one pic #11. Brian Droitcour


screen capture from Vernacular Criticism by BRIAN DROITCOUR
published on The New Inquiry in July, 2014


This is an excerpt from the very interesting essay entitled Vernacular Criticism by American critic and writer BRIAN DROITCOUR. Basically he writes that a review site like Yelp which gathers masses of user experience evaluations, has a real potential to refresh critical writing as well as to rethink institutional and critical practices. Make sure to read the entire essay via

➝ by the way, if you like The New Inquiry, you still have a few hours to support the website via


one pic #10. Wyatt Niehaus


still from Body Assembly – White Exteriors, 2014
courtesy of the artist


The picture above is a still from a video entitled Body Assembly – White Exteriors (click on the still to watch the video) by WYATT NIEHAUS who is currently presenting this work as well as a series of c-prints that show renderings of car interiors at Retrospective Gallery, a space that opened earlier this year in New York. The video has been filmed at the Rex 2013-International Robot Exhibition in Tokyo and at the FANUC factory in Oshino, Japan, and documents a production process performed by industrial robots. This combination of visual elements examines how the contemporary methods of industrial automation play a role in the visual language of labor and industrialization.

Lights Out 2014 Interiors – Germany/Italy/UK is on view at Retrospective Gallery in New York until August 24, 2014


one pic #9. Gretchen Bender


detail from People in Pain, 1988
paint on heat-set vinyl and neon, 84 × 560 × 11 in. (213.4 × 1422.4 × 27.9 cm)
remade by PHILIP VANDERHYDEN,2014. The Estate of Gretchen Bender


Today’s image shows a detail from the monumental wall sculpture People in Pain (1988) by GRETCHEN BENDER (1951-2004) which consists of a crumpled field of vinyl backlit with neon illuminating a series of movie titles. The original work never found a permanent home; it fell into disrepair and was discarded after BENDER’s death in 2004. Over the past two years American artist PHILIP VANDERHYDEN has worked to reconstruct and exhibit a number of BENDER’s works including People in Pain with an interest in how the piece’s “reappearance” illustrates the way “our cultural experiences live and die.

➝ a part of this installation is currently on view in the group exhibition Bad Influence curated by ANDREW J.GREENE at Michael Thibault Gallery in Los Angeles. You can also view more images of this work here.


one pic #8. Maurice van Es


from the series New Life, 2011-present


It’s that time of the year again: the city of Arles in France is hosting its photography festival. For this year’s edition, Dutch artist, photography collector and curator ERIK KESSELS has gathered a series of works from Dutch photographers who are best known for documenting, with a certain obsession, details of their direct surroundings.

As part of KESSELS‘ selection is the work of MAURICE VAN ES with the series Textures of Childhood (2012) and New Life (2011-present) which is presented above. Since 2011 he is photographing his brother when he leaves the familial house; a moment MAURICE chose since his brother didn’t want to get photographed any more. The result is a funny and tender series of heels turning around a house.

Usually when I asked what keeps my brother busy, he would just tell me. But around the time he turned sixteen he told me nothing anymore. When I tried to photograph him he hid his face, threw a pillow at me or covered my camera with a blanket. What I do now is photograph the last thing I can see of him when he leaves the house. – MAURICE VAN ES

Small Universe is on view at l’Atelier de Chaudronnerie in Arles, until September 21, 2014. Please note that a presentation of each of the participating artists can be found on the website of the Rencontres d’Arles.


one pic #7. Fabian Boschung


(untitled), 2013
courtesy of the artist


Yesterday FABIAN BOSCHUNG opened Soap, a small intervention created especially for the gallery space die Diele in Zürich. Die Diele ist not  a classic space but two shop windows that features every month a solo or a group exhibition.

The work above is not part of the installation but only serves to introduce FABIAN BOSCHUNG, a swiss artist best known for creating process-based works connected by sculptural concerns. 

Soap is on view at die Diele, Sihlhallenstrasse 4, in Zürich until August 23, 2014


on: Catherine Cochard

one pic #6. Tatiana Trouvé


Prepared Space, 2014
view from the exhibition The Longest Echo
at Mamco, Geneva, July 2014
image © wfw


Today’s image shows a view of the installation entitled Prepared Space (2014) by TATIANA TROUVÉ which is part of her solo exhibition at Mamco in Geneva.

Prepared Space (2014) consists of a bright white space where gashes transect the walls and the floor, and bronze pieces are wedged into the cuts as if the room would collapse without them. Carefully orchestrated, the whole exhibition that occupies two floors of the museum, is such a vast succession of small universes populated by miniature objects, haunting situations and precarious installations that the viewer is constantly oscillating between the real, the imaginary and the illusory, a truly fascinating exhibition!

The Longest Echo is on view at Mamco in Geneva until September 21, 2014



one pic #5. Joachim Koester


detail from The Secret Garden of Sleep, 2008
image © wfw


For his solo exhibition at Centre d’Art Contemporain in Geneva, Danish artist JOACHIM KOESTER presents a body of work that mixes documentary archive and fiction and that demonstrates his interest in alternative communities and in histories of occult and esoteric practices. The picture above comes from the Secret Garden of Sleep (2008), a work which includes a series of silver gelatin prints featuring home-grown cannabis plants, a collection of magazines as well as an artist’s text:

In the mid 1970s a new type of imagery turned up in counter-cultural magazines, such as High Times and Sinsemilla Tips. Resin-dripping cannabis plants would appear as centerfolds, modelled on the photographic style of Playboy. This interest in the physicality of the plant happened at a time when more people in the United States were growing cannabis themselves. The formerly lush Mexican fields were in shambles and a huge market for domestically grown marijuana had opened up.

The season of domestic outdoor growing came to halt in 1982 when the Reagan administration set out to crush the domestic marijuana industry. Not only did Reagan see the increase in home-grown marijuana as unpleasantly reminiscent of more lenient times, he also perceived the use of marijuana as an important symbol of the counter culture, a symbol that had to be eradicated. In a few years cannabis moved from being on the cusp of acceptance to being domestic enemy number one. The means for achieving this was fierce legislation on growers and users.

Little did the Reagan administration suspect that they had started a genetic revolution. As harsh sentences were implemented—for example, growing any amount of marijuana in Oklahoma could result in a life prison sentence—and surveillance and government control increased, domestic cannabis growing moved indoors and, ironically, a plant of wonder materialized. Amateur gardeners in the Pacific Northwest applied their talents to crossbreed cannabis Indica and Sativa strains. They created hybrids that thrived indoors, cultivated under blazing metal halide light. Gone were the days of low-yield plants that sometimes grew to be as tall as five meters. Instead a muscular dwarf emerged, only knee-high, with buds the size of fists and a concentration of psychoactive compound significantly higher than before.

Psychoactive plants, like cannabis, can alter our experience of reality, bridging the world of matter and consciousness. In this history, consciousness, for better or worse, became engraved into the very flesh of the plant, as a consequence of desire, politics and legislation. With the series From the Secret Garden of Sleep I have made photographs of several strains of home-grown cannabis. These images of hybrids, that reflect a sub-genre of plant photography, point to the history behind modern cannabis’ otherworldly appearance. – JOACHIM KOESTER, 2008

The place of Dead Roads is on view at Centre d’Art Contemporain in Geneva until August 8, 2014. Please note that the exhibition features a new video installation, coproduced by the Centre.


one pic #4. Renate Buser


view from the photographic installation Barock, 2014
at Bellelay Abbey, Switzerland
image © wfw


This is a view from the abbey of Bellelay in Switzerland which is currently hosting its annual exhibition. For this year’s edition, Swiss artist RENATE BUSER displays a series of large realistic images that underscore architectural aspects of the abbey. Under the title Barock, the monumental photographic installation focuses on the succession of pillars and the volume between them, enlarges certain details, or even reverses others. Looking at these pieces, you are tricked into seeing something that is not there: the work of RENATE BUSER not only offers a new reading of the space, but it also provides a cinematic experience .

Barock is on view at the Bellelay Abbey in Switzerland until July 27, 2014


one pic #3. Nancy Lupo


Pumps for Lunch, 2014
55-gallon Rubbermaid BRUTE container in yellow, 44-gallon Rubbermaid BRUTE container in yellow, 2 Rubbermaid BRUTE swivel dollies, 2 Tview headrest monitors in beige, media player, 33 x 33 x 37 in and 31 x 31 x 26 in
image courtesy of Laurel Gitlen, New York


The tactility of my work traffics in a kind of erotics whose wires have been crossed and confused. Food is used in many of the sculptures—real food and also fake food. Cherries are bright and sexy, while nutritional yeast might remind you of snot, fat, or the gum soles on some shoes. You aren’t sure whether they stir sensations of hunger or disgust—whether they make you horny or have stirred your decorative juices.  – NANCY LUPO for Artforum, March 2014

NANCY LUPO (born 1983) creates sculptures, objects, and site-related installations that are part ready-made, part appropriation. Because she incorporates non-traditional materials like quinoa, chia seeds, nutritional yeast, or kitty litter into her sculptures, her work exists as disconcerting objects that invite us to re-evaluate our own criteria for understanding forms and their cultural origins.

➝ this work is currently part of the group exhibition Mineral Spirit at Laurel Gitlen Gallery in New York on view until August 8, 2014


one pic #2. Benni Efrat


Extrapolations, 1978
limestone and steel cable
courtesy the artist  © BENNI EFRAT


Extrapolations (1978) is a sculpture by Israeli artist BENNI EFRAT which consists of a huge, heavy, slab of stone caught by what seems to be a thin cable plugged itself into one big block of limestone. A simple gesture yet precarious which explores – thanks to the scale and the position of the masses – the energy, the space and the perception.

What I know about BENNI EFRAT is very little but he is considered to be among Israel’s most prominent exponents of conceptual art thanks to his drawings, paintings, installations, photographs, films and performances. The good news is that his work is currently part of the exhibition Other Primary Structures at the Jewish Museum in New York City until August 03, 2014.

Extrapolations is on view in the Sculpture Garden of the Israel Museum in Jerusalem