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view from the exhibition Hotel Abisso with:
CIAO N°4 (Nero), 2012 by Swiss artist VALENTIN CARRON
and a series of drawings by GRISÉLIDIS RÉAL (1929 – 2005)
seen at Centre d’Art Contemporain Geneva
on Thursday April 18, 2013
image © wfw
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work by Dutch artist RUCHAMA NOORDA,
seen during the group exhibition Civic Virtue at W139 in Amsterdam
on Tuesday, April 9, 2013
image © wfw
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Rump, 2013
Beouf Stroganoff photographed by Enrique Macias
C-Print, Aluminum frame
Courtesy Galerie Kamm, Berlin
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Männer und Moral, exhibition view at Objectifs Exhibitions, Antwerp
photo: ISABELLE ARTHUIS
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Shoulder, 2013
Labskaus photographed by NICK ASH
C-Print, Aluminum frame
Courtesy Galerie Kamm, Berlin
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Man 2011, 2011
Mannequin, motor, clothes, smartphone, sound
Courtesy Francesca Minini, Milan
photo: ISABELLE ARTHUIS
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Man 2011, 2011
Mannequin, motor, clothes, smartphone, sound
Courtesy Francesca Minini, Milan
photo: ISABELLE ARTHUIS
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Männer und Moral, exhibition view at Objectifs Exhibitions, Antwerp
photo: ISABELLE ARTHUIS
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Cabbage Heads & Pillars (Ensemble Cast), 2013
Cabbage, work uniforms, tools, plinths
Courtesy Galerie Kamm, Berlin
photo: ISABELLE ARTHUIS
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Cabbage Heads & Pillars (Ensemble Cast), 2013
Cabbage, work uniforms, tools, plinths
Courtesy Galerie Kamm, Berlin
photo: ISABELLE ARTHUIS
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Cabbage Heads & Pillars (Ensemble Cast), 2013
Cabbage, work uniforms, tools, plinths
Courtesy Galerie Kamm, Berlin
photo: ISABELLE ARTHUIS
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Cabbage Heads & Pillars (Ensemble Cast), 2013
Cabbage, work uniforms, tools, plinths
Courtesy Galerie Kamm, Berlin
photo: ISABELLE ARTHUIS
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Cabbage Heads & Pillars (Ensemble Cast), 2013
Cabbage, work uniforms, tools, plinths
Courtesy Galerie Kamm, Berlin
photo: ISABELLE ARTHUIS
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Sometimes I like to torture myself with drooling over worthwhile exhibitions in places where I am not, like Männer und Moral, a show at Objectif Exhibitions in Antwerp, which features Danish artist SIMON DYBBROE MØLLER.
Working across a broad body of medias and techniques including drawings, photographs, sculptures, videos, interventions and installations, SIMON DYBBROE MØLLER’s work deals with common concepts such as destruction, decay, disappearance, boredom, failure, gravity, hierarchy, time, perspective or movement among others. With his vivid taste for wit and formal exactitude, the artist sets all manner of references, quotations and re-creations in an unfamiliar setting.
Each disparate work appears as a player in a complex orchestration that is MØLLER’s practice: a loud discussion that mixes, mirrors, flips and tilts the relationships between sight and thought, the random and the staged.
Good news: Männer und Moral—a solo exhibition by SIMON DYBBROE MØLLER— is currently on view at Objectif Exhibitions in Antwerp until 4 May, 2013.
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SIMON DYBBROE MØLLER (b. 1976 Aarhus, Denmark; lives in Berlin) studied at Kunstakademie Düsseldorf from 1999 to 2001; and at theStädelschule Academy of Fine Art, Frankfurt, until 2005. Dybbroe Møller has presented his work in solo exhibitions at Andersen’s Contemporary, Copenhagen (2013); Hyundai Gallery, Seoul (2012); Francesca Minini, Milan (2011); Fondazione Giuliani, Rome (2011); C1 Kunsthalle Göppingen (2011); UMMA projects, Ann Arbor, Michigan (2010); and Frankfurter Kunstverein, Frankfurt / Main (2009); among others. His work has been included in group exhibitions at Museum of Contemporary Art Detroit (MOCAD) (2013); Zamek Castle, Poznan (2012); Centre Pompidou, Paris (2011); Extra City, Antwerp (2011); Museum Ludwig, Cologne (2010); as well as in biennials, including the 6th Nordic Biennial for Contemporary Art, Moss, Norway (2011); and the Turin Triennial, Italy (2008).
installation view from Macho Amore at Federico Vavassori, Milan
april 2013, image courtesy of Federico Vavassori, Milan
photo: ALESSANDRO ZAMBIANCHI
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installation view from Macho Amore at Federico Vavassori, Milan
april 2013, image courtesy of Federico Vavassori, Milan
photo: ALESSANDRO ZAMBIANCHI
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installation view from Macho Amore at Federico Vavassori, Milan
april 2013, image courtesy of Federico Vavassori, Milan
photo: ALESSANDRO ZAMBIANCHI
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Sad Eis, 2012
resin and painting, 147 x 60 x 60 cm (each)
exhibition view at Meessen de Clercq, Brussels, 2012
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La Fin, 2012
one tabletop and four ice cream parlor bar tables
exhibition view at Meessen de Clercq, Brussels, 2012
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exhibition view LA Love, 2008
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exhibition view LA Love, 2008
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ANDREAS + NICO, 2008
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Kant Elegant Kalifornia, 2010
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Schaak show & Grandmasters Worldchampions, 2012
installation view at S.M.A.K., Gent, 2012
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Kiss Kuss, 2012
carpets of different colours: grey anthracite, beige, eggshell white
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all images from the book and exhibition Internationalismus
installation views at Kunstverein Heilbronn, 2010
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detail from Macho Amore at Federico Vavassori, Milan
april 2013, image courtesy of Federico Vavassori, Milan
photo: ALESSANDRO ZAMBIANCHI
all images courtesy the artist
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Born in Frankfurt am Main, SARAH ORTMEYER studied at the Hochschule für Gestaltung in Offenbach and at the Städelschule in Frankfurt. Her practice is based on her research and interest in the history, often building on overlooked connections between cultural and political issues. ORTMEYER‘s assemblages trade on a wealth of familiar assumptions regarding beauty, authorship and the art object encounter.
Many of the themes in ORTMEYER’s work draw from the her keen interest in — and uncanny understanding of — cultural, human, and political interrelations, whether contemporary or historic, highbrow or lowbrow, academic or pop. Years of working on her PhD about chess have taken her on a world library tour de force (Mexico City, New York, Reykjavík ,Vienna) and have equipped her with a scientific rigor that is rare among contemporary artists. But rather than taking a purely analytical approach, Ortmeyer marries her scholarly inclinations with an inquisitive and sometimes biting naïveté, allowing her to effortlessly break down the most complex intricacies of the human psyche in what may otherwise seem benign or platitudinous contexts. And in all her ongoing quest to discover deeper universal truths, she never compromises her unapologetic passion for beauty…and for love. -FELIX BURRICHTER, editor and creative director of PIN–UP
And good news: Macho Amore is running until April 17 at Federico Vavassori in Milan, Italy
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MARTIN SOTO CLIMENT
for Zona Maco Mexiko City, April 2013
presented by Karma International
all images courtesy the artist and Karma International, Zürich
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In the context of the 10th edition of Zona Maco Mexico Arte Contemporaneo, taking place between April 10-14, New Proposals comes up as a new section curated by Swiss art historian and curator MIRJAM VARADINIS who selected twenty-two international galleries with the aim of showing solo presentations by artists under 35. Part of this new section, the Zurich-based gallery Karma International is presenting the work of MARTIN SOTO CLIMENT.
For the past ten or so years, Mexico City based artist MARTIN SOTO CLIMENT has made a successful career of repurposing, recontextualizing, juxtaposing and altering found objects in new constellations as sculptures or installations.
Here SOTO CLIMENT has chosen to work with large inner tubes, spraying them, bending them or assembling them. The tubes themselves are in constant tension with both the constraints they have been subjected to and their own skins, but this tension is not static. Over time, the tubes change their shape, resisting and accommodating the stresses imposed on them. Characterised by a powerful vein of energy, vitality and instinct, these sculpures, covered with paint, erase all existing realities and define their own unique embodied identities.
➝ The 10th edition of Zona Maco Mexico Arte Contemporaneo is running through Sunday April 14, 2013 in Mexico City.
➝➝ Additionally, MARTIN SOTO CLIMENT and curator CHRIS SHARP unveiled a few days ago their latest venture: a one-room project space entitled Lulu in Mexico City.
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*The artists and galleries are selected on the basis of a proposed solo presentation. A special focus and priority are given to artists either living and working in Latin America or dealing with issues related to the area. Participation in this section is determined through an open application and subsequent acceptance from its curator. The stands in this section are of 20 sq. m.
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My friends at MJ GALERIE, a new art space in Geneva dedicated to digital culture, kickstart a fundraising campaign to raise much-needed funds that will keep the project sustainable throughout the upcoming year,
check one of the many rewards here, and show your love here!
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one of the ten pussies shot and groomed by FEE ROMERO
and published in TISSUE MAGAZINE #3, February 2013
image © wfw
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Hulk Feel Lonely Inside, 2009
numbered poster (limited edition 500 ex.), 60 x 40 cm
photo : Atelier de numérisation – Ville de Lausanne
© Daniel Johnston, courtesy Arts Factory [galerie nomade]
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I Love you Danny, 2010
felt-pen on paper, 21,5 x 28 cm
photo : Atelier de numérisation – Ville de Lausanne
© Daniel Johnston, courtesy Arts Factory [galerie nomade]
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all images courtesy DANIEL JOHNSTON
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The first ever presentation in Switzerland of DANIEL JOHNSTON’s graphic work provides a broad insight into an artistic life that is shaped by bipolar disorder and schizophrenia.
DANIEL JOHNSTON, born in 1961 in Sacramento (California), has been writing and recording music for more than twenty-five years, generating an ever-growing international cult audience. His legend began in the 1980s, when he arrived in Austin, Texas, with a travelling fair and stuck around, hoping to make it as a cartoonist before deciding to become a musician.
However he never ceases to draw and his artwork appears in galleries throughout the world and was featured in the 2006 Whitney Biennial.
The drawings, for the most part compulsively produced, are in felt and ball-point pens. They describe strange playlets: for instance, the staging of JOHNSTON’s childhood comic book heroes like “Captain America,” “Hulk,” “Casper the Ghost.” These mythical figures of popular American culture wage a pitiless battle against the forces of Evil incarnated by Satan in person, or by buxom temptresses determined to distract them from the straight and narrow. Lending support to these heroes are figures of JOHNSTON‘s own invention: the frog of innocence “Jeremiah” and the trepanned boxer “Joe” are two of his main alter egos. The world he depicts is all black and white: obsessively and endlessly, it abounds with allusions to Christianity, history and folk tales, all of which JOHNSTON diverts and reclaims to his own ends. Hence, his drawings are extensions of themes intimately linked to his own daily life: they flaunt the ongoing battles he himself must carry out against his own demons.
➝ The exhibition Welcome To My World ! Daniel Johnston is currently on view at Collection de l’Art Brut in Lausanne, on view until June 30, 2013 (this exhibition was first mounted at the Lieu Unique (national center for contemporary arts and music) in Nantes, in spring 2012).
➝➝ I highly recommend to watch The Devil and Daniel Johnston (2005) by JEFF FEUERZEIG, a documentary about JOHNSTON‘s life and art.
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all images and videos courtesy MARK TITCHNER
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Bold, philosophical, radical, subversive: the art of Britisth artist MARK TITCHNER explores the tensions between the different belief systems that inform our society, be they religious, scientific or political.
I only started using my own texts relatively recently. My interest initially was how, by separating the voice of the author from the text, one changed its interpretation. That is, one removes the hierarchy of authorship that tells us that we should interpret a philosopher’s words differently from a pop lyric, even if the actual text is quite similar. I would look for texts with a certain kind of philosophical bent but that used very simple and direct language. You could say it was a process of creating an equivalence, and this was echoed in a coherent graphic style that I developed amongst those works. It’s actually a little sad because in a way, these are my most popular works. People say to me: “Oh, I really like that text, it inspired me to…”, when actually the whole project had to do with the lack of meaning, about reflecting on a situation where the array of possibilities replaces a depth of engagement. I was reflecting on my own lack of belief—be it moral, spiritual, or political. - MARK TITCHNER in conversation with AMELIA ISHMAEL
Working in a wide range of media including digital print, wall drawing, video, sculpture and installation, he describes his work as a dialogue about how we process thoughts and ideas and a good part of it references music lyrics, corporate creeds, philosophical treatises and political manifestos. MARK presents these ‘words’ in the forms of trade union banners, billboard posters, optical illusions, psychedelic posters, which in themselves possess a slick advertising aesthetic.
I’m very much interested in the idea of the manifesto or the exegesis, the moment of lucid understanding, and the inherent problems of how one can give concrete form to this kind of transcendent rapture. This is why I tend to use imperative language in my works; I want to make it clear that what is being communicated is vital and truthful. This is in fact a tactic that is designed to draw attention to the way that a certain type of language is used in certain situations. In that sense, I am more interested in the delivery of text/language than in what is actually being said. My interest is really in power relations and manipulation. - MARK TITCHNER in conversation with AMELIA ISHMAEL
A London based artist, TITCHNER was a Turner Prize nominee in 2006, was showcased at the Venice Biennale in 2007, and has had solo exhibitions at the notable Peres Projects (Berlin), BALTIC (Gateshead), and Vilma Gold (London).
And good news: A Naiad, a major new public art work by MARK TITCHNER, will be on view at Bristol’s M Shed from 13 April, 2013.
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ps. sorry for the pity quality of the videos above
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The Garments May Vary, 2013
featuring garments made by NADINE GEOPFERT
video courtesy SANNA HELENA BERGER
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A few days ago London-based photographer and Tourist Magazine editor, SANNA HELENA BERGER, released The Garments May Vary, a video featuring the graduate collection of Berlin-based textile designer NADINE GOEPFERT.
NADINE‘s work is based on research and conceptual thinking and explore the wide field of eventuality by creating open situations, where coincidence is a welcome guest and forms the basis for textile designs and art installations. With an eye on detail and an interest in traditional textile techniques and craftsmanship, she constantly experiments with the diverse aspects of the materiality and the structure of textiles.
With this work as well as other projects (whether it collage, photo, or video), SANNA HELENA BERGER forgoes digitized perfection and moody nihilism to capture intimate moments in the lives of her models, family and friends. The result is raw, simple and intuitive breaking through the conventions of fashion photography.
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