wfw sound #6. Agatha Valkyrie Ice (chapter 2)

Second chapter from the playlist saga commissioned by AGATHA VALKYRIE ICE for the January wfw sound. Entitled Dolphins & Dogs, this mix is still inspired by animals mating rituals and has been crafted by Pole In The Basement.

➝ follow this link to listen to the previous wfw sounds

Leo Gabin. Exit / Entry

Leo-Gabin-Exit-Entry-Install-2-2016-EMAIL

LEO GABIN, Exit/Entry
installation view at Peres Projects, Berlin / January 2016

Leo-Gabin-Exit-Entry-Install-3-2016-EMAIL

Untitled, 2015
painting – lacquer and acrylic on aluminum
work in 6 parts: 144 x 600 cm (56.69 x 236.22 in) 144 x 100 cm (56.69 x 39.37 in) each

Leo-Gabin-Exit-Entry-Install-4a-2016-EMAIL

LEO GABIN, Exit/Entry
installation view at Peres Projects, Berlin / January 2016

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LEO GABIN, Exit/Entry
installation view at Peres Projects, Berlin / January 2016

Leo-Gabin-Exit-Entry-Install-7-2016-EMAIL

Untitled, 2015
painting – lacquer and acrylic on aluminum
diptych: 144 x 200 cm (56.69 x 78.74 in) 144 x 100 cm (56.69 x 39.37 in) each

LG13325-Untitled-2015-EMAIL

Untitled, 2015
painting – lacquer and acrylic on aluminum
diptych: 192 x 270 cm (75.59 x 106.3 in) 192 x 135 cm (75.59 x 53.15 in) each

LG13318-Untitled-2015-EMAIL

Untitled, 2015
painting – lacquer and acrylic on aluminum
192 x 135 cm (75.59 x 53.15 in)

LG13319-Untitled-2015-EMAIL

Untitled, 2015
painting – lacquer and acrylic on aluminum
192 x 135 cm (75.59 x 53.15 in)

LG13320-Untitled-2015-EMAIL

Untitled, 2015
painting – lacquer and acrylic on aluminum
192 x 135 cm (75.59 x 53.15 in)

Leo-Gabin-Exit-Entry-Install-1a-2016-EMAIL

LEO GABIN, Exit/Entry
installation view at Peres Projects, Berlin / January 2016

LG13326-Untitled-2015-EMAIL

Untitled, 2015
painting – lacquer and acrylic on aluminum
192 x 135 cm (75.59 x 53.15 in)

all images courtesy the artist and Peres Projects, Berlin

In the Berliner gallery Peres Projects, LEO GABIN is presenting a new body of works entitled Exit/Entry. Inspired by a virtual relation with a woman living in California and named BONNIE, GABIN recontextualizes one typical day in the life of the American woman through a video, a series of paintings and image-text juxtapositions.

By browsing, selecting and finally transforming footages from the 3,000 videos that BONNIE uploaded, LEO GABIN is probably the main subject as much as those the woman recorded. It’s what makes this work interesting, this sense of implication, that in exposing the life of this American woman, he is actually exposing himself.

But still, what is shown, really? Nothing; banal views from urban areas, strangers in the street and random events from BONNIE’s life. In that sense, Exit/Entry is less a work of appropriation than of the imagination, an expression of what we all do all the time, or as DAVID FOSTER WALLACE wrote in his essay ‘This Is Water‘ (2009): The world as you experience it is right there in front of you, or behind you, to the left or right of you, on your TV, or your monitor, or whatever. Other people’s thoughts and feelings have to be communicated to you somehow, but your own are so immediate, urgent, real – you get the idea .

Exit/Entry by LEO GABIN is on view at Peres Projects in Berlin until February 6, 2016.

one message interview #14. Anouk Kruithof

onemessageinterview-anoukkruithof

Since 2003 ANOUK KRUITHOF has never ceased to question, to explore and to expand the formal and material dimensions of photography in a radical and dynamic way. A unique position which enables her to present her work in the group exhibition Ocean of Images: New Photography 2015 currently on view at MoMA in New York though March 20, 2016.

http://www.anoukkruithof.nl/

➝ follow this link for more informations about the ‘one message interview’ project

wfw weekend #272

melaniematranga

detail from 反复 [FANFU] (2015), MELANIE MATRANGA
seen at Palais de Tokyo, Paris
on Thursday, January 7, 2016
image © we find wildness

wfw weekend #271

snickers-jonathanmartin

Snickers (Jane, Mila, Kristen) (2016), JONATHAN MARTIN
seen at Galerie Samy Abraham, Paris
on Thursday, January 7, 2016
image © we find wildness

David Hanes. wfw aware moment #20

01DHanes_Week19_2016

Aware: after the group exhibition Find Your Beach with CONSTANT DULLAART, LINDSAY LAWSON, LYNN HERSHMAN LEESON, SHANA MOULTON, AUDE PARISET, RICCARDO PREVIDI, JOSEPHINE PRYDE and AMALIA ULMAN
presented at Alte Fabrik, Rapperswil
shot on January 2, 2016, altered on January 7, 2016 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.

 

Heimo Zobernig at Kunsthaus Bregenz

heimo-zobernig-6

installation view 1st floor, Kunsthaus Bregenz
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

heimo-zobernig-7

installation view 1st floor, Kunsthaus Bregenz
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

heimo-zobernig-8

installation view 1st floor, Kunsthaus Bregenz
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

heimo-zobernig-9

installation view 1st floor, Kunsthaus Bregenz
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

heimo-zobernig-10

untitled, 2015
laminated particle board, steel frame on casters, 292 x 202 x 80 cm
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

heimo-zobernig

installation view 2nd floor, Kunsthaus Bregenz
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

heimo-zobernig-2

installation view 1st floor, Kunsthaus Bregenz
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

heimo-zobernig-3

installation view 3rd floor, Kunsthaus Bregenz
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

heimo-zobernig-4

installation view 3rd floor, Kunsthaus Bregenz
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

heimo-zobernig-5

installation view 3rd floor, Kunsthaus Bregenz
© HEIMO ZOBERNIG/Kunsthaus Bregenz/Bildrecht, Wien, 2015
photo: MARKUS TRETTER

To be truly honest, up until his solo exhibition at the Kunsthaus Bregenz, I had never really had any particular interest in HEIMO ZOBERNIG‘s work. Of course I knew who he is, I scrolled his endless list of exhibitions on his website (an online moment quite related to a performance) and I have encountered a few works (mainly paintings) before. But let’s say I was ZOBERNIG free.

The exhibition in Bregenz is not described as a retrospective nor a survey, although the Austrian Institution gathers together key works made over a twenty-year span, taking up the three floors of the museum in a chronological order. Actually order seems to be an important ingredient for the Austrian artist, which is mostly perceptible in the first floor of the Kunsthaus, where an armada of structures, looking like empty bookshelves, is standing . These elements, all designated as ‘untitled’, are displayed in precise parallel rows, and seem to follow an invisible grid.  The light is intense and blueish thanks to the ceiling made of aligned frosted glass panels. This lighting as well as the polished concrete of the floor and the walls render the surfaces of ZOBERNIG‘s works in a raw and cheap materiality. A rather honest posture since the materials include MDF, cardboard and mirrored plexiglas that is reinforced by the DIY finitions of these objects. Eventually the whole compositional pattern of geometrical forms engages a frontal dialog with the rigorous design of the museum, inducing an ambivalent environment at once familiar and abstract.

The second floor features a single monumental installation made of black curtains and aluminium structures. To enter the new space generated by the piece, you can choose to bypass the whole installation or to go through the fabric. A white bench has been placed on the left end of the installation allowing the visitor to watch the people peering behind the curtains. By staying a while into this ‘stage’ and observing the reaction of the other visitors, you have the uncanny feeling of being watched while watching and inversely. Finally, on the third floor, a part of the ceiling’s glass panels has been removed revealing the structural architecture of the ceiling in order to integrate instead a large black form made of cardboard. The spectacular sculpture recalls an utopian futuristic architecture that is reinforced by the presence of a raw cast of a human figure assembled from various modified mannequins.

Finally HEIMO ZOBERNIG’s solo exhibition at Kunsthaus Bregenz, is concentrated on the sculptural aspect of his practice since none of his paintings are shown. This absence not only emphasizes the strata of minimal forms and reduced gestures across the different installations, but also – and in a more consequent way – stresses the repetitive, rigorous and hermetic design of the museum.

HEIMO ZOBERNIG at Kunsthaus Bregenz, Austria is on view until January 10, 2016.

 

Orit Gat. Any plans after the exhibition?

orit-gat

Writer ORIT GAT has crystallized some current questions and relevant thoughts about exhibitions, curatorial practice as well as our way to watch and share art in an essay that was initially developed as part of the conference “What is this thing called ‘exhibition’ and do we still need it today?” organized by HILA COHEN-SCHNEIDERMAN at the Petach Tikva Museum of Art in October 2015.

I really encourage you to read the entire text entitled Any plans after the exhibition? that has been published yesterday on Momus.ca: http://momus.ca/ANY-PLANS-AFTER-THE-EXHIBITION/

 

Domenico de Chirico pick #50

all images:
© NATHAN HYLDEN – photo: FREDRIK NILSEN
Courtesy of the artist and KÖNIG GALERIE

Goes On, a solo exhibition by NATHAN HYLDEN
presented at König Galerie (St. Agnes) in Berlin
on view until January 24, 2016

chosen by curator and editor DOMENICO DE CHIRICO

 

wfw sound #6. Agatha Valkyrie Ice (chapter 1)

Let’s start 2016 together with a new sound commissioned by AGATHA VALKYRIE ICE, the multi-user avatar director of OSLO 10 in Basel. Actually it won’t be just one playlist, but four that will be distilled during all the month of January. The mini mixes are all inspired by animals mating rituals. The first one featured above, is entitled Polar Bear and has been conceived by Prop&Lean.

<3

➝ follow this link to listen to the previous wfw sounds

wfw weekend #270

arthur-fouray-m

a spread from M
released on the occasion of ARTHUR FOURAY‘s solo exhibition at Quark Geneva
published by Micronaut in November 2015
image © we find wildness

this book has been made from http://mmm.af, a website that gathers the notes of ARTHUR FOURAY

 

wfw weekend #269

aude-pariset-findyourbeach

models from the installations Planned Fall (2013), AUDE PARISET
seen in the group exhibition Find Your Beach
at Alte Fabrik, Rapperswil
on Saturday, January 2, 2016
image © we find wildness

two more details of this work are on view via the wfw instagram

wfw weekend #268

iphone-bregenz

installation view, HEIMO ZOBERNIG
seen at Kunsthaus Bregenz, Austria
on Wednesday, December 30, 2015
image © we find wildness

a few more images of this exhibiton is on view via the wfw instagram

one message interview #13. Hubert Marot

hubert-marot-onemessageinterview

HUBERT MAROT is a French artist currently based in Paris whose series entitled The Blueprint has been featured on wfw a few years ago. He will present a new body of work in a solo exhibition at the Parisian gallery Untilthen this spring.

http://hubertmarot.com/

actual_size #3. Marina Sula

MarinaSulaTouchMe

Touch me, like you never touched me before, 2015
c-print on paper, 300 x 140
image © MARINA SULA

Desire, sexy, porn, feeling, soft, touching, warm are the words MARINA SULA and I used when we were chatting about her work that is presented above.

This image which is part of an ongoing series, started when the new iPhone 6s came out in a new color called Rose Gold earlier this year. I remember that at that time, I read an article on The New Yorker by REBECCA MEAD entitled The Semiotics of Rose Gold.

MEAD stated among other things that Rose gold is “deliberately adulterated, it is gold that has an inclination to be something else. Rose gold is perverse. (…) The desire it stimulates is inherently temporary. In rose gold, a substance of enduring value is transformed into a consumer item with the half-life of all things modish. Rose gold is decadent. It is gold for people who already have enough gold gold.” To conclude that Rose gold is marking a time “in which a technology company can make fifty billion dollars in a fiscal quarter, largely on the strength of persuading people who already have a phone—that company’s phone—that they need to buy a slightly different version. As Apple knows better than anyone, we live in a rose-gilded age.

Back to SULA‘s photograph which actually shows a close-up of fingers in contact with the Rose Gold iPhone. Entitled Touch me, like you never touched me before, the work depicts the intimate relationship of finger-based activity with devices. This work is not a cold view of the mediating capacities of technology but rather a sensual exploration of the ambivalent pleasure resulting from the encounters between the body and the machine.

Touch me, like you never touched me before seems also to reference the works made by artists that deploy imagery of hands as symbol of domestic labor, idealized femininity, and self-image. Eventually MARINA SULA used the vocabulary of advertising and commercial image-making to offer a subtle, subversive and compelling vision.

found via

 

➝ Read more about actual_size, a special project on we find wildness here