(art) basel diary 2015 #5

pamelarosenkranz

PAMELA ROSENKRANZ
at Miguel Abreu Gallery
Tuesday, June 16, 2015
image © wfw

(art) basel diary 2015 #4

pierre-huyghe

detail from Cambrian Explosion (2014), PIERRE HUYGHE
at Art Unlimited
Tuesday, June 16, 2015
image © wfw

(art) basel diary 2015 #3

design-miami-carawan

Full Rainbow (2014), KAREN CHEKERDJIAN
at Carwan Gallery during Design Miami/Basel
Monday, June 15, 2015
image © wfw

(art) basel diary 2015 #2

carl-auböck

CARL AUBÖCK
at Patrick Parrish Gallery, New York
during Design Miami/Basel
Monday, June 15, 2015
image © wfw

(art) basel diary 2015 #1

designmiami

Art Basel and its deluge of looking has just begun. As the previous years, wfw is going to offer you, during all the week, a series of pictures featuring some art moments from the fair and other events that take place throughout the city!

For a quicker view, you can also follow wfw on instagram or on tumblr,

enjoy!

Design Miami/Basel
Monday, June 15, 2015
image © wfw

 

wfw weekend #214

anickayi-basel

a glimpse into the exhibition 7,070,430K of Digital Spit by ANICKA YI
seen at Kunsthalle Basel
on Thursday, June 11, 2015
image © wfw

more about this exhibition soon on wfw

wfw weekend #213

fischli-and-weiss-schaulager

Plötzlich diese Übersicht (1981/2000) by PETER FISCHLI and DAVID WEISS
as part of the exhibition Future Present
presented at Schaulager, Basel
seen on Thursday, June 11, 2015
image © wfw

Domenico de Chirico pick #21

all images courtesy of the artist and Andrew Kreps Gallery, New York
photography by GENEVIEVE HANSON

Supercallefragelistic-expialledocious (Universal Color Part 1), a solo exhibition by RICCI ALBENDA
on view at Andrew Kreps Gallery in New York
until June 20, 2015

chosen by curator and editor DOMENICO DE CHIRICO

one pic friday. Jasper Spicero

jasper-spicero

Centers in Pain, exhibition view at New Galerie, Paris / June 2015
image courtesy of the artist and New Galerie, Paris

Imagine you are an artist, imagine you rent an abandoned prison and imagine you spend four days inside it. It’s actually what JASPER SPICERO did in 2014 when he rented the Wapato prison built nine years ago in Portland, Oregon. According to DIS magazine, the prison was abandoned after it’s completion in 2004 and has never housed inmates, ‘remaining empty aside from a small janitorial staff that maintains the plumbing and washes dusty bed sheets’. 

The result of this fascinating and yet troubling experiment is the project Centers in Pain which takes the form of a short film, a screenplay for an imaginary movie, a series of sculptures as well as the documentation of the works installed in the prison.

The image above shows a view from the exhibition that is currently on view at New Galerie in Paris and which is presenting the body of work that has been created in Wapato prison by JASPER SPICERO.

The tagline is “in every patient a center in pain.” It is a play on words. Buildings in pain. Souls in pain. Origins of a person’s pain. The title embodies the project, which talks about similarities shared between types of institutional architecture: schools, hospitals, housing projects, rehabilitation clinics, prisons. Visually and spatially they have overlapping characteristics and are designed to serve the same functions. To organize people within an overbearing structure. To pass and suspend time. To create periods of stasis and periods of activity. To move people’s lives forward according to a rigid, linear system. – JASPER SPICERO in conversation with KEVIN MCGARRY for Mousse #44

➝ Centers in Pain at New Galerie in Paris is on view until July, 11, 2015

 

Inhuman at Fridericianum, Kassel

inhuman-novembre-1Inhuman,​ exhibition view

inhuman-novembre-2Inhuman, ​exhibition view

inhuman-novembre-5STEWART UOO, S​ecurity Window Grill VIII,​2014
steel, enamel, rust, silicone, acrylic varnish, human hair, 46 x 91 x 38 cm

inhuman-novembre-7JANA EULER, U​nder This Perspective,​ 2015
oil on canvas, 190 x 150 cm

inhuman-novembre-8ALEKSANDRA DOMANOVIC, H​eLa on Zhora’s coat,​ 2015
both: flatbed print with UV white ink on soft PVC film, polyester yarn, 110 x 100 x 70 (unfuried)

inhuman-novembre-11DORA BUDOR, exhibition view

inhuman-novembre-12DORA BUDOR, M​ental Parasite Retreat 1, ​2014
cyborg chest prosthetics screen used on Bruce Willis in movie S​urrogates​ (2009), Dragon skin silicone, cinema hair, plastic, foam, animatronics, assorted hardware, 105 x 70 x 72 cm

inhuman-novembre-14PAMELA ROSENKRANZ (front) and DORA BUDOR (back),​e​xhibition view

inhuman-novembre-15Inhuman,​ exhibition view

inhuman-novembre-16OLIVER LARIC, T​he Hunter and His Dog, ​2014
polyurethane, jade powder, bronze powder, aluminium powder, pigments, three parts, 90 x 66 x 6 cm each

inhuman-novembre-17NICOLAS DESHAYES, B​ecoming Soil​ (detail), 2015
welded steel, enamel, dimensions variable

inhuman-novembre-21Inhuman,​ exhibition view

inhuman-novembre-22NICOLAS DESHAYES, Cramps (detail), 2015
vacuum formed plastic, pigmented polyurethane foam and powder­coated aluminium, three parts, 124.7 x 185.5 x 10 cm each

inhuman-novembre-24DAVID DOUARD, exhibition view

inhuman-novembre-25DAVID DOUARD, U​ make me sick,​ 2014
wood, aluminium, fabric, metal, plastic, plaster, 200 x 200 x 150 cm

inhuman-novembre-29DAVID DOUARD, exhibition view

inhuman-novembre-32JOHANNES PAUL RAETHER, Caves of Reproductive Futures, 2015
installation, dimensions variable

inhuman-novembre-34JOHANNES PAUL RAETHER, Caves of Reproductive Futures (R​overella,​2014, buggies, latex), 2015
installation, dimensions variable

inhuman-novembre-38CECILE B. EVANS, W​hat A Feeling,​ 2014
SLA print, paint, rubber plant, acrylic, poster print, 175 x 103 x 170 cm

all images © wfw

This feature is part of the ongoing collaboration with Novembre Magazine who presents more view of the exhibitions on http://novembremagazine.com/inhuman-curated-by-susanne-pfeffer

“Transhumanism” was defined in 1957 by biologist JULIAN HUXLEY as “man remaining man, but transcending himself, by realizing new possibilities of and for his ‘human nature.” The Transhumanist movement was defined by a group of artists, scientists and philosophers in the 1980’s with the purpose of supporting emergent technologies that enabled humans to become smarter, faster and stronger.

The “Augmented Human” is now a thing of the present. Genetic engineering, biotechnology, and nano-robotics (microscopic robots inside the body) among others have been created to overcome human frailty through an increase in sensory attributes and the development of human models with ‘superpowers’ free of corrosion.

The group exhibition entitled I​nhuman​ presented at Fridericianum in Kassel, Germany addresses the tensions and contradictions vexing the concept of ‘human being’ in our increasingly amped-up world. The artists participating in the exhibition offer, ­according to the press release, “visions of the human being as a socially trained yet resistant body, transcending biologically or socially determined gender classifications as a digitally immortal entity, or as a constantly evolving self. They visualise the constructs that define what is human and shift existing perspectives on human subjectivity and the body, thereby questioning the primacy of the human being at a fundamental level.”

To walk through the show is to be confronted with a mutant view of contemporary existence. The ground floor showcases STEWART UOO’s Security Window Grills. A piece produced from grills used to protect building windows ornamented with human hair and fake flesh. There is also a painting by JANA EULER, Under This Perspective, 1​(2015), offering a pudgy phallic optical illusion and work from ALEKSANDRA DOMANOVIĆ titled H​eLa on Zhora’s coat​ (2015) featuring pattern-based images of HeLa cells.

The first floor displays a hybrid assemblage of props from sci-­fi films by DORA BUDOR and OSCAR LARIC’s U​ntitled​(2014) which proposes a hypnotic morphing animation that together with the steel pipes, prints, and vacuum plastic sculptures by NICOLAS DESHAYES provides structure to one of the largest spaces in the Fridericianum.

On the same floor, DAVID DOUARD’s complex installation portrays figures, household furniture, everyday objects, architectural components and fragments of past artworks​ as thought­ provoking machines.

The second floor consists of an immersive installation by JOHANNES PAUL RAETHER titled Cave of Reproductive Futures​ (2015) and presents a series of buggies quartered into a white universe made of wipes.

Inhuman​ escapes any precise or post-­apocalyptic definition of what a human is or can be. Instead the show plots dynamics of “body” and “self” to calibrate voids and structures, circulation and stasis, and narrative and science into an organic equilibrium.

Inhuman with JULIETA ARANDA, DORA BUDOR, ANDREA CRESPO, NICOLAS DESHAYES, ALEKSANDRA DOMANOVIĆ, DAVID DOUARD, JANA EULER, CÉCILE B. EVANS, MELANIE GILLIGAN, OLIVER LARIC, JOHANNES PAUL RAETHER, PAMELA ROSENKRANZ, STEWART UOO, LU YANG, ANICKA YI is on view at Fridericianum till Sunday, June 14, 2015

 

Domenico de Chirico #20

all images courtesy of the artist and SculptureCenter, New York

-, a solo exhibition by MICHAEL E. SMITH
on view at SculptureCenter in New York
until August 3, 2015

chosen by curator and editor DOMENICO DE CHIRICO

one pic tuesday. Aline Bouvy

001_BOUVY_LESALON_IM_NOT_INTERESTED

I’m Not Interested in Humans These Days, 2015
jesmonite, pigments, epoxy foam, 40 x 40 x 16 cm (weight: 3,8 kg)
edition of 10 + 5 AP

Belgian artist ALINE BOUVY has just made these pillows as an art edition especially for the website Le Salon (welcometolesalon.be), an online platform with a focus on the Brussels contemporary art scene. Using jesmonite – a gypsum-based material in an acrylic resin – and epoxy foam, she created a series of deceptive pillows as she calls them, since they hard, heavy and make people around them feeling awkward with their mocking attitude.

I especially like how absurdly funny they are in contrast to their morbid stillness. Make sure to visit http://welcometolesalon.be/ for more art delights from Belgium.

And please note also that ALINE BOUVY will have a solo exhibition entitled Sorry, I slept with your dog at the project space Exo Exo in Paris from July 9, 2015.

Sophie Jung

sophie-jung

SOPHIE JUNG is an artist based between Basel and London whose body of work is permeated through and through with writing, word games, literary references, visual puns, and allusions to art movements, institutions, and mass media. This short text is part of her presentation for the Goldsmiths MFA Fine Art Degree website, make sure to hear JUNG reading it: http://www.goldsmithsmfashow2015.co.uk/artist_sophie_jung.php.

Please note also that SOPHIE JUNG will read her text X-Examination <3 at Haus der Kulturen der Welt in Berlin for the launch of the publication Konzentration on the 20th of June, more infos on http://www.hkw.de/de/programm/projekte/2014/fiktion/konzentration/konzentration_programm.php

Oh, and do not hesitate to donate in order to make happen the Goldsmiths MFA Fine Art Degree Show 2015, via their Kickstarter campaign!

Domenico de Chirico pick #19

all images courtesy of the artist and Sies + Höke, Düsseldorf

I’m Selecting, a solo exhibition by TALIA CHETRIT
on view at Sies + Höke in Düsseldorf
until June 19, 2015

chosen by curator and editor DOMENICO DE CHIRICO

wfw weekend #212

matt-lambert-keim

a spread from the book Keim (2015) by MATT LAMBERT
published by Pogobooks
image © wfw