#autopromo : David Hanes at Cosmos Carl

davidhanes-psychogif

still from http://psychogif.com

Cosmos Carl is a platform which is hosting links provided by artists with the aim to explore ‘new ways of producing and displaying art online’ according to their website. Since a few days, cosmoscarl.co.uk is featuring the work of wfw contributor DAVID HANES. From 2012 to the beginning of 2016, DAVID HANES replicated the entire movie Psycho (1960) by ALFRED HITCHCOCK  in the format of an animated GIF.

Please make sure to ‘watch’ psycho.gif (2016) via http://psychogif.com

_____________

Editor’s note:

Since wfw and its contributors are even more engaged in online and offline projects, the #autopromo section aims to give an insight into these activities.

three kisses

Sophie

one pic thursday. Nora Berman

Nora Berman - Piped Woman

Piped Woman, 2016
acrylic, oil, and oil pastel on muslin, 139.7 x 128.3 cm
image courtesy of the artist and Ellis King, Dublin

This painting entitled Piped Woman (2016) has been painted by NORA BERMAN and, it’s now presented in the group exhibition dead among the dead!  at Ellis King in Dublin.

Piped Woman (2016) settles a colourful and crisp image, which represents a figure partly covered with a red textile that is seated with the legs wide apart. A third and blue leg is awkwardly conjoined to the body. The eyes are trippy, the hairs are lank, while the background is a hazy mix of clouds and radiant light.

In the press release for an exhibition at Isabella Bortolozzi  in Berlin, it is specified that the work of NORA BERMAN engages ‘with notions of primal consciousness in a time and place (contemporary Los Angeles) that is informed by the Dark Web, conspiracy theory, religious hysteria, ecstatic lifestyle cults, paranoia, neurasthenic self-help, violence and saturation media’.

Playfully fluid and illustrational, her paintings are also enough abstract to consistently change and engage stories.

dead among the dead!  with NORA BERMAN, TINA BRAEGGER, MATT COPSON, ALBRECHT DÜRER, INKA ESSENHIGH, MIKE KELLEY, VEIT LAURENT KURZ, LAZAROS, PETER WÄCHTLER and PEDRO WIRZ is on view at Ellis King until April 23, 2016.

one message interview #20. Thomas Geiger

thomasgeiger-onemessageinterview-march

THOMAS GEIGER opened in the beginning of March the Kunsthalle3000 in Vienna. He seems to live between Austria, Germany, Switzerland and the Netherlands, where he is developing projects that challenge exhibition formats and artworks.

http://www.twgeiger.de
http://www.kunsthalle3000.com

Domenico de Chirico pick #58

all images courtesy of the artist and T293. 
photos by MAURIZIO ESPOSITO 

The Function, a solo exhibition by TSCHABALALA SELF
on view at T293 inNaples
until April 22, 2016

chosen by curator and editor DOMENICO DE CHIRICO

 

Philipp Timischl. 2

03

installation view at Vilma Gold, London / March 2016

04

installation view at Vilma Gold, London / March 2016

05

installation view at Vilma Gold, London / March 2016

07

installation view at Vilma Gold, London / March 2016

08

installation view at Vilma Gold, London / March 2016

15

Dysfunctional Setup, 2016
walnut frame, cement plinth, engraved metal label, UV-print on acrylic glass
140 x 46 x 9 cm, 55 1/8 x 18 1/8 x 3 1/2 ins

17

Significant Other, 2016
walnut frame, cement plinth, engraved metal label, lacquer on canvas, acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

22

Jack and Kate, 2016
walnut frame, cement plinth, engraved metal label, UV-print on acrylic glass, canvas on stretcher
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

23

Weekend Habits (MRT4000 Bouncer), 2016
walnut frame, cement plinth, engraved metal label, UV-print on canvas and acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

24

Weekend Habits (MRT4000 Bouncer), 2016
walnut frame, cement plinth, engraved metal label, UV-print on canvas and acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

26

People were so nice and friendly and most spoke english, 2016
walnut frame, cement plinth, engraved metal label, ink on canvas, acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2

27

Whitney to Britney, 2016
walnut Frame, cement plinth, engraved metal label, pins, photograph
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

10

installation view at Vilma Gold, London / March 2016

30

High 5 and Low 5, 2016
walnut frame, cement plinth, engraved metal label, UV-print on acrylic glass
140 x 46 x 9 cm 55 1/8 x 18 1/8 x 3 1/2 ins

all images courtesy the artist and Vilma Gold, London

2 is the title of the new solo exhibition of PHILIPP TIMISCHL that opened a few days ago at Vilma Gold in London. 2 features a series of sculptures that look like anti-theft antenna as you can seen in shops. Each sculpture consists of two parts that face each other.

Both surface and support, these elements are placed within the exhibition space in two different ways although they seem to follow a kind of systematic modularity: most of these autonomous pieces are flirting with the exhibition walls, while two pairs are placed in a way that enables a passage between them.

By watching at these images depicting TIMISCHL‘s skinny objects that reveal their thickness and emptiness in a literal way, I can’t help but to think about CLEMENT GREENBERG who wrote in Art and Literature in the 60’s that ‘it was the stressing of the ineluctable flatness of the surface that remained, however, more fundamental than anything else to the processes by which pictorial art criticized and defined itself under Modernism‘.

2 by PHILIPP TIMISCHL is on view at Vilma Gold in London until April 16, 2016. Please note also that a work by TIMISCHL is presented in the group exhibition entitled Overseas BF at Glovebox in Auckland, New Zealand.

wfw weekend #293

wolgangbreuer-kunsthallebern

Milka Ritter Sport, WOLFGANG BREUER
seen at Kunsthalle Bern
on Sunday, March 20, 2016
image © we find wildness

wfw weekend #292

silvie-fleury-karmainternational

Be Amazing (2013), Bobby Pin (2016), SYLVIE FLEURY
seen at Karma International, Zürich
on Saturday, March 19, 2016
image © we find wildness

wfw weekend #291

cracalsace-trustinfiction

Show Room (1992), Collection Yoon Ja & Paul Devautour
seen in the group exhibition Trust in Fiction at Crac Alsace, Altkirch
on Thursday, March 10, 2016
image © we find wildness

actual_size. Bjarne Melgaard

075

Light Bulb Man, 1997

This rather tiny and blurred image is the best picture of the sculpture by BJARNE MELGAARD I have found online. Entitled Light Bulb Man (1997), this work is actually the central element of the exhibition Daddies Like You Don’t Grow On Palm Trees that opened yesterday in New York at VFiles.

It all started in 1996 when an investor bought the Light Bulb Man sculpture during the first solo exhibition of BJARNE MELGAARD that took place at the Stedelijk Museum in Amsterdam. The buyer did literally exploit the work by turning it as a so-called ‘souvenir shop sculpture’ according to the Norwegian artist. After 11 years in a court case, MELGAARD won back the rights to the sculpture, ‘his victory relying on his legal firm insisting on his deteriorated state of mind at the time of passing on the rights to his work’.

I want to take back this sculpture and reclaim it as a key work of mine, separate from all the corrupt assholes who have been using it and making a huge profit off it without me making anything out of it. That’s all fine by me, but I want to make this work about something other than money and iconography and see what happens when it is reproduced and remade into a new character, dressed by new, interesting and complex designers with whom I also collaborate on my fashion line The Casual Pleasure of Disappointment. – BJARNE MELGAARD via purple diary, May 20, 2015 

After having been presented last May as a pop-up shop at Sammlung Friedrichshof in Zurndorf (Austria), the Light Bulb Man washing process continues in New York, where garments, sculptures, and site specific pieces is filling the space of VFILES on Mercer Street.

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

Domenico de Chirico pick #57

all images courtesy the artist, New Galerie, Paris and Carl Kostyál

Anxiety, a solo exhibition by AUSTIN LEE
on view at New Galerie in Paris
until April 2, 2016

chosen by curator and editor DOMENICO DE CHIRICO

online with #5

mar2016-frank

FRANK, Riga, March 2016.
 –
 –
 –
 –
Time is the most profound and the most tragic subject which human beings can think about. One might even say: the only thing that is tragic. All the tragedies which we can imagine return in the end to the one and only tragedy: the passage of time. Time is also the origin of all forms of enslavement.
It is the source of the feeling that existence is nothing. Pascal felt this very deeply. It is the way time flies past which makes men so afraid to think. ‘Entertainment’ is meant to make one forget the course of time. People try to make themselves immortal by leaving things to posterity, but they are nothing but things.
One can bring the introduction to an end by saying that man has an unconquerable urge towards eternity. 
There is an insoluble contradiction between human thought, which can never be brought to bear on time (scientific laws), and human life.
Everything beautiful has a mark of eternity.
SIMONE WEIL, excerpt from Lectures on philosophy [Leçons de philosophie], p. 197, Translated from the French by Hugh Price, Cambridge University Press, 1978. Taken from https://books.google.com
 

online with by FETTE SANS

➝ read more about this special project for we find wildness here.

Oscar Tuazon. Shelters

4_OT_GCC2016

Shelters, exhibition view, Galerie Chantal Crousel, Paris (March 5 – April 16, 2016)
Courtesy of the artist and Galerie Chantal Crousel, Paris
© FLORIAN KLEINEREN

1_OT16_16

I fucking love people, 2016
photograph mounted on aluminium, 81 x 220.5 cm
Courtesy of the artist and Galerie Chantal Crousel, Paris
© FLORIAN KLEINEREN

2_OT16_4

Wall shelter, 2016
aluminium panels, bench, 243 x 196 x 154 cm
Courtesy of the artist and Galerie Chantal Crousel, Paris
© FLORIAN KLEINEREN

12_OT_GCC2016

Shelters, exhibition view, Galerie Chantal Crousel, Paris (March 5 – April 16, 2016)
Courtesy of the artist and Galerie Chantal Crousel, Paris
© FLORIAN KLEINEREN

15_OT_GCC2016

Shelters, exhibition view, Galerie Chantal Crousel, Paris (March 5 – April 16, 2016)
Courtesy of the artist and Galerie Chantal Crousel, Paris
© FLORIAN KLEINEREN

7_OT16_2

Shelters, exhibition view, Galerie Chantal Crousel, Paris (March 5 – April 16, 2016)
Courtesy of the artist and Galerie Chantal Crousel, Paris
© FLORIAN KLEINEREN

3_OT16_19

Horizontal door, 2016
oak door, steel, 208 x 97.5 cm
Courtesy of the artist and Galerie Chantal Crousel, Paris
© FLORIAN KLEINEREN

2_OT16_15

I owe no one (two hunters), 2016
photograph mounted on aluminium, 83 x 162 cm
Courtesy of the artist and Galerie Chantal Crousel, Paris
© FLORIAN KLEINEREN

American artist OSCAR TUAZON wrote for his exhibition entitled Shelters at the Parisian gallery Chantal Crousel, a text that is at once descriptive and a bit romantic. I like when artists took the responsibility to write their own press release as for the like of WOLFGANG BREUER, even if they probably shouldn’t do that unless it becomes a proper part of the exhibition.

Reading is a physical activity. Something bodies do with words. I want to make a space for that. A space for words, a place to read.

I live like that, in words. To read a word you recite it, you write it in your voice, take it in your mouth and say it. Whatever words they are, they are your words for a second. Speak the sounds aloud like a child does, become a voice.

There are things I don’t want to read but I read them. I feel I need to. Like I’m responsible, it’s a sentence. I’m compelled to. To read is to confront the other, the author, feeling another person speak through me, not quite a choice. A reader’s a witness. Another voice that’s not mine, intimate bodily violence. A mind orgasm.

I want a space for that. That’s what I tried to do when I lived here, make a space for reading with other people. I want to contain it but I found that you can’t. I read while I’m walking, it’s a physical activity. Words make their own worlds.

What I can do is build a bookshelf. Word furniture. Reading benches. Ways to look at words, alone and with others. Mostly alone, though, the way we are when we’re reading, with another person’s thoughts.

I am now ready to write. — Oscar Tuazon, 2016

Shelters is on view at Galerie Chantal Crousel, Paris until April 16, 2016

 

one pic tuesday. Hamid Maghraoui

DRESSCODE_SCHWARTZ_2016-wfw

Dresscode, installation view at Frac Languedoc-Roussillon, 2016
image courtesy the artist and Frac LR
photo P. SCHWARTZ

Dresscode is a solo exhibition by HAMID MAGHRAOUI that is currently presented at the Frac Languedoc-Roussilon in Montpellier.

In 2012, MAGHRAOUI started to collect a certain type of international magazines available in bookshops and supermarkets in Dubaï. Those he collected have all been examined by the censor and in which anything offensive has been crossed out with a black marker. HAMID MAGHRAOUI has selected a series of these defacing images that would not typically be deemed sexual explicit, then he photographed them, reproduced them and finally present them in the form of billboard advertising.

MAGHRAOUI’s installation explores the role of images in our society, and highlight the tensions between what has been, what seems to be, and what could have been; to pick up the traces of forgotten and unresolved issues and divert them towards the viewers’ own reading.

Dresscode by HAMID MAGHRAOUI is on view at the Frac LR in Montpellier until May 14, 2016.

 

 

wfw weekend #290

ditte-gantriis-salts

Peace, Love and Harmony (2016), DITTE GANTRIIS
seen at Salts, Birsfelden
on Saturday, March 12, 2016
image © we find wildness

wfw weekend #289

ramayategegne-menageatrois

Ménage à Trois (2016), RAMAYA TEGEGNE
seen in the group exhibition Unruly Relations
at Kunsthaus Glarus
on Friday, March 11, 2016
image © we find wildness