Eric Troncy. Very Entertaining

screen capture from http://purple.fr/magazine/ss-2017-issue-27/eric-troncy-2/ on March 16, 2107

image © we find wildness

While waiting for the pope of entertaining art, make sure to stay entertained by reading the whole text entitled Very Entertaining by ERIC TRONCY via http://purple.fr/magazine/ss-2017-issue-27/eric-troncy-2/

one pic tuesday. David Diao

Best Western2016
acrylic and vinyl on canvas, 48 x 32 inches

image courtesy of Postmasters, New York

I usually only post images from exhibitions that have not run their course, so you have the possibility to visit them in person before it closes. Nevertheless today’s pic is featuring a work by DAVID DIAO that were on view through a few days at Postmasters in New York. The text below was part of the press release provided by the gallery.

Events surrounding the loss of my home in China due to the Communist takeover has festered in my mind my entire life. Beginning in 2007, I finally painted some 30 works that zeroed in on this obsession. The resulting show was entitled, “I lived there until I was 6…” and consisted of paintings of maps, site and floor plans, deeds and other material evidence that the house actually existed. All photographs were lost. It was a harrowing escape from Chengdu to HongKong in late October 1949.

The present show continues the story but focuses on the 5 odd years before emigrating from HongKong to the US in 1955. One memory is of my neighbor Li Lihua, the famous movie star, and her glamorous life downstairs in contrast to our refugee drabness. Maps to establish locale and emblems of institutions in my life became paintings. The internet is a wondrous source for images that supplant the lack of a private archive. But in the end what is a child’s world but home, school, church. In working on these paintings I realize that during the entire period there I was mostly waiting to grow up. Besides America was beckoning. – DAVID DIAO, JANUARY 10, 2017

Hongkong Boyhood was on view at Postmasters in New York from February 4 to March 11, 2017.

David Hammons is on our mind.

WFW COMIX #8

wfw comix, March 2016
all images © JEREMY PININGRE and We Find Wildness

click on the arrows or the dots to navigate the gallery

WFW Comix is a project started in the beginning of 2016 with French artist JEREMY PININGRE. This is the 8th episode and if you have missed the previous issues, follow this link. If you want to know more about this special commission, it’s here.

wfw weekend #387

wall: PAUL THEK, floor: JASON DODGE
seen at Schinkel Pavillon, Berlin
on Saturday, March 4, 2017
image © we find wildness

wfw weekend #386

detail from In The Museum Trilogy Inventory (2017), MATHIS GASSER
seen at Kunsthaus Glarus
on Saturday, March 11, 2017
image © we find wildness

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Arriving for the opening of ERIC WESLEY’s survey-scale exhibition at the Los Angeles gallery 356 S. Mission Rd. in January 2015, visitors encountered a new Nissan parked at a rakish angle in the back lot, with its front doors ajar and music blaring from its speakers. That this was an artwork would surely never have occurred to many of those in attendance had it not been for the checklist, where it was designated Infinity Project (Black), 2015, with materials given as “clear lacquer paint on Infiniti.” (…) As a found object that was in fact rented, the vehicle could also be seen as a monument to transience and ephemerality. After the close of the show, one had to imagine the automobile undergoing a further turn in this Duchampian game of contextual transposition, mingling inconspicuously with all the other non-art cars in the rental fleet upon return. Moreover, once replaced within its original context, WESLEY’s Infiniti can only be faced with steady depreciation, the fate of all uncollected cars. – JAN TUMLIR on ERIC WESLEY, Artforum February 2017

Violet Dennison. Transcend

Transcend, 2017
installation view at Jan Kaps, Cologne, January – April 2017

Transcend, 2017
installation view at Jan Kaps, Cologne, January – April 2017

Transcend (detail), 2017
installation view at Jan Kaps, Cologne, January – April 2017

Ones, 2017
installation view at Jan Kaps, Cologne, January – April 2017

Ones, 2017
installation view at Jan Kaps, Cologne, January – April 2017

Soft Target, 2016
installation view at Jan Kaps, Cologne, January – April 2017

Pipe Re-Route, 2017
installation view at Jan Kaps, Cologne, January – April 2017

Pipe Re-Route, 2017
installation view at Jan Kaps, Cologne, January – April 2017

Pipe Re-Route, 2017
installation view at Jan Kaps, Cologne, January – April 2017

Pipe Re-Route, 2017
installation view at Jan Kaps, Cologne, January – April 2017

Pipe Re-Route, 2017
installation view at Jan Kaps, Cologne, January – April 2017

all images courtesy of the artist and Jan Kaps, Cologne

VIOLET DENNISON is currently presenting Transcend, a solo exhibition at the art venue Jan Kaps in Cologne, Germany. The press release published below has been written by science fiction writer MARK VON SCHLEGELL. The text describes the inanimate elements in the exhibition from the bacteria’s point of view. The latter are left to themselves, without cultures and independent in the exhibition space thanks to a pipe which discharged the wastewater from the washbasin in the exhibition space.

Escape for the artist is no longer according to posthuman human fantasy. In January 2017, WALT WHITMAN’s “little wash’d up drift” has found itself real, that is to say grown up, longhaired, flagrant, and principled female: the duringhuman. Consider today’s seagrass, whose duringhumanism was defined by sewage and whose death placed it on currents that floated it to Massachusetts. In death, duringhumanism awards it its own illusions, now offering this very POV pinned as if on a raft to the wall of a gallery in Cologne, Germany, somewhere up a lazy river.

For the duration of the exhibition (perhaps to this exquisite corpse relative to the length of a single human day) it dreams itself art. The ever drier weeks relieved only by the spectacle, from moment to moment, of water spilling out on the floor. In its very existence as “dead,” we perceive the seagrass shed more and more body. Death in a continual process. Will the grass one day float again when the river awakes and the valley floods? Will it green? Enjoying a life potentially greater than our own, containing within it a POV equally as ironic, this creature remains recognizably wild, or extra-human (as we expect more complete, more delicate and discover refined and particular) and alive exactly as it’s dead.

By most accounts, plumbing began human civilization. Can we wash our hands of the drains? We impalpable breezes, breaths, bacteria, still find ourselves duringhuman. We have these humans on our back, inextinct and limited. Sadly the sort of apocalypse we now entertain is not a simple freakout one-time poisoning as envisioned in the cold war. Now, as the engine piece perhaps of extinction, of the larger puzzle of all life as one brief expansion of the infinite into the infinite, we must occupy deterioration in such a fashion as to slow down our demise. Will we even get off planet? Before we can escape, we must first find ourselves. It bears remembering that homo sapiens existed in presumable tranquility for some one hundred seventy-seven thousand years before the mere seven thousand of the duringhuman began.

I myself arrived on a beach in Massachusetts from far away. A veteran of nearby New Bedford, a breather of the secret Salem that touches the sea, it was an easy transition on this impalpable breeze, and also up a foreign stream. I take and return the breath as it’s formulated in Klossowski’s The Baphomet (1965) as something that divides, but only infinitely and without principle. The sort of divide into dualities of Hegelianism and beyond is thought by me to be nuts. I dwell below, within, above the hum of human fantasy, at the high bacteriological. Updown here there may be a point to existence even now then. This expansive evershrinking expresses the generosity of decay belonging properly to Earth, my planet.

Hive all around me now, duringhumans. Rub and rub. You’ll never wash your hands of the pubic chaff, straw, splinters of wood, weeds, and the sea-gluten, scum, cum, scales from shining rocks. Species hierarchy is now clear. We bacteria alone can ride water from the husk. We must instantaneously befuddle the opportunistic humanisms still relying upon walls. – MARK VON SCHLEGELL, 2017.

Transcend by VIOLET DENNISON is on view at Jan Kaps, Cologne until April 8, 2017.

 

wfw weekend #385

Walk Through Walls (Change Your Fingerprints) (2017), OSCAR TUAZON
seen at Eva Presenhuber, Zürich
on Thursday, March 2, 2017
image © we find wildness

wfw weekend #384

Silkscreen (The New Yorker) (2003), The Things We Are Doing No. 1 (Reiher Sonne) (2003), MICHAEL KREBBER
seen at Kunsthalle Bern
on Wednesday, February 22, 2017
image © we find wildness

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one message interview #39. Pauline Beaudemont

image © we find wildness

click on the phone to read the whole message

12’960’000 seconds, 216’000 minutes, 3600 hours, 150 days, 21 weeks, 4 months. This is the approximative time that went between the answer of PAULINE BEAUDEMONT and its publication. In the meantime everything and nothing has changed.

http://www.paulinebeaudemont.com

read the previous one message interviews here

Domenico de Chirico for We Find Wildness #82

all images:
installation view, kurimanzutto Mexico City
© Gabriel Orozco – Photo: ESTUDIO MICHEL ZABE
Courtesy of the artist and kurimanzutto, Mexico City

OXXO, an intervention by GABRIEL OROZCO
on view within the San Miguel Chapultepec neighborhood, México City
until March 16, 2017

chosen by curator and editor DOMENICO DE CHIRICO

Repetition in choreography is a useful procedure that brings out the materiality of what might often be considered as immaterial. By experiencing something again and again and again you go through waves of proximity, observation of detail, boredom and desire. When a structure becomes very apparent, you begin to see the way the performer is navigating and engaging with that structure. The split between the performer and what they are doing, between the dancer and the dance becomes more apparent. The opposite is also true, there is an impossibility because these two elements can never be split. – ALEX BACZYNSKI-JENKINS in conversation with ELLEN GREIG, Chisenhale Gallery London, January 2017

one pic wednesday. Robert Grosvenor

Untitled, 1989-90
installation view at The Renaissance Society, Chicago
Courtesy of the artist and Paula Cooper Gallery, New York

I spend a fair amount of time torturing myself with watching over exhibitions in places where I am not, like this one by ROBERT GROSVENOR (1937).

27 years after its initial realization, The Renaissance Society in Chicago is presenting Untitled (1989-90), a monumental sculpture by ROBERT GROSVENOR. The work is made of materials he collected such as for this specific piece, concrete blocks, steel, plexiglass, and paint.

More generally his works and his exhibitions don’t resolve into one view at all, nor they are coated with informations. His objects instead are keeping the visitor moving around them in order to unfold patiently in real space and in time. This piece is no exception.

Untitled (1989-90) is on view at The Renaissance Society in Chicago until April 9, 2017.

David Hanes. wfw aware #42

Aware: The Lodge of Breathless Birds (2016)MARK DION
presented at Kunstmuseum St.Gallen
shot on January 14, 2017, altered on February 15, 2017 by DAVID HANES*
image courtesy of the artist and we find wildness

*DAVID HANES lives and works in Berlin. He is represented by Birch Contemporary, Toronto.

➝ read more about this special project for we find wildness here.