wfw weekend #141. Virginie Morillo & we make it

trailer from La Procesión de Las Sombras, 2014
© VIRGINIE MORILLO

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Meanwhile, on yet another side of the planet, or Mexico, to be precise, Swiss artist VIRGINIE MORILLO – who offered us a great tour in her Geneva’s atelier earlier this year – is creating some haunting projects like La Procesión de Las Sombras, a movie shot in the desert of Oaxaca in May 2014 with the motorcycle gang the Legionarios. A few days ago she put up this project on the crowdfunding platform we make it, in order to finish the post production and to release the movie in September.

 You could click right here right now to find out all about it,

 a good deed a day can make all the difference!

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Carissa Rodriguez

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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It’s Symptomatic / What Would Edith Say, 2014
permanent ink marker on inkjet print mounted on aluminum, wood brace
60 x 40 in (152.4 x 101.6cm)
© CARISSA RODRIGUEZ - Photo: THOMAS MÜLLER
Courtesy the artist and Bortolami Gallery, New York

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This series of poster-sized inkjet prints entitled It’s Symptomatic/What Would Edith Say? (2013/2014) which is currently on view at Bortolami Gallery in New York, has been started in 2013 when the artist, CARISSA RODRIGUEZ, made her New York debut at the hybrid space Front Desk Apparatus. Actually CARISSA RODRIGUEZ started as an artist in the 1990s, however she worked more actively as art dealer and writer for several years, after which she started again showing her work in the beginning of 2000s.

RODRIGUEZ‘s images of tongues onto which are scribbled health diagnosis, seem more and more relevant, as you look at them. Somehow, they lost the feel of directness achieved by the sharply focused style and instead they convey a certain fascination for the human body via the virtual space.

A service top is one who tops under the direction of an eager bottom. A versatile top is one who prefers to top but who bottoms occasionally. Starting at the top, the artist’s tongue – muscle of conceptual articulation and arbiter of aesthetic disposition – is more simply, the locus of language and taste; while accordingly at the bottom, the filth of distinction gathers in the anus.  Pornography sanitizes anuses by cosmetically bleaching them for the screen, rendering natural  flesh “more uniform with its surrounding area”, similar to the way art galleries light and fluff
their spaces to achieve the cold, fluorescent-white installation shot that emits an ambience akin to the sweatshop– an artwork at its maximum efficiency. Between tongue and anus are the organs, situated midway, or Midtown, much like the art advisor’s position between the artist and the collector. Practitioners of Chinese medicine diagnose the conditions of internal organs as its symptoms appear on the tongue’s surface, which is read and appraised like a rare map, rug, vase or painting, and although it is too overwrought to liken the tongue to a screen (mirroring the artist inside) or to a ‘mood board’ in the case of the branding consultant, the liver and spleen are nevertheless dutifully at work scripting messages to the moist upper surface. *

➝ this work is currently part of the group exhibition Chatbots, Tongues, Denial and Various Other Abstractions on view at Bortolami Gallery in New York until August 22, 2014

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*from the press release at Front Desk Apparatus

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Arthur C. Danto. After the End of Art: Contemporary Art and the Pale of History

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excerpt from After the End of Art: Contemporary Art and the Pale of History (1997) by American critic and philosopher ARTHUR C.DANTO (1924-2013)

read more via http://press.princeton.edu/titles/5911.html

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studio visit #4. Mireille Gros

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MIREILLE GROS
at her studio, Basel
june 2014
images © wfw

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I have read somewhere that a studio space is an intimate space, which puts the critic in an awkward position that he is no longer objective. It’s even more the case with MIREILLE GROS. MIREILLE is a Swiss artist based in Basel and she is probably one of the most engaging person in the city.

After a course of studies in Basel and New York, MIREILLE GROS (born in 1954) traveled the world drawing inspiration from the language, the local culture and the nature in each place she went, especially in China and West Africa. From these trips she has not only adapted her artistic practice by allowing more place in her work for the concept of spontaneity, random and chance but she has also brought back several processes and materials. Made of photographs, paintings, drawings and artist’s books, her body of work depicts universal configurations taking the form of mysterious plants or vegetables, micro and macrocosms.

Her studio reflects her intuitive and experimental process (although the space is very well organized) and her passion for language with a series of sentences or words written on the walls. Over cardamom coffee and the quietness of the neighborhood, MIREILLE GROS talked about her live, her uninterrupted interest in art, her upcoming exhibitions and how to not have ideas.

If you happen to be in Zürich, do not miss her solo exhibition entitled Ouvrir les Archives which presents an overview of pieces by the artist which have been collected over the past twenty years, on view at the Collection of Prints and Drawings at ETH Zurich until July 6, 2014.

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(art) basel diary 2014 #24

art-unlimited

Art Unlimited
on Tuesday, June 18, 2014
image © wfw

 

On Sunday evening, Art Basel has officially closed its door! Apart the deluge of art, it was really a great occasion to have precious discussions as well as to meet you!

Love,

wfw

 

(art) basel diary 2014 #23

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detail from the installation Kids who eat dirt are called kids. But when adults eat dirt, it’s called geophagy (2014) by KIM SEOB BONINSEGNI
seen at Swiss Art Awards
on Tuesday, June 18, 2014
image © wfw

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(art) basel diary 2014 #22

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Untitled (1969/2013) by DOUG WHEELER
seen at Art Unlimited
on Tuesday, June 17, 2014
image © wfw

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(art) basel diary 2014 #21

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Triangular Series (2014) by JAMIE ZIGELBAUM
 a site-specific lighting installation commissioned by Design Miami/ Basel
seen on Monday, June 16, 2014
image © wfw

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(art) basel diary 2014 #20

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Claque & Shill, 2014 (graphite on paper, marble) by ANDREA ROMANO
seen at Gaudel de Stampa (Paris) during Liste
on Wednesday, June 19, 2014
image © wfw

 

(art) basel diary 2014 #19

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We Killed the Bear (2014) by DENA YAGO
featured on the booth of Sandy Brown Gallery (Berlin) during Liste
seen on Wednesday, June 19, 2014
image © wfw

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during the summer, WFW is running slowly and features only one pic per day  - WFW comes back with longer posts on Monday August 18, 2014  - enjoy <3