Untitled #25, 2010
polymer clay  3 x 3 cm

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Untitled #22, 2010
polymer clay  2.5 x 2cm

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Untitled #50, 2010
polymer clay  2.5 x 2.5cm

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Untitled #57, 2010
polymer clay  3 x 2.5cm

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Untitled #60, 2010
polymer clay  3.5 x 4.5cm

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Melbourne-based artist MATT HINKLEY creates tiny polymer clay sculptures, held out from the wall on long pins, which confound the eye in their meticulous patterns and rhythmical textures. He also applies his distinct, highly refined hand renderings to materials including newspapers, graph paper and found objects.

HINKLEY completed a Bachelor of Visual Arts at the Queensland College of the Arts in Brisbane in 2000 and has exhibited across such spaces as the Australian Centre for Contemporary Art @ Mirka at Torlano, Gertrude Contemporary Art Spaces, Artspace, Sydney and the Perth Institute of Contemporary Art. In 2009 he exhibited at Frieze Art Fair in London through Neon Parc.

And good news if you are living in Auckland, New Zealand, you have a few days (til January 28th,2012) to view these tiny sculptures in the group show Big Refrigerator at Hopkinson Cundy

Claque & Shill, 2011
Pencil on paper, meera white granite, 36 x 46 x 4 cm

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Claque & Shill, 2011
Pencil on paper, spluga green granite, 48 x 36 x 4 cm

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Installation view, Claque & Shill at Gasconade, Milan, 2011

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Claque & Shill, 2011
Pencil on paper, absolute black granite, 36 x 46 x 4 cm

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Installation view, Claque & Shill at Gasconade, Milan, 2011

Claque & Shill, 2011
Pencil on paper, eucalipto green granite, 48 x 36 x 4 cm

all images courtesy Gasconade, Milan
photos by ALESSANDRO ZAMBIANCHI

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ANDREA ROMANO‘ small-scale pencil reproductions of photo portraits of KENNY, a Royal White Tiger, are in a word ambiguous. Due to inbreeding, Kenny was mentally retarded and had physical handicaps, which aren’t striking at first glance but which, however, let you unsure, whether to ascribe these deformities to the animal or if they have been altered in some way by the artist’s hand.

Going even more into this idea of ambiguity, the title of the show Claque & Shill hints the feeling that something is unreliable: the claque is a group of people who are paid to applaud or deride a performance and thereby attempt to influence the audience. The shill is someone who purposely gives onlookers the impression that he or she is an enthusiastic independent customer of a seller and encourages other onlookers or audience members to purchase a particular good or service. Claque and shill infiltrate into a group in order to orientate the taste of its members and manipulate the perception of a phenomenon.

By making use of remote, sometimes antagonistic material, ROMANO’s work consistently questions the notion of origin, and the relationship between one’s identity and one’s work blurring the line between reality, perception and representation.

Claque & Shill by Milan-based artist ANDREA ROMANO was the first ever solo show at Gasconade, a newly nonprofit art space in Milan (directed by MICHELE D’AURIZIO and LUCA CASTIGLIONI), which is devoted to present Milanese artists born in the 1980s. And the good news is that the second solo show at Gasconade will present the work of KASPAR MÜLLER from 27 January to 25 Febuary, 2012 (opening the 26th January!), more info via http://www.gasconade.it/

 

 

exhibition view at Giti Nourbakhsch, April – May 2011
photo © WFW

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Six things you need to know about BERTA FISCHER:

1. she is a german artist who lives and works in Berlin
2. most of her works are cut from transparent acrylic glass or sheer PVC film
3. then bent and folded like anarchic origamis
4. in these sculptures, the cut edges of the Perspex sheets concentrate incident lights, creating glowing lines that subvert the sculptural outer form
5. however, her latest work (see above) explores new materials and their properties such as intertwined colored plastic nets, cotton and latex
6. her work has been exhibited throughout Germany, including solo shows at Giti Nourbakhsch (Berlin), Hammelehle & Ahrens, Projektraum (Köln) and Galerie Reinhard Hauff (Stuttgart) among others

 

 

all images © MAX PITEGOFF, CALLA HENKEL

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CALLA HENKEL and MAX PITEGOFF are both American living and working in Berlin where they curate an art/bar space called Times. Additionally they creates together a multifaceted body of work including performances, texts, photographs and installations in which everything seems mysterious and perpetually in motion.

See more from CALLA and MAX at their website: http://sb95.com/

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found via reform.lt

How Can I Resist U by FATIMA AL QADIRI
Video: SOPHIA AL-MARIA 

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A few weeks back, WFW featured FATIMA AL QADIRI, a New York-based Kuwaiti visual artist and composer who has recently released a record called Genre-Specfic Xperience. For each track on the EP, she specifically chose to work with different visual artist not known for directing music videos. And the xperience wouldn’t be complete without the – freshly released – video How Can I Resist U by SOPHIA AL-MARIA.

‘How Can I Resist U’ is a love letter to London in general and Dubstep (before it wobbled) in particular. ‘Lenden’ as it’s known has become a historic site of pilgrimage for wealthy Arabs seeking the forbidden fruits of sex, drugs and alcohol.  Interspersed with Youtube footage of Ma’alaya dances specific to Gulf countries like UAE and Oman–the super cars, dancing girls and brutalist council estates in the video are part of the down-and-dirty dream that a trip to London signifies for Khaleejis (Gulf Arabs). The color of the video is based on an infamous Arab royal’s custom ‘Gulf Blue’ Koenigsegg CCXR that terrorized the streets of the city’s posh neighborhoods.

The result is thoroughly disturbing, but totally groundbreaking! Make sure to watch more Xperience videos here

Art for Modern Architecture (Homage to Ellsworth Kelly)
The New York Times (Week of February 21st to February 27th 2005)

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Art for Modern Architecture (Homage to Ellsworth Kelly)
The Times (Week of February 14th to February 19th, 2005)

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Art for Modern Architecture (Homage to Ellsworth Kelly)
Herald Tribune (Week of November 30th to December 1st, 2004)

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Art for Modern Architecture (Homage to Ellsworth Kelly)
Herald Tribune (Week of November 30th to December 1st, 2004)

all images courtesy the artist

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MARINE HUGONNIER - whose work includes films, photography, works on paper, books and performance – explores the relationship between text and image, between the descriptive and deceptive qualities of visuals and language. For her, the image always carries the promise of an excess of meaning, a resistance to its subjection to a purpose of commerce, propaganda and ideology – in short, the spectacle.

Art for Modern Architecture (2004–ongoing) investigates the role of the image, its abilities and its limitations and reverses the process by obstructing the press images on the front page of a week’s worth of newspapers (the series include The New York Times, The Times, Die Tageszeitung, Le Monde, The Herald Tribune, The Neue Zürcher Zeitung and Al Ayaam) with collages made of cutouts from ELLSWORTH KELLY’s book Line Form Color.

ELLSWORTH KELLY claimed that art was to be made for public spaces and buildings, thus establishing the modernist utilitarian project of art serving modern architecture. This project renews KELLY’S ideas and re-elaborates them within another medium, that of a newspaper, the ‘architecture‘ of which frames everyday life.

MARINE HUGONNIER (born in Paris) lives and works in London. She has exhibited internationally including solo shows at Malmö Konsthall, Sweden(2009), Villa Romana, Florence, Italy (2009), FRAC Champagne-Ardenne (2009), Max Wigram Gallery, London (2010), Nogueras Blanchard, Barcelona (2011) and Fortes Vilaca, Sao Paolo (2011) among others.

 

KERSTIN BRÄTSCH / ADELE RÖDER «VORAHNUNG [UNITED BROTHERS AND SISTERS]»
exhibition views at Kunsthalle Zürich, November 2011 – January 2012
all images courtesy of Kunsthalle Zurich. Photos by STEFAN ALTENBURGER

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Lately, DAS INSTITUT duo – KERSTIN BRÄTSCH and ADELE RÖDER – have filled the low-ceilinged, Baroque rooms of the Museum Bärengasse in Zürich (the Kunsthalle Zürich’s temporary home during the renovations) with twenty-three installations, including reworked and fragmented elements from the architecture of the previous exhibition at the Kunsthalle, light elements and a new project with UNITER BROTHERS (EI ARAKAWA and TOMOO ARAKAWA).

This exhibition manifested a sense of constant flux and mutation. Their images moved freely from posters/magazine advertise-ments to textile patterns, from paintings on transparent polyester films to abstract light elements or from doodling books to digital motifs. The whole dealing playfully with the authenticity of artistic creation, the value and utility of art, and our material world which did not encompass the image but rather resided within it.

Founded in 2007 as an import/export agency , DAS INSTITUT is an ongoing collaboration that creates hybrid forms of artistic production and reproduction through painting, design, and performance. In September 2009, the Swiss Institute presented the duo’s first solo exhibition in New York. More recently they had solo exhibitions at BaliceHertling, Paris (2009), Hermes und der Pfau, Stuttgart (2009), Centre d’Art Contemporains du Parc Saint Léger, Pougues-les-Eaux (2010), Art 41 Statements (2010) and New Jerseyy, Basel (2010) among others. Additionally DAS INSTITUT was part of the 54th Venice biennale last year (2011).

DAS INSTITUT is the Volksgarten obstructed by venetian blinds

DAS INSTITUT is a gaze with multicoloured shades

DAS INSTITUT is simply not knowing his own name

DAS INSTITUT is a character in various roles

DAS INSTITUT is an open roof deck

DAS INSTITUT is a mouldy pond

DAS INSTITUT is a seaweed

DAS INSTITUT is same old same old

DAS INSTITUT is Räder und Brötsch – KERSTIN BRÄTSCH and ADELE RÖDER in conversation with BEATRIX RUF.

The exhibition at Kunsthalle Zurich is unfortunately now closed but I suggest you to read the interview of BRÄTSCH by MAURIZIO CATTELAN here!

 

Stock, 2011
285 pallets, acrylic
installation view at Centre PasquArt, Bienne
courtesy of the artist
photo © WFW

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Stock is a monumental installation created especially for the Salle Poma at the Centre PasquArt in Bienne (Switzerland) by Swiss artist GILLES PORRET. As his previous work, this installation questions the colors, their combination, their significations and their effects by using 285 wood paletts of 11 different colors.

In addition to his personal work, GILLES PORRET works as as curator. He also teaches drawing and painting at the ECAV (Ecole Cantonale d’Art du Valais) since 1997. He published in 2009 a monograph entitled Synthétiques with the Infolio editions.

And good news: Stock is currently on view at Centre PasquArt, Bienne (Switzerland) through January 22nd, 2012.

 

Untitled, 2011
© PETER PUKLUS

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Six things you need to know about PETER PUKLUS:

1. he is fine art / editorial photographer living and working in Budapest, Hungary
2. where he graduated in 2009 from the Moholy-Nagy University of Art and Design
3. since then he has never ceased to capture everything he gets in front of his lens
4. nevertheless a single picture or one medium is not enough for him to capture his daily life
5. thus most of his pictures are accompanied by videos with the same subject set in the same interiors documenting the formation of his still pictures
6. and good news: two books – One and a Half Meter and Handlook to the Stars - are going to be released in 2012 (more info here)

 

Exhibition view Vom Aussersten Rand der Bedingung, 2009
at Galleri Christina Wilson, Copenhagen

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Parallet Welt (schwarz/rot), 2009
kaiser idell lamps, two mirrors
83 x 45 x 45 cm

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Parallet Welt (rot/rot), 2009
kaiser idell lamps, two mirrors
83 x 45 x 45 cm

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detail of Vom zukünftigen Hintergrund unter anderer Bedingung betrachtet, 2010
mirror, 60 x 77,5 cm

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Vom zukünftigen Hintergrund unter anderer Bedingung betrachtet, 2010
mirrors, each 60 x 77,5 cm

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Watch, 2008
japanese wall clock, mechanical with gong, convex glass, mirrored

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Nissan ( Parallelwelt 1 + 2), 2009
two Nissan Micra, dimensions variable
installation view Grenzfälle fundamentaler Theorien at Johann König, Berlin, 2009

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Palette, 2006/2009
mahogany wood, shellac, wood stain
14 x 100 x 118 cm

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Broken away from common standpoints, 2010
steel plate, glass, two parts
dimension variable

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Transfer massereicher Körper ( Kaiser idell/aubergine), 2010
two kaiser idell lamps, mirrors
80 x 60 x 60 cm

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Andere Bedingung (Aggregatzustand 6), 2009
steel, copper, glass, mirror, iron, broomstick, seven parts
dimensions variable

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Andere Bedingung (Aggregazustand 6), 2009
copper, brass, steel, wood, mirror, six parts

all works courtesy ALICJA KWADE and Johann König, Berlin

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The work of ALICJA KWADE (born in 1979 in Katowice, Poland) involves our assumptions about reality and the way we conceive it. Through her sculptures—as well as in her installations, photographs and films, she tries to make the invisible visible, the inconceivable conceivable. Often composed of everyday items, KWADE’s works explore and question subjects like economic systems and powers (coal/gold), social agreements on the value and authenticity of objects, and philosophical notions about the character of time, the structure of reality, and the meaning of history.

We construct our reality, come to agreements, accumulate knowledge, experience things…Reality is not absolute but merely an accidental coincidence of events taking place at the same time – ALICJA KWADE in an email to KATHRIN MEYER, February 2010

ALICJA KWADE received the Piepenbrock Price for Sculpture in 2008, which was followed by recent exhibitions at the Hamburger Bahnhof—Museum für Gegenwart (2008), Galerie Christina Wilson, Copenhagen (2009), Johann König, Berlin (2009),  Museion at Peep-Hole, Milan (2010), Kestner Gesellschaft, Hannover (2010), Westfälischer Kunstverein, Münster (2010) and finally at the Kunsthaus Langenthal (2011). She lives and works in Berlin.

And good news: her first monograph has been released recently by Distanz Verlag

We seem to have entered a parallel world…