What only a loving, disinterested eye would notice – Sinziana Ravini on Matias Faldbakken, Effects of Good Government in the Pit, Astrup Fearnley Museet, Oslo

David Hanes. wfw aware #48

Aware: Hotel Resistance, AHMET ÖĞÜT
presented at Kow, Berlin
shot on December 8, 2017, altered on January 8, 2018 by DAVID HANES*
image courtesy of the artist and we find wildness

*DAVID HANES lives and works in Berlin. Read more about this special project for we find wildness here.

one pic monday. Mimosa Echard

MIMOSA ECHARD, Friends
exhibition view at Samy Abraham, Paris

image courtesy of the artist and Samy Abraham Paris

Je suis en Mode Comportement Compote

J’me make up, je mets mes boucles d’oreilles. Je bouge, je vais dans le sous-sol d’une grande maison de ville, tout y est en compote.

Je me balade de salle en salle, dans chaque image des choses traînent. J’hésite entre le végétal, le synthétique, l’animal ou le minéral pour les décrire. La vie s’installe par la pourriture de compote dans les objets.

J’essaye de remettre mes pensées à plat. Je les recouvre de ma compote parfois, je les regarde souvent.

Mais, je n’aime pas les images, ce qu’il me faut ce sont les objets afin de pouvoir les recouvrir de mon fluide.

Je touche mes boucles d’oreilles et je sors du sous-sol en compote, je vais dans une cave, sur les murs une écriture dorée, dans les airs une drogue douce. Je prépare un espace avec des coussins pour recevoir mes potes dans ce soussol, un rat essaye de les manger, je lui en offre un pour qu’il épargne les autres.

Satisfaite de mes coussins, je m’asseois dessus et je bois une décoction amère a base de plantes. Je ne sais pas trop si mes amies sont autour de moi ou si je suis seule dans cette pièce, et que leur présence n’est qu’une persistance rétinienne. En tout cas ils me parlent et me conseillent lorsque je touche mes boucles d’oreilles.

Tout à coup, une image du passé ressurgit, trois plaies parallèles sur un torse musclé et huilé, pourtant tout est repeint dans ma tête, des couches et des couches de compote, des fondus enchainés.

Je suis sur une île en forme d’haricot magique.

Maintenant, je suis à l’intérieur de moi-même, du liquide rouge sang coule sur les murs blancs de la cave.

Je touche mes boucles d’oreilles et je marche dans la rue, ou alors je suis dans un champ ? Je ne sais plus. Une seule chose est sûre : mes deux meilleures amies sont deux pendentifs qui me donnent du pouvoir.

BEST//FRIENDS – THEO ROBINE-LANGLOIS for MIMOSA ECHARD

Friends by MIMOSA ECHARD is on view at Galerie Samy Abraham in Paris until January 20, 2018.

Download typefaces by Bea Schlingelhof dedicated to Women against Hitler – https://schloss.no/women-against-hitler

Lucy Skaer at KW, Berlin, October 13, 2017 – January 7, 2018 via Contemporary Art Daily

one pic friday. Lewis Fidock

Hive, 2017
nylon, aluminium, polyurethane foam, polyester, polymer, natural powdered pigments, silicone, psycho paint

image courtesy of the artist and Sydney, Sydney, Australia

Constipated Thinking by LEWIS FIDOCK is on view at Sydney in the city with the same name until January 15, 2017.

Okwui Enwezor. Questionnaire on “The Contemporary”

screen capture from https://www.mitpressjournals.org/doi/pdf/10.1162/octo.2009.130.1
on December 28, 2017
image © we find wildness

In 2009, October magazine published a feature called “Questionnaire on ‘The Contemporary.’” The questionnaire was sent to seventy critics and curators whom the editors identified as being particularly interested in the contemporary. Speaking on behalf of the other editors, art critic HAL FOSTER suggested that contemporaneity (in 2009) held a peculiar and paradoxical place in the discourse of art history; according to FOSTER, the contemporary was marked by the disappearance of historical determinations and paradigms for different kinds of art making and reception but at the same time the contemporary appeared as a legible object for institutional analysis and critique.

The full text is available via https://www.mitpressjournals.org/doi/pdf/10.1162/octo.2009.130.1.3

Paintings that picture the female gaze looking onto “herself” becoming a man who in turn embodies the rhetorical gaze of the viewer who is, meanwhile, consuming both. Multiple women and one man; a seemingly classic power structure. How many women have been the object of painting? How many “girls” sell the work (back to the delicious Picabia)? And who is this effete, corporate-suited “Graham,” seeing himself as a girl in a skirt or panties actively posing à la théorie de la jeune-fille ? This is fantasy. This is the controlled choreography of Capitalism. This is not desire. This is Carpenter presenting farce feeding itself to us, presenting Carpenter as the artist. If the girl is the subject in the act of looking at herself for others, she has been hijacked by this Tony Blair-looking businessman in the bathroom mirror; who does not dominate necessarily, but does manage to undermine the subject of our looking. We are complicit. – The Man In The Mirror, Sarah Morris on Merlin Carpenter at Galerie Neu, Berlin, Texte Zur Kunst n°107

wfw weekend #438

exhibition view from As I Remembered It, STEPHEN PRINA
seen at Capitain Petzel, Berlin
on Thursday, December 7, 2017
image © we find wildness

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Piotr Łakomy. From the Tenth Floor People Seem Smaller

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PIOTR ŁAKOMY, From the Tenth Floor People Seem Smaller
exhibitions views and details at Galerie Stereo, Warszawa, 10 November – 18 December 2017

all images courtesy of the artist and Galeria Stereo, Warszawa

photos: DANIEL KONIUSZ

From the Tenth Floor People Seem Smaller is a solo exhibition by PIOTR ŁAKOMY that is currently on view at Galeria Stereo in Warszawa, Poland. The show is running until December 18, 2017.

Lewis Stein “Works from 1968–1979” at Essex Street, New York, October 29 – December 22, 2017

David Hanes. wfw aware #47

Aware: Arbeiten, ROMAN SIGNER
presented at Stampa, Basel
shot on October 28, 2017, altered on December 7, 2017 by DAVID HANES*
image courtesy of the artist and we find wildness

*DAVID HANES lives and works in Berlin. Read more about this special project for we find wildness here.

Henri Bergson, Quel est l’objet de l’art ?, June 3, 1936

Stephen Prina

screen capture from http://www.petzel.com/attachment/en/59c5131c5a4091aa128b4568/Press/59c513755a4091aa128b727f
on November 27, 2017
image © we find wildness

On the occasion of his solo exhibition at Secession in Vienna in 2011, STEPHEN PRINA gave an interview to the curator ANNETTE SÜDBECK. The discussion revolved mainly around his work that the presented in the Austrian institution.

PRINA is currently presenting an abridged version of this installation at Capitain Petzel in Berlin. Titled As He Remembered It, the exhibition is on view until January 13, 2018.

The whole interview is available online here.

wfw weekend #437

Two Pairs of Shoes (Size 35 & 41) (2017), MIRIAM LAURA LEONARDI
seen in the exhibition Interiors
at Galerie Maria Bernheim, Zürich
on Friday, November 24, 2017
image © we find wildness

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