one pic #4. Renate Buser

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view from the photographic installation Barock, 2014
at Bellelay Abbey, Switzerland
image © wfw

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This is a view from the abbey of Bellelay in Switzerland which is currently hosting its annual exhibition. For this year’s edition, Swiss artist RENATE BUSER displays a series of large realistic images that underscore architectural aspects of the abbey. Under the title Barock, the monumental photographic installation focuses on the succession of pillars and the volume between them, enlarges certain details, or even reverses others. Looking at these pieces, you are tricked into seeing something that is not there: the work of RENATE BUSER not only offers a new reading of the space, but it also provides a cinematic experience .

Barock is on view at the Bellelay Abbey in Switzerland until July 27, 2014

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one pic #3. Nancy Lupo

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Pumps for Lunch, 2014
55-gallon Rubbermaid BRUTE container in yellow, 44-gallon Rubbermaid BRUTE container in yellow, 2 Rubbermaid BRUTE swivel dollies, 2 Tview headrest monitors in beige, media player, 33 x 33 x 37 in and 31 x 31 x 26 in
image courtesy of Laurel Gitlen, New York

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The tactility of my work traffics in a kind of erotics whose wires have been crossed and confused. Food is used in many of the sculptures—real food and also fake food. Cherries are bright and sexy, while nutritional yeast might remind you of snot, fat, or the gum soles on some shoes. You aren’t sure whether they stir sensations of hunger or disgust—whether they make you horny or have stirred your decorative juices.  - NANCY LUPO for Artforum, March 2014

NANCY LUPO (born 1983) creates sculptures, objects, and site-related installations that are part ready-made, part appropriation. Because she incorporates non-traditional materials like quinoa, chia seeds, nutritional yeast, or kitty litter into her sculptures, her work exists as disconcerting objects that invite us to re-evaluate our own criteria for understanding forms and their cultural origins.

➝ this work is currently part of the group exhibition Mineral Spirit at Laurel Gitlen Gallery in New York on view until August 8, 2014

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one pic #2. Benni Efrat

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Extrapolations, 1978
limestone and steel cable
courtesy the artist  © BENNI EFRAT

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Extrapolations (1978) is a sculpture by Israeli artist BENNI EFRAT which consists of a huge, heavy, slab of stone caught by what seems to be a thin cable plugged itself into one big block of limestone. A simple gesture yet precarious which explores - thanks to the scale and the position of the masses - the energy, the space and the perception.

What I know about BENNI EFRAT is very little but he is considered to be among Israel’s most prominent exponents of conceptual art thanks to his drawings, paintings, installations, photographs, films and performances. The good news is that his work is currently part of the exhibition Other Primary Structures at the Jewish Museum in New York City until August 03, 2014.

Extrapolations is on view in the Sculpture Garden of the Israel Museum in Jerusalem

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one pic #1. Jared Madere

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Untitled, 2014 (detail)
salt, funerary arrangements, ink, dimensions variable
from the group exhibition from whose ground heaven and hell compare at Croy Nielsen, Berlin (image courtesy of Croy Nielsen Berlin)

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I just came across this photo from a group exhibition that is currently on view at Croy Nielsen gallery in Berlin. It shows a detail of an installation by JARED MADERE, which transformed a part of the gallery into a unwieldy landscape made of salt and flowers from funerary arrangements. By looking for informations about JARED MADERE, it seems that he remains disinterested in building an archive; his works are often made using fragile and ephemeral materials such as salt, flowers, or fruits, that are dismantled and destroyed once an exhibition has ended. MADERE‘s installations and sculptures suggest the passage of time and mess with space, and image-making. View more images of the installation here.

 ➝ From whose ground heaven and hell compare with OLGA BALEMA, GEORGINA BRAOUDAKIS, ELAINE CAMERON-WEIR, GEORGIA DICKIE, DAVID FLAUGHER, ALEKSANDER HARDASHNAKOV, JASON MATTHEW LEE, JARED MADERE, CARLOS REYES, ERIC SCHMID, ANDY SCHUMACHER, BEN SCHUMACHER, LUKE SCHUMACHER organized BY BEN SCHUMACHER is on view until July 26, 2014 at Croy Nielsen gallery Berlin

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wfw weekend #144

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view from the installation Like Child’s Play (2014) by DANIEL BUREN
seen at Modern and Contemporary Art Museum in Strasbourg
on Thursday, July 10, 2014
image © wfw

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wfw weekend #143

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Horses, Trainers and Donkeys (oil on canvas, 2014) by DAVID CHIEPPO
seen at Kunstmuseum Solothurn, Switzerland
on Wednesday, July 9, 2014
image © wfw

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Clement Cogitore

Porteur (excerpt), 2004
DVCam PAL N&B / 2 min (loop)

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Memento Mori – Le discours des vanités au XVII° siècle (excerpt), 2012
video HDCAM – coul – 97min

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Chroniques (excerpt), 2006
fiction exp. 35mm color/ B&W / 30 min
dolby SR/1/1,66

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Passages (excerpt), 2006
35mm color /4min (loop)

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Although I heard about CLEMENT COGITORE before my visit at the Museum of Modern and Contemporary Art in Strasbourg yesterday which is currently presenting a solo exhibition of the French artist, it was a real revelation to discover his short films.

Like his photographic work, his movies continue his practice as an individual intrigued at how the subjective and collective memory, representations of the past and the ways in which people cohabit with their images crash into each other. At the border between cinema and contemporary art, COGITORE’s videos often balance between the familiar and the unexplained wrapped up in tension and fascination. All elements – the positioning of the characters, their posture and interaction, the use of light and colour, the landscapes – seem to have been meticously constructed and appear to fit together like the pieces of a puzzle. And yet the meaning of the whole remains ambiguous, fact and fictons are constantly at odds with each other. The enigmatic quality of COGITORE‘s work offers the viewer the chance to lose himself in the work each time and to discover new readings and narratives.

His exhibitions usually include an assortment of images cased in minimal frames or simply pasted on the walls like in Strasbourg as well as a series of video installations.

Stories arrive in the head in order to be told. Sometimes paintings do the same. - JOHN BERGER, Essays in Seeing, 1979

Here is a selection of not so recent video extracts which are available online via his vimeo, but if you have the chance to see one of his exhibitions or screenings, do not hesitate!

CLEMENT COGITORE‘s exhibition Fictions at Museum of Modern and Contemporary Art Strasbourg runs until 21th september, 2014

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Ettore Spalletti

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Sala delle feste, 1998
exhibition view at Musée de Strasbourg, Strasbourg, 1998 
photo: ATTILIO MARANZANO

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Sala delle feste, 1998
exhibition view at Musée de Strasbourg, Strasbourg, 1998
photo: ATTILIO MARANZANO

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Un giorno così bianco, così bianco, exhibition view at Maxxi, Roma 2014
photo MATTEO CIAVATTELLA

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Stanza azzurra, Dedicata a mio fratello che amava gli azzurri, 2006.
installation view at Museum Kurhaus Kleve, 2009.
photo: WERNER J. HANNAPPEL

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Un giorno così bianco, così bianco, exhibition view at Maxxi, Roma 2014
photo MATTEO CIAVATTELLA

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Un giorno così bianco, così bianco, exhibition view at Maxxi, Roma 2014
photo MATTEO CIAVATTELLA

 

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Nostalgia Roma, 2009.
installation view at Galleria Nazionale d’Arte Moderna di Roma, 2009
Courtesy OREDARIA Arti Contemporanee, Roma

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Veduta dello studio, 2013
photo: WERNER J.HANNAPPEL

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mostra Studio la Città , 2007
installation views at Studio La Città, Verona 

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Stanza, rosso porpora, 2010 

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Rosa, sposa, 2010

Scatola di colore, 1991
Courtesy Studio La Città, Verona

Disegno , 1987 
© Rizziero Arte 

Senza titolo, sottosopra, 2000
photo: DI PAOLO IMMAGINI
courtesy Galleria Lia Rumma, Napoli/Milano

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Studio, 1999

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Disco, 1981

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Pietra dipinta di rosso cinabro. Disco, 1981
photo: GIORGIO COLOMBO

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Rosa, fiore di pesco, 2009
photo: WERNER J.HANNAPPEL

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Documenta IX, Kassel, 1992.
photo © ATTILIO MARANZANO 

all images courtesy of the artist (unless otherwise stated)

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With a current exhibition at MAXXI in Roma, one at GAM in Turin and one at MADRE in Naples under the single title Un giorno così bianco, così bianco, we can easily stated that Italian artist ETTORE SPALLETTI is the man of the moment.

The three exhibitions on display this summer have been conceived like the chapters of a trip through Italy and aim to retrace SPALLETTI‘s whole artistic practice from the 1960s to the present day. According to the press release, the exhibition at the GAM Galleria Civica d’Arte Moderna e Contemporanea in Turin presented (the exhibition closed on June 15, 2014) a selection of works from the artist’s studio and important private collections. In Roma, the exhibition concentrates a series of large environmental installations conceived specifically for the occasion with which the artist confronts such a highly characteristic architectural space. Finally the show at the MADRE Museo d’Arte Contemporanea Donnaregina in Naples is currently featuring an excursus of historic and recent works retracing SPALLETTI’s artistic activities.

ETTORE SPALLETTI (1940) is best known for his minimalist paintings and sculptures that explore geometry, precision, material, colour and light. Finding his roots within Minimalism, Arte Povera and the Renaissance, his work takes the form of freestanding geometric sculptures, volumes and blocks of compact and calculated material – such as alabaster, marble, onyx, gold leaf, metals, precious stones, paper and pure pigment – as well as paintings even there is no painting in the traditional sense of the term, all having a soft color surface that constitutes an active and mobile destiny of seeing and touching.

I always refer to my works as paintings or sculptures. The eternal form of the panel encloses, as it always has for me, the inner content. Inside is the figurative imagination that the fragmentation of the pigment produces in the desire for an atmosphere, for an atmospheric image. . . . We’re in Venice, I’m thinking of San Marco, an amazing place, or of Piazza dei Miracoli in Pisa, the cathedral square: to look at those “objects” placed on the grass and then to think that de Chirico’s little painting with the tower is as big as that piazza. – ETTORE SPALLETTI in conversation with HAIM STEINBACH and GERMANO CELANT, Venice, Italy, 1992

This dynamic dialogue between the three major Italian public institutions not only demonstrates how ETTORE SPALLETTI is a seminal figure in the Italian contemporary art but also reveals a certain proactive nostalgia.

Here is a short summary of the dates and places:

- MAXXI, Rome 13 March – 14 September 2014 
http://www.fondazionemaxxi.it/2013/12/20/ettore-spalletti/?lang=en
- MADRE, Naples 13 April – 18 August 2014
http://www.madrenapoli.it/en/events/a-tribute-to-ettore-spalletti/

If you understand Italian, I highly recommend to watch a short documentary dedicated to the artist  here

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Walter Robinson. Zombie Formalism

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Earlier this year, Art critic WALTER ROBINSON coined – via one of his articles for Artspace - the term of Zombie Formalism in order to identify the current abstract painting trend, an expression taken over by American critic JERRY SALTZ for Vulture in June. Whether I am agree or not with their opinion, it’s really appreciated to see a small attack on the current landscape of the art scene.

Make sure to read the entire article by ROBINSON via http://www.artspace.com/magazine/contributors/the_rise_of_zombie_formalism
and the one by SALTZ http://www.vulture.com/2014/06/why-new-abstract-paintings-look-the-same.html

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wfw weekend #142

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detail from the work The Princess is Caged in the ©  by CARTER MULL
seen at Kunst Halle Sankt Gallen
on Friday, July 4, 2014
image © wfw

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this work is on view at Kunst Halle Sankt Gallen until July 13, 2014

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