ONE FAIR 2/6

Inspired from a Whatsapp conversation between the directors of Art Basel that has been published in the book The Well Fair (2016)here is a transcript of a WhatsApp chat between me (WFW) and JAMES WOODCOCK (AGIK), a long-term trusted advisorthat took place on October 25, 2016.

17:29:10 W F W: riding the train 💦 how are you?

17:32:34 AGIK: just woke up. this is my view 2016-10-25-PHOTO-00051222.jpg

17:32:57 AGIK: more important: are you going to the fair? #wtf

17:32:59 W F W: yup, did I send you my ad for the catalog ?  2016-10-25-PHOTO-00051223.jpg

17:34:45 AGIK: superlike! #realityfoodblogging woohoo! come and visit us at the artissima bloggercamp. 4 – 6 nov. we are all naked.

17:35:56 W F W: ah ah yes 🐟

17:36:22 AGIK: but wait. i found this book for you. it’s all about your questions concerning the fair 2016-10-25-PHOTO-00051224.jpg

17:36:58 AGIK: “the well fair” Elmgreen and Dragset 2015

17:37:38 W F W: great! it sounds good, i already checked some projects they did during fairs a few years ago. i might have the link somewhere

17:37:42 AGIK: i actually wanted to steal it. but you know: not that skilled as you  😅  bought it

17:37:58 W F W: ah ah send me pics! 💪

17:42:03 AGIK : 2016-10-25-PHOTO-00051225.jpg bad booths are making yours look better 🏆🏆🏆

17:42:33 W F W: well its like the real estate market actually, nobody wants a junky center next to his house u know

17:42:59 AGIK: location, location, location

17:45:36 AGIK: wait, gets better! 2016-10-25-PHOTO-00051226.jpg they compare the art market with the one for drugs

17:48:33 W F W: they sound honest!!!  how crazy is that (btw: total disruption of topic but i just saw that 2016-10-25-PHOTO-00051227.jpg 👻👻👻)

17:51:59 AGIK: 😂 #johnwatersisonfacebook  

17:52:03 AGIK: do you know what Baldessari said of art fairs?

17:52:17 W F W: no but now i am scared 🙈

17:53:25 AGIK: going to art fairs is like watching your parents having sex

17:53:37 W F W: ah ah…he is the best. but hey, i shouldnt quip about a system that i am involved in and benefit somehow

17:55:31 AGIK: this is the base of freedom, babe

17:55:42 AGIK: actually Marc Spiegler said something that is not wrong: #fuckfairart made to sell easily

17:58:31 W F W: fuck! it’s super cynical

18:03:02 W F W: the more i think and the more i dislike the convenient aspect of the fairs coz u know i am a romantic. i like travelling hours in trains to one exhibition in the middle of nowhere 😅 and in the end seeing the art is always a surprise…good or bad (cheesy, i know. as usual)

18:04:19 W F W: i only went to artbasel cause im living next to the space ah ah…and hey those events are important somehow

18:05:27 W F W: so bad i dont have the number of HUO. i should send him a one question interview “what is an art critic doing at an art fair?” 😸

18:06:46 AGIK: HUO is an art critic?

18:07:01 W F W: idk 😂

18:10:15 AGIK: i just found a pic of you at the fair 2016-10-25-PHOTO-00051228.jpg

18:10:15 W F W: a pity that it’s not a gif with the boobs shaking

18:11:35 AGIK: still wondering why they invite you #superstrangegreat

18:12:43 WFW: coz i am good in stories…ah ah…and i like art…well idk, we don’t really care do we?

18:13:44 AGIK: this is so you: http://theotherjameswebb.tumblr.com/post/108995522624/spectre-paris

18:16:01 W F W: wow such an idea #artgangster

18:18:16 W F W: btw i found the link of Elmgreen & Dragset previous fair projects but there is not a lot explained there http://www.tanyabonakdargallery.com/exhibitions/michael-elmgreen-and-ingar-dragset

18:20:28 AGIK: this conversation should be your second post babe 🍆

18: 21: 35 W F W: like what? a transcription you mean? but doesn’t that look silly? boring? and pointless?

18:25:22 AGIK: its a whatsapp conversation. they are always silly and pointless. thats the point of it.

18: 26: 35 W F W: wrong. sometimes they are kinky.

It means:

one pic friday. Lisa Holzer

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Not yet titled, 2016
pigment print on cotton paper, Crystal Clear 202/1 polyurethane and acrylic paint on glass, 110,3 x 86,3 cm

image courtesy of the artist and Galerie Emanuel Layr, Vienna


The following text is a short excerpt from LISA HOLZER‘s piece of writing that is accompanying her works (see above) presented in the group show Fieber at Galerie Emanuel Layr in Vienna.

(..) The pictures look rather naked. They feel right. The lentils and icing linger helplessly as thick spreads on neutral dirty-white backdrops. I still don’t know where they came from. And as I write they still don’t have titles. Maybe they are more like a weak noise band. Some remind me of shoulder-padded torsos. I’m glad that shoulder pads are back. Shoulder pads had to come back. Why fashion? Now? Wouldn’t questions concerning class be more appropriate? Less arrogant? Or is it arrogant to assume some things are arrogant? Am I ignorant? Who takes whom seriously? Who gets recognition? And for what? Am I comfortable? Is there enough empathy to soothe all nerve-frying insecurity? It is bad. These stairs descend. We participate. Artists are arrogant. I wear shoulder pads. Sometimes I feel dead and/or exhausted like fruitless, tropical bird shit to chew around on. Do I deliver? And who pays? All is more complicated. (…) – LISA HOLZER

Fieber with LISA HOLZER, LENA HENKE and MARGARET RASPE is running through November 5, 2016 at Galerie Emanuel Layr, Vienna.

 

one message interview #34. Tobias Naehring

tobias-naehring-wfw

This is the answer of TOBIAS NAEHRING, gallerist in Leipzig to a question that JASON DODGE, artist based in Berlin, answered for Drawing Room Confessions #2.

http://www.tobiasnaehring.de

read the previous one message interviews here

Camille Blatrix. Heroe

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Heroe, installation view, 2016, Wattis Institute
courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Locker, 2016
Courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Locker (detail), 2016
Courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Locker (detail), 2016
Courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Heroe, installation view, 2016, Wattis Institute
courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Heroe, installation view, 2016, Wattis Institute
courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Whast, 2016
Courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Whast (detail), 2016
Courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Soul, 2016
Courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Soul (detail), 2016
Courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

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Soul (detail), 2016
Courtesy of the artist and Galerie Balice Hertling
photo: JOHN WHITE

Heroe is the title of a solo exhibition by French artist CAMILLE BLATRIX currently on view at Wattis Institute in San Francisco. The presentation is featuring a series of minimal sculptures that appear familiar and timeless thanks to a highly precise manufacture. As with much of his previous works, the meaning of BLATRIX‘s objects is dissolved into a self-contained abstraction and is ascribed to the viewer’s narrative impulse. Emancipated from informative logic but not from a surrealist humour, BLATRIX converts the rational aspects of objects into enigmatic functionalities freely mixing universal symbols and personal representations.

Heroe by CAMILLE BLATRIX is on view at Wattis Institute, San Francisco until November 19, 2016.

Wade Guyton at Mamco

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Untitled, 2016
courtesy: the artist, New York
photo: ANNIK WETTER — MAMCO, Geneva

2_wade-guyton

view of WADE GUYTON’s exhibition (from left to right: Untitled, 2016; Untitled, 2016, and Untitled, 2016, courtesy: the artist, New York), MAMCO, 2016
photo: ANNIK WETTER — MAMCO, Geneva

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view of WADE GUYTON’s exhibition
courtesy: the artist, New York), MAMCO, 2016
photo: ANNIK WETTER — MAMCO, Geneva

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Untitled, 2016
courtesy: the artist, New York
photo: ANNIK WETTER — MAMCO, Geneva

5_wade-guyton

Untitled, 2016
courtesy: the artist, New York
photo: ANNIK WETTER — MAMCO, Geneva

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view of WADE GUYTON’s exhibition
courtesy: the artist, New York), MAMCO, 2016
photo: ANNIK WETTER — MAMCO, Geneva

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view of WADE GUYTON’s exhibition
courtesy: the artist, New York), MAMCO, 2016
photo: ANNIK WETTER — MAMCO, Geneva

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view of WADE GUYTON’s exhibition, (from left to right : Untitled, 2015; Untitled, 2015, and Untitled, 2015, courtesy: the artist, New York), MAMCO, 2016.
photo: ANNIK WETTER — MAMCO, Geneva

– 

The Museum of Contemporary Art in Geneva is currently showing a new body of work by American artist WADE GUYTON.

GUYTON is best known for his paintings and their mode of production as well as for his iconic graphic motifs such as the ‘X’ that he repeated in different scales and colors. He started in fact to digitally print on canvas in the end of the nineties. This printing process, just as your domestic printer, knows misprints or other ink errors, generating imperfections that render GUYTON‘s objects more painterly and unique. In an interview for the NYTimes in 2012 he explained that he is not seeking for those accidents. But rather that he sees them like records of their own making.

The exhibition at Mamco is a concentration of large-scale works that have been almost entirely produced this year using this same mode of production. Thanks to an apparent simplicity, and a recurrent motif (ndlr: a detail of a chair he took in picture in his atelier), WADE GUYTON once again is stressing the limits of the medium and in this case the still life genre. Additionally the rigorous curatorial display in which the works are presented, supports the precise and uncompromising position of this new body of work.

 

WADE GUYTON is on view at Mamco, Geneva until January 27, 2016.

 

wfw weekend #352

c-p

Série DW (Vierkantrohre) (1967-2016), CHARLOTTE POSENENSKE
seen at Mamco, Geneva
on Tuesday, October 11, 2016
image © we find wildness

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wfw weekend #351

ADRIAN PIPERWhat, exactly, is the Idea of Artistic Research?
for the Post Digital Cultures Symposium, Lausanne
on Saturday, December 5, 2015

wfw weekend #350

kaspar-muller-zurich

Untitled (2016), KASPAR MÜLLER
seen at Galerie Francesca Pia, Zürich
on Thursday, October 20, 2016
image © we find wildness

ONE FAIR 1/6

“Just that you know: I am highly distractible today”. His message popped up like an adobe software demanding an urgent update. I was about to accept the implied invitation of a friend to drift away some time, when I had what I call a work-attack.

In a perfect future, sixteen days away, I have to publish at least six posts about an art fair I had agreed to take part in. From now on: one post every three days or so. In fact, I am already late with my first posting. My official alibi: “I am too busy travelling the world to meet emerging and emerged artists or to visit exhibitions”. One of my other ridiculous excuses – the one I am also using for my mom is that “I’m so occupied meeting advertisers, you have no ideas”. But the truth is less complicated: I am a lazy blogger.

In my defence, if I have to go in front of a court and justify my no post-contribution, I will in a total self-assured way answer, Yes Sir, I am lazy. But I do not believe anymore in this capitalistic system !” Which will bring him to the next question of course, “So why did you agree to take part in the most commercial event the art world has created ?” Then I will have nothing else to say but my paradoxical truth: “I don’t know.”

Fortunately the second message from my Adobe friend saved me from landing in jail, “Come on babe, just a coffee”.

It means:

 

Domenico de Chirico for We Find Wildness #74

all images © TALA MADANI
photo: REMI HISATAKA and DAMIAN GRIFFITHS
Courtesy Pilar Corrias Gallery, London

Shitty Disco, a solo exhibition by TALA MADANI
at Pilar Corrias in London
until November 11, 2016

chosen by curator and editor DOMENICO DE CHIRICO

Julius von Bismarck. Two Donkeys

screen-shot-2016-10-18-at-12-55-07

This short story comes at the end of an interview JULIUS VON BISMARCK gave to MAURIZIO CATALAN.

You might have seen or heard about VON BISMARCK‘s work last year, when he spent a week at Art Basel Unlimited on a paraboloid-shaped cement disc, which rotated around its own axis. Currently he is sharing an exhibition with JULIAN CHARRIERE on view at Villa Bernasconi in Geneva until November 13, 2016.

I really recommend to watch a lecture he gave a few years ago, where he is explaining his first projects including The Image Fulgurator (2007-2011), a modified camera with an inbuilt image projection device, Punishment (2011-2012) as well as some pigeons are more equal than others (2012) for which he conceived a contraption that gave pigeons a colorful spray-paint.

one pic tuesday. Merlin Carpenter

merlin-carpenter_038

MERLIN CARPENTER, Blogs Of The Near Future
installation view at dependance, Brussels

image courtesy the artist, dependance, Brussels
photo: KRISTIEN DAEM

MERLIN CARPENTER is currently having a solo presentation entitled Blogs Of The Near Future at the Belgian gallery dependance. Here is the entire press release:

People like Theresa May, Jeremy Corbyn, and also some Marxists suffer from an inability to read sudden Brexit-like shifts, looking for the reasons why only in deep content, and not seeing that the manifestation is also clearly a surface protest. And similarly I wonder whether they can deal with slower developments, such as an ideological drift which has cemented itself in the last 20-30 years, and does not by now tolerate heavy handed decisions with unintended consequences or cultural conservatism. This ideological drift of public opinion can develop despite or even because of restrictions on public debate (e.g. post-Snowden).

The artist, like ideology and reality in general, has an outer appearance as well as an inner intention at any given time. The best way to proceed from this is to keep the outer appearance and forget the intention. Meaning for the artist, judge her by what links every single project together, the general working practice over time, with all its compromise and pettiness. This is the meaning that develops between two shows, between two solutions; that which is not a solution.

In the study of ideology, similarly, you do not have to get through veils of distorted perception to get at the problem, because that distortion is itself the problem. Outwardly fetishised nonsense ideologies are symptoms of the inner capitalist contradiction.

In both cases it is a good idea to lay out the problem on the surface rather than trying to get behind it. Since we are dealing with misrecognition, it does not matter if the reading is not strictly correct. But in the process of “laying out” the surface of the ideology, actually something has changed, a minimal trace has been made in it. It has been secretly reversed, swapped for another version of itself.

Earlier this year I was picking through my previous artistic practice looking for a door into the point where it froze into error, and looking for what was going on between all the major gestures. I envisaged that I could see and make a truce with my own modus operandi and get behind it, “turn” it, move it around on its axis. But then something else happened, June 24th, ideology crossed me. As I was skating across in one direction, a perverted nationalism cut across my path from the other and stabbed me in the face. I had theorised an inflection point which then happened as a victory for the far right. It seemed like the entire UK was going through the same process as me but could only deal with the traumatic void by regressing into the past.

Is there something in this minimal “laying out” of ideology, which despite being theoretically adequate, actually offers itself up to the right? In my 2015 text “The Outside Can’t Go Outside” I used Manuel DeLanda’s “map of connection strengths” model as a proposal for social change. This model proposes an erasure of content in order to make a transition. But if any new content can be dumped in, isn’t that rather dangerous? The trace of the “map of connection strengths” is almost non-existent. But in the market as well, the invisibility of labour gives market ideology an inexistent quality, a naturalness. Both market and the minimal ideological inflection are fragile, tense 2D echo chambers in which any old ideas can bounce around. And it appears that there can be a kind of “turning of the inflection” from the opposite side.

Another context in which to examine this might be class struggle, also referenced in my longer 2015 text. Why has proletarian struggle failed to take on capitalism in recent years? First, there is no inherent revolutionary “working class consciousness,” in other words no automatic revolutionary programme. Meanwhile the worker is physically separated from others in the workplace and divided by race and nationality. But this “composition problem” of class struggle is also about the nature of the movement itself. Any struggle that has a specific demand cannot last; it must be a struggle that demands nothing, but also everything – with the realistic ambition of achieving it. So the struggle on the left is to just get the class struggle together.

But meanwhile there is another class struggle going on. The financial industry uses derivatives to even out risk between different investment possibilities. In order to gain access to these investments, each individual, corporation, or government has a credit rating or risk profile. On a national level the maintenance of this credit rating means reassuring a foreign investor that the State will clamp down hard on any working class disruption of production. The resulting estimation of the risk of every State (or other body) is a police action, it forces them to do things. This enables the continuous restructuring of labour on neoliberal lines. Both the eurozone’s actions toward Greece, and so-called Brexit, can be seen as the elite pulling the carpet from under people’s feet… a RULING class struggle.

The far right is less into class, but wallows in the different, and separate, ideology of nationalism. This declares the end of historical progress, which of course produces a violent shock. The Left must work on ideology in order to even “compose” an argument for a mass movement. This leaves a space for the racists to exploit, especially as they cannot grasp what is really at stake, the contradiction between capital and labour. People speak as if they are speaking to an empty space, but this space is being constructed by both sides, left and right. – press release

Blogs Of The Near Future by MERLIN CARPENTER is running through October 22, 2016.

Adam Curtis. HyperNormalisation

ADAM CURTIS, HyperNormalisation, 2016

If you are not based in the UK, you have to content yourself with this copy of HyperNormalisation (2016), the new film by English documentary-maker ADAM CURTIS that has been released on 16 October 2016 on the BBC iPlayer.

In nearly three hours long, HyperNormalisation narrates with the help of archive footage and an authoritative voiceover how the so-called elites tried, and are trying to change our perception of the world by creating a simpler version of it.

If you are in the UK, HyperNormalisation is now available to watch on BBC iPlayer.

 

wfw weekend #349

juliette-blightman

Extimacy installation view, JULIETTE BLIGHTMAN
seen at Kunsthalle Bern
on Saturday, October 15, 2016
image © we find wildness

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wfw weekend #348

wade-guyton-mamco

Untitled (2016), WADE GUYTON
seen at Mamco, Geneva
on Tuesday, October 11, 2016
image © we find wildness

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