seeping in. There was snow heaped up on the windowsills and there were dark puddles under the radiators of the steam central heating system. I closed the windows and walked between the virginally clean desks of the department’s staff members. Standing on the desks were brand-new ink sets that had never seen ink, but there were cigarette butts spilling out of the inkwells. This was a strange department. Its motto was: ‘The cognition of infinity requires an infinite amount of time.’ I could hardly dispute that assertion, but the staff drew an unexpected conclusion from it: ‘And therefore it makes no difference whether you work or not.

read the previous one message interviews here

Arthur Jafa, APEX_TNEG, at The MIT Program in Art, Culture and Technology (ACT), on February 25, 2013

wfw weekend #412

extract from Atelier (Mauve) (2017), HORRIBLE BISE
director of Photography/Editor: LOUIS ZEBO

wfw weekend #411

Untitled (2017), BRIGHAM BAKER
seen at Kunsthaus Langenthal
on Wednesday, June 7, 2017
image © we find wildness

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Seth Price. Wrong Seeing, Odd Thinking, Strange Action

screen capture from
on June 8, 2017
image © we find wildness

For the new issue of Texte Zur Kunst, SETH PRICE comes back to a series of his thinkings, and actions that are questioning the limits of visibility and anonymity in the current contemporary art scene.

The whole text is available online via Note also that his novel Fuck Seth Price (2015) is available in pdf here.


one pic tuesday. Paul Sietsema

Sign Painting, 2017
acrylic on canvas over aluminum, 195,3 x 121,9 x 3,8 cm (76 7/8 x 48 x 1 1/2 in.)

image courtesy the artist and Office Baroque, Brussels

Sign Painting (2017) is a new work by PAUL SIETSEMA that is currently presented in the group exhibition entitled Fleming Faloon. The title of the show has been taken from a 16mm film by OWEN LAND made in 1963-64. Fleming Faloon draws attention to the illusion of depth as presented on a flat picture plane and suggested that if we accept this reality, we can then willingly ascribe anything as real.

Fleming Faloon is on view at Office Baroque in Brussels until July 15, 2017.

There are very recent instances where, under the law, the wearing of natural hairstyles is not protected from discrimination. (…) In any case, these gestures of using the du-rag in my practice became an entry point for me and hopefully others to better understand the implications of the multiple behaviors, attitudes, reactions, and declarations surrounding a black aesthetic. The du-rag was banned by the National Football League and National Basketball Association in America in the late 1990s / early 2000s, and I am asking why. Because when you ask everyone why, there are a million different answers that either address respectability politics or refer to its relationship to criminality. As if the du-rag was a cause and perpetuator of violence. In the end, it’s worn to protect the hair and condition its texture. It’s similar to hair rollers, which are rarely worn outside, but black folks are creative like that and asked, why not? It became subversive, and the powers that be have been trying to shut it down ever since. – Kevin Beasley, Silence is not neutral, Mousse Magazine, June 2017

wfw weekend #410

Quad I & II (play for tv) (1981), SAMUEL BECKETT
seen in the exhibition Extended Compositions
at Centre Pasquart, Biel
on Friday, April 14, 2017

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wfw weekend #409

The Great Fool Braegger, TINA BRAEGGER
seen at Weiss Falk, Basel
on Friday, June 2, 2017
image © we find wildness

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Xavier Mazzarol at Xavierlaboulbenne, Berlin

Home in Transit, 2015
metal, gas cylinder, plastic tube, 178 x 180 x 80cm

exhibition view at Xavierlaboulbenne, Berlin, April – June 2017

Penner, 2017
beer glass bottles, 135 x 43 x 2cm & 93 x 36 x 2cm

Penner, 2017
beer glass bottles, 135 x 43 x 2cm & 93 x 36 x 2cm

exhibition view at Xavierlaboulbenne, Berlin, April – June 2017

Glück, 2017
aluminum, synthetic jacket, motor, variable dimension

Penner (brown), 2017
beer glass bottles, 96 x 47 x 2cm

all images courtesy of the artist and Xavierlaboulbenne, Berlin

Some politely call it “turbulent times”, others strongly feel that fundamental rights, free circulation and societal advancement are crumbling, while elemental requisites such as a home and work are becoming the privilege of a generation.  Against morose fatalism, the artist observes social behavior and organizes pessimism.  Five singular works with oblique correspondences of form or motif that question the familiar, unhinged domesticity and parallel economy constitute XAVIER MAZZAROL’s one-person exhibition.*


XAVIER MAZZAROL at Xavierlaboulbenne in Berlin is on view until June 10, 2017.

*press release


Set an egg timer. Do nothing at all. Leave the timer in someone’s mailbox. Make a mental list of unusual colors to wear more often. Send it to your mother. – Yoko Ono, Self-Care Tips, The New Yorker, May 21, 2017