one pic monday. Yonatan Vinitsky

Yonatan-Vinitsky_2015_Loose-Ends-(Blue)_130.6x191x3cm_2015-yv-02

Loose Ends (Blue), 2015
polyester fabric (quantum ADIA64) mounted on bespoke okoume plywood backing (23mm), rolled, bended and welded powder coated (RAL 7047, satin finish) mild steel solid rod (15mm), 16-strand braided 8mm polypropylene rope (blue 0912), 10mm monoflex elastic cord with polypropylene jacket (green), bespoke PVC washer (8mm), M8 stainless steel glass boss (15mm), split baton, 130.6 x 191 x 3cm

image courtesy of the artist and Frutta Gallery, Roma

This is a piece by YONATAN VINITSKY (1980, Jerusalem) entitled Loose Ends (Blue) (2015) that is currently part of the summer group exhibition at Galeria Nicodim in Bucharest. Earlier this year, VINITSKY presented a new series of works (including this one featured above) at Frutta Gallery in Roma, which comprised metal-coiled sculptures as well as large wall-based objects that reproduce ‘backseat storage pockets found on trains and planes, made of diverse materials such as metal, rope, elastic cord and woven fabric. The title of the show, Loose Ends, was based on a term borrowed from the genre of crime fiction and mystery literature; it indicates that something is still unaccomplished, that a definable and accurate passage within a process is not yet finished or solved’ according to the press release.

The group show at Galeria Nicodim entitled What IS a Bird? We Simply Don’t Know – in which is included a part of this series – attempts to reveal the materials and influences of the everyday as well as the role of the imaginary in the way artists shape and make sense of the world thanks to a conceptual and formal sophistication.

What IS a Bird? We Simply Don’t Know organized by DOMENICO DE CHIRICO with the work of YONATAN VINITSKY, ALEK O, RAZVAN BOAR, ANTOINE DONZEAUD, HENRY CHAPMAN, KENNETH ALME and VIRGILE ITTAH & KAI YODA is on view at Galeria Nicodim in Bucharest until July 31, 2015.

wfw weekend #225

olivier-mosset-untitled

Untitled (2015) by OLIVIER MOSSET
seen at Môtiers 2015, Môtiers (Switzerland)
on Saturday, July 18, 2015
image © we find wildness

follow We Find Wildness on instagram for more exclusive content!

wfw weekend #224

johanna-tagada

a glimpse into COLLETION VOL.IV- The Diary of a Palm Tree* by JOHANNA TAGADA
published by Poetic Pastel Press, February 2015
image © we find wildness

*COLLETION VOL.IV- The Diary of a Palm Tree includes a short text I wrote for JOHANNA early 2015

 

wfw weekend #223

doug-aitken-schirnkunsthalle

view from the installation Migration (Empire) (2008) by DOUG AITKEN
seen at Schirn Kunsthalle, Frankfurt
on Saturday, July 11, 2015
image © we find wildness

David Hanes. wfw aware moment #1

04DHanes_Week1_2015

Awareafter MICHAEL SAILSTORFER exhibition at Centre PasquArt, Biel/Switzerland
shot on wednesday, July 8, 2015
altered on July 14, 2014
image courtesy of the artist and we find wildness

You’ve probably noticed recently that I’ve been adding contributors. There’s DOMENICO, and I’m happy to introduce you today to Berlin-based artist DAVID HANES*.

Actually DAVID HANES is no stranger here, since we mentioned his work before. For we find wildness, he is going to share regularly an image which is following up his ongoing series Aware (2011-present). Basically his contribution consists of altering digitally a picture of an exhibition that I took during the previous days or weeks.

The result is an exhibition view stripped entirely or partly from its artworks creating a new document at the border of abstraction and representation.  The main purpose of DAVID HANES‘ contribution is to throw in question like a booster shot, the conceptualization and presentation of art online, to challenge the authority of the images and to examine the dissolution of traditional boundaries between art, image, surface and documentation.

I hope you like it!

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

 

 

 

Doug Aitken. Diamond Sea (1997)

doug-aitken-1

DOUG AITKEN, Diamond Sea (1997)
installation view at Schirn Kunsthalle, Frankfurt, July 2015
image © we find wildness

DA-063_productionstill02

Diamond Sea, 1997
production still

doug-aitken-2

DOUG AITKEN, Diamond Sea (1997)
installation view at Schirn Kunsthalle, Frankfurt, July 2015
image © we find wildness

DA-063_productionstill46

Diamond Sea, 1997
production still

doug-aitken-6

Diamond Sea, exhibition view at Schirn Kunsthalle, Frankfurt

Diamond Sea, 1997
production still

doug-aitken-3

DOUG AITKEN, Diamond Sea (1997)
installation view at Schirn Kunsthalle, Frankfurt, July 2015
image © we find wildness

DA-063_productionstill01

Diamond Sea, 1997
production still

doug-aitken-5

Diamond Sea, 1997
production still

photograph of people in the exhibition Concentrations 33: Doug Aitken, Diamond Sea, May 21-August 8, 1999, held at the Dallas Museum of Art

Diamond Sea, exhibition views at Schirn Kunsthalle, Frankfurt from the we find wildness instagram

JC_Doug_Aitken_Diamond_Sea_1997

Diamond Sea, 1997
production still

diamondsea_1_small-1

Concentrations 33: Doug Aitken, Diamond Sea, May 21-August 8, 1999, held at the Dallas Museum of Art

Bildschirmfoto-2015-07-05-um-20.18.30-1024x690

Diamond Sea, 1997
production still

A few days ago the Schirn Kunsthalle in Frankfurt opened their new exhibition dedicated to the work of DOUG AITKEN. The exhibition which is not considered as a retrospective but rather as a ‘most comprehensive solo presentation of AITKEN‘s work’ according to the press release, features major pieces by the American artist such as SONG 1 (2012/2015),  Black Mirror (2011) and migration (empire) (2008) among others.

Diamond Sea (1997) is the older piece presented in the show and probably one of the most engaged. The installation consists of two video projections, one suspended video monitor, and one full-color, illuminated duratrans image as well as four speakers that create a surround sound experience. Each projection shows a video that AITKEN filmed in a guarded region in the Namib desert in southwestern Africa at different sequences.

The territory that the artist documented is known as Diamond Area 1 and 2: a highly secure 70,000 square kilometers area that contains the world’s richest diamond mine and that has been sealed off from public access since 1907.

Like most of DOUG AITKEN‘s work, the imagery as well as the soundscape that includes the ambient sounds taped during the video’s production but also musical compositions from Aphex Twins, Gastr Del Sol, Nine Inch Nails and uzig, is truly fascinating and highly seductive. Nevertheless the work reveals intensely the alienated environment by showing and intermingling images of security devices, patrolling helicopters, sand dunes, computer-controlled mining machines, abandoned corporate dormitories, shifting sand and wild black horses moving freely through this hermetically sealed landscape.

This work which is now almost 20 years old, not only witnesses in a appealing aesthetic level, this alien territory but still takes the viewers in a simple and timeless way into questions that involves human civilization, the man’s relationship with nature and technology among others.

DOUG AITKEN‘s solo exhibition is on view at Schirn Kunsthalle in Frankfurt until September 27, 2015. Please note also that Station to Station (2013), a movie that documents a 4,000 mile train journey from New York to San Francisco is on view at the Rossmarkt Cinema , additionally variations of his work migration (empire) (2008) can be viewed at Frankfurt Airport, in hotels and across large City-Light-Boards at various locations around the city.

Domenico de Chirico pick #27

all images courtesy of the artist and Magasin, CNAC / Grenoble

Pression Liberté Expression, a solo exhibition by DAN PERJOVSCHI
presented at Le Magasin in Grenoble
until July 26, 2015

chosen by curator and editor DOMENICO DE CHIRICO

 

Julian Rose. Realiste Estates (on Wolfgang Tillmans’ Book for Architects)

julianrose-tillmans

Book For Architects (2014) is a two channel video installation by German photographer WOLFGANG TILLMANS created on the occasion of the 14th Architecture Biennale Venice in 2014,  and which is currently on view at the MET in New York for the first time since then.

WOLFGANG TILLMANS who doesn’t need introduction, has photographed over a period of ten years, the built environment of thirty-seven countries on five continents. The result is a site-specific, two-channel video installation that projects 450 photographs of buildings onto perpendicular walls.

American critic JULIAN ROSE comes back to this installation explaining how the pictures by TILLMANS is presenting architecture not as it is conceived or pictured by architects but rather as it actually exists in real life. ROSE‘s review has been released in the 2015 summer edition of Artforum, nethertheless a pdf of this article is available via the website of David Zwirner gallery.

Book for Architects is running through November 1, 2015 at the Metropolitan Museum of Art in New York.

Business As Usual at Turf Projects, London

Michael-Pybus

MICHAEL PYBUS

Nikolai-Ischuk

NIKOLAI ISCHUK

Noel-Clueit

NOEL CLUEIT

Business-as-Usual_High-Res-001

installation view at Turf Projects, London

Business-as-Usual_High-Res-002

installation view at Turf Projects, London

Paul-Carter

PAUL CARTER

Ryan-Gander

RYAN GANDER

Sascha-Hundorff

SASCHA HUNDORFF

Business-as-Usual

installation view at Turf Projects, London

Business-as-Usual_High-Res-019

installation view at Turf Projects, London

Debora-Delmar-Corp

DEBORA DELMAR CORP

Ian-Whittlesea

IAN WHITTLESEA

Josh-Whitaker

JOSH WHITAKER

Mat-Jenner

MAT JENNER

Matthew-Crawley

MATTHEW CRAWLEY

all images courtesy of the artists and Turf Projects, London

Using the conceptual tropes of bureaucracy and the sculptural austerity of minimalism, the group exhibition entitled Business As Usual that is currently on view at Turf Projects in London, features a large series of business cards created or donated by over hundred artists comprising ELOÏSE BONNEVIOT, PIERRE CLEMENT, DEBORA DELMAR CORP, RYAN GANDER, SOPHIE JUNG, JONAS LUND, MICHAEL PYBUS, IAN SWANSON, VIKTOR TIMOFEEV, or BRUNO ZHU among others.

Tackling the romantic vision of the tortured artist finding inspiration amidst personal chaos, the exhibition organized by PERCE JERROM revolves around the notion of branding and networking within the art world, the art market, the artist practice and social media websites, moreover the show questions the expectation of what it means to be a professional artist nowadays in a increasingly digitized environment. According to the press release, the exhibition attempts to question ‘how much importance dealers, collectors, curators and gallerists play in determining success, or whether artists themselves are solely or collectively responsible for carving out their own futures’.

 

Business As Usual is on view at Turf Projects in London until July 30, 2015.

wfw weekend #222

michael-sailstorfer

a glimpse into the solo exhibition* of MICHAEL SAILSTORFER
presented at CentrePasquArt, Biel
seen on Wednesday, July 8, 2015
image © we find wildness

*running through 13 September 2015

wfw weekend #221

alexandra-catiere

a spread from the book Nobody Believes That I’m Alive by ALEXANDRA CATIERE
released on the occasion of her solo exhibition at Photoforum PasquArt, Biel
published by GwinZegal,  2015
image © we find wildness

Nobody Believes That I’m Alive is on view at Photoforum PasquArt, Biel until August 23, 2015

Domenico de Chirico pick #26

all images courtesy of the artist and Galerie Balice Hertling, Paris

Neoliberal, a solo exhibition by NEÏL BELOUFA
on view at Galerie Balice Hertling, Paris
until July 18, 2015

chosen by curator and editor DOMENICO DE CHIRICO

Denis Savary. Neige de Printemps

denis-savary-mamco-7

DENIS SAVARY, Neige de Printemps
exhibition view at Mamco Geneva, June 2015

denis-savary-mamco-24

Neige de printemps, 2014

denis-savary-mamco-6

Neige de printemps, 2014

denis-savary-mamco

DENIS SAVARY, Neige de Printemps
exhibition view at Mamco Geneva, June 2015

denis-savary-mamco-4

Öyvind, 2015

denis-savary-mamco-5

Öyvind, 2015

denis-savary-mamco-20

Pool, 2015

denis-savary-mamco-22

Loup, 2014

denis-savary-mamco-25

Stromboli, 2015

denis-savary-mamco-18

Stromboli (detail), 2015

denis-savary-mamco

 Frégate, 2015

denis-savary-mamco-26

Bound to fail, 2015

denis-savary-mamco-15

Bound to fail, 2015

denis-savary-mamco-17

DENIS SAVARY, Neige de Printemps
exhibition view at Mamco Geneva, June 2015

denis-savary-mamco-23

DENIS SAVARY, Neige de Printemps
exhibition view at Mamco Geneva, June 2015

denis-savary-mamco-10

Jubilé (detail), 2015

denis-savary-mamco-8

Boréale, 2014

denis-savary-mamco-27

Boréale, 2014

all images: © we find wildness

Geneva, Tuesday, June 30: 32° celsius. Add or subtract 2 or 4 degrees for the upper floor of the Museum of Contemporary Art, then you have an overview of the sweaty atmosphere from the solo exhibition by Swiss artist DENIS SAVARY when I visited it last week.

Like a ‘real life’ nose-thumbing, the exhibition is entitled Neige de Printemps (Spring Snow) and moreover the press release describes the exhibition with a freezing vocabulary such as arctic expedition, white days, icy weather, snow globe, ice fields, snowy summits or even refrigerator. To explain this terminology, let’s start from the beginning, a couple of years ago when the fourth floor of the Mamco – where the exhibition is taking place – was devoid of any picture rails and presented a 180° panorama through broad windows.

Throughout the exhibition, the works – mainly unseen pieces – resonate with that moment, when the exhibition floor was a viewing platform to the snowy mountains around. From a small eskimo doll watching an hypnotic film entitled Claude (2005) which is actually the degree piece of SAVARY, to Otis (2015) the huge blue inflatable creature at the entrance as well as a series of metallic silver bags, the exhibition seems to gather a collection of figures and faces. Although all these presences appear at the same time nothing more than elements of the decor.

Impossible to mention here every works along with their referential visual cues, however Neige de Printemps plays with notions of appropriation, authorship, representation and memory. The complexity of references makes the exhibited works the product of a vital and refreshing experience that generates narratives steeped in art and literary history.

Neige de Printemps by DENIS SAVARY is on view at Mamco, Geneva until September 13, 2015

Kathy Acker. The Language of the Body

kathyacker

from Against Ordinary Language: The Language of the Body, 1992

The great Adult Magazine led me to the works of American author and punk icon KATHY ACKER (1947-1997) these past few days. Among many impressive books, novels and essays, I’m particularly interested in what she wrote about bodybuilding, a practice she dedicated herself among writing, tattooing and body modification.

If you want to know more about KATHY ACKER, I suggest you to read her portrait by CHRIS KRAUS for Spike Art Magazine. Make sure also to read the whole essay Against Ordinary Language: The Language of the Body (1992) from where the excerpt above comes from via http://ubumexico.centro.org.mx/text/Acker-Kathy_The_Language_of_the_Body.pdf .

In the same theme, I really recommend to visit the group exhibition entitled Inhabitations, Phantasms of the Body in Contemporary Art that is on view at the Kunsthaus Aarau until August 2, 2015.

Domenico de Chirico pick #25

all images courtesy of the artists and Catherine Bastide Gallery, Brussels

a group exhibition with NICOLAS BOURTHOUMIEUX, JOE MAMA-NITZBERG, ANDY OKOROAFOR and MATHILDE FERNANDEZ
on view at Galerie Catherine Bastide in Brussels
until July 18, 2015

chosen by curator and editor DOMENICO DE CHIRICO