General Intellects with McKenzie Wark, E1: Chantal Mouffe via

I guess the very existence of the artworld as we know it is hoisted and buttressed by a suspended set of values that must also collapse with the fiction of liberal democracy. And it’s complicated because without the whole circus, none of our work means a thing. The objects become totemic, faith trophies or whatever – at best, that is. At worst, it’s all just a bunch of worthless junk full of stolen tropes and cynical jokes. Most of the problems we spend our time discussing in the artworld are not real problems; they’re philosophical or theological conceits, really, and nothing will change through the value-production-industrial complex of endless panel discussions. The world as we know it may very well be ending, not in the Alt-Right, accelerationist sense but in the Wildersonian afropessimist sense; this would mean the end of the artworld too, of course. We would all have to find some other way to make a living if making a living was still something one did. And/or we would give ourselves wholly to the business of life. There are artistries in everything. But I think again of faith, somehow necessary where art is not. In Octavia Butler’s Parable of the Sower the main character Lauren Olamina is what I would call an artist, and this helps her survive apocalyptic conditions where others cannot. – Jesse Darling on Faith, Crisis, and Refusal via

wfw weekend #440

installation view of FriendsPEPO SALAZAR
seen at Galerie Joseph Tang, Paris
on Wednesday, January 10, 2018
image © we find wildness

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wfw weekend #439

exhibition view from Endnote, ToothIAN KIAER
seen at MAM, Paris
on Wednesday, January 10, 2017
image © we find wildness

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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

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.


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 –

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
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

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



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


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