wfw weekend #145

luc-mattenberger

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Souffleuse, 2014 by Swiss artist LUC MATTENBERGER
presented at the 12th edition of the Bex & Arts triennial exhibition, Bex (Switzerland)
seen on Sunday, August 24, 2014
image © wfw

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➝ a few more images of this event are available on the wfw instagram: http://instagram.com/wefindwildness

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Estrid Lutz & Emile Mold

Keep driveway clear, thank you, 2014
© ESTRID LUTZ and EMILE MOLD

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Keep driveway clear, thank you (2014) is a video by ESTRID LUTZ and EMILE MOLD,  drawn from the infinite recombination capacity of the internet’s crazed mashup culture and paired with the manipulation potential of digital imaging tools. In the twisted world of Keep driveway clear, thank you (2014), surface phenomena are the content and unstable structures of color, shape and spatial motion become narrative and protagonist at the same time.

There is very little information about the artists but I can tell you that their work will be part of a group exhibition entitled A Sip of Cool at Galerie Arnaud Deschin in Marseille that opens next week on Saturday August 30, 2014.

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one pic thursday. Angelika Loderer

floating-stones-klein

DIA, 2013
pu foam, stones

courtesy of the artist

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ANGELIKA LODERER is an Austrian artist whose work explores her ongoing interest in matter and time by creating fragile and vulnerable compositions or elements that become worthless once again when dismantled, just like these floating stones presented above.

Her toolbox is elemental and frequently organic, including soil, water, stones, sand, plaster, wood and grass among others. In her installations, LODERER transmutes these materials, oftentimes fixing them in ephemeral states, suspending matter in a transfiguration that envelops and inundates the viewers’ senses.

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Ed Atkins

edatkins-ribbons

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Here is an extract of British artist ED ATKINS‘s 500 words for Artforum who speaks about his three-channel video entitled Ribbons (2014) which is currently on view at the Serpentine Sackler Gallery in London until August 25, 2014, as well as at the Palais de Tokyo in Paris until September 7, 2014.

Make sure to read the entire text via http://www.artforum.com/words/#entry47876

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Ian Law

ian-law-2

At Laura Bartlett Gallery with Eddy Bailhache (RAM 2580), four unfinished paintings and various non-ambient heating elements (10-14.02.2014), 2014
plexiglass cover, fibre based bromide print, Barbie Dream House flooring, framed 34 x 32,2 x 3,5 cm

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ian-law-3

At Laura Bartlett Gallery with Eddy Bailhache (RAM 2580), four unfinished paintings and various non-ambient heating elements (10-14.02.2014), 2014
plexiglass cover, fibre based bromide print, Barbie Dream House flooring, framed 34 x 32,2 x 3,5 cm

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ian-law-1

At Laura Bartlett Gallery with Eddy Bailhache (RAM 2580), four unfinished paintings and various non-ambient heating elements (10-14.02.2014), 2014
plexiglass cover, fibre based bromide print, Barbie Dream House flooring, framed 34 x 32,2 x 3,5 cm

all images: courtesy of the artist, and Laura Bartlett Gallery, London

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These three pieces presented above are part of a series of work by British IAN LAW, entitled at Laura Bartlett Gallery with Eddy Bailhache (RAM 2580), four unfinished paintings, and various non-ambient heating elements (10-14.02.2014). According to the artist, ‘they were attempts to reconcile the aforementioned quandary into objects, employing a life model to carry out the job they do on a regular basis, whilst placing myself in the position of image maker, using equipment I’d not previously used. Using simple directives, asking Eddie to respond and interact with these unfinished canvases, we made a series of images at the gallery during a period between shows which were casual set-ups; utilizing what was to hand as a way to recondition the way I was thinking about the space, and how to work with this for the exhibition. Both these instances are operating within clearly defined and established contracts between artist/photographer and model‘. – IAN LAW in conversation with MARTA RAVASI for Apt Diary

IAN LAW (b.1984) has developed a body of work that engages with his direct environment during the processes that underlie the cycle of producing, exhibiting and contextualising his works. The result often takes the form of objects, installations as well as writings that interact each other, come together and construct the sense.

 

➝ http://www.ianlaw.org/ or http://www.laurabartlettgallery.com/artists/ian-law/

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one pic #12. Pedro Barateiro

sad-savages

Notes on Sadness by PHILLIPE TROTI
© 2013 Duvida Press, the author

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This image comes from The Sad Savages, a tumblr project started in 2012 by Portuguese artist PEDRO BARATEIRO as a storage space during the research he made when he was writing a novel of the same name. Little by little the tumblr gained independance and became a work in its own right. The Sad Savages is now conceived as a flux, a collection of thoughts and pictures that questions how images are constructed and read, an how images construct a language of their own: http://the-sad-savages.tumblr.com/.

➝  this work is currently part of the exhibition Der Leone Have Sept Cabeças at Crac Alsace in Altkirch (on view until September 21, 2014)

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one pic #11. Brian Droitcour

vernacular-criticism

screen capture from Vernacular Criticism by BRIAN DROITCOUR
published on The New Inquiry in July, 2014

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This is an excerpt from the very interesting essay entitled Vernacular Criticism by American critic and writer BRIAN DROITCOUR. Basically he writes that a review site like Yelp which gathers masses of user experience evaluations, has a real potential to refresh critical writing as well as to rethink institutional and critical practices. Make sure to read the entire essay via http://thenewinquiry.com/essays/vernacular-criticism/

➝ by the way, if you like The New Inquiry, you still have a few hours to support the website via http://thenewinquiry.com/flashfundraise/

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one pic #10. Wyatt Niehaus

wyatt-niehaus

still from Body Assembly – White Exteriors, 2014
courtesy of the artist

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The picture above is a still from a video entitled Body Assembly – White Exteriors (click on the still to watch the video) by WYATT NIEHAUS who is currently presenting this work as well as a series of c-prints that show renderings of car interiors at Retrospective Gallery, a space that opened earlier this year in New York. The video has been filmed at the Rex 2013-International Robot Exhibition in Tokyo and at the FANUC factory in Oshino, Japan, and documents a production process performed by industrial robots. This combination of visual elements examines how the contemporary methods of industrial automation play a role in the visual language of labor and industrialization.

Lights Out 2014 Interiors – Germany/Italy/UK is on view at Retrospective Gallery in New York until August 24, 2014

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one pic #9. Gretchen Bender

bender_g_402_v4_e.2014.0095_1140

detail from People in Pain, 1988
paint on heat-set vinyl and neon, 84 × 560 × 11 in. (213.4 × 1422.4 × 27.9 cm)
remade by PHILIP VANDERHYDEN,2014. The Estate of Gretchen Bender
photograph by PHILIP VANDERHYDEN

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Today’s image shows a detail from the monumental wall sculpture People in Pain (1988) by GRETCHEN BENDER (1951-2004) which consists of a crumpled field of vinyl backlit with neon illuminating a series of movie titles. The original work never found a permanent home; it fell into disrepair and was discarded after BENDER’s death in 2004. Over the past two years American artist PHILIP VANDERHYDEN has worked to reconstruct and exhibit a number of BENDER’s works including People in Pain with an interest in how the piece’s “reappearance” illustrates the way “our cultural experiences live and die.

➝ a part of this installation is currently on view in the group exhibition Bad Influence curated by ANDREW J.GREENE at Michael Thibault Gallery in Los Angeles. You can also view more images of this work here.

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one pic #8. Maurice van Es

NewLife_MauricevanEs

from the series New Life, 2011-present
image © MAURICE VAN ES

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It’s that time of the year again: the city of Arles in France is hosting its photography festival. For this year’s edition, Dutch artist, photography collector and curator ERIK KESSELS has gathered a series of works from Dutch photographers who are best known for documenting, with a certain obsession, details of their direct surroundings.

As part of KESSELS‘ selection is the work of MAURICE VAN ES with the series Textures of Childhood (2012) and New Life (2011-present) which is presented above. Since 2011 he is photographing his brother when he leaves the familial house; a moment MAURICE chose since his brother didn’t want to get photographed any more. The result is a funny and tender series of heels turning around a house.

Usually when I asked what keeps my brother busy, he would just tell me. But around the time he turned sixteen he told me nothing anymore. When I tried to photograph him he hid his face, threw a pillow at me or covered my camera with a blanket. What I do now is photograph the last thing I can see of him when he leaves the house. – MAURICE VAN ES

Small Universe is on view at l’Atelier de Chaudronnerie in Arles, until September 21, 2014. Please note that a presentation of each of the participating artists can be found on the website of the Rencontres d’Arles.

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