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 https://www.mitpressjournals.org/doi/pdf/10.1162/octo.2009.130.1
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 https://www.mitpressjournals.org/doi/pdf/10.1162/octo.2009.130.1.3

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

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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

photos: DANIEL KONIUSZ

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

David Hanes. wfw aware #47

Aware: Arbeiten, ROMAN SIGNER
presented at Stampa, Basel
shot on October 28, 2017, altered on December 7, 2017 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.

Henri Bergson, Quel est l’objet de l’art ?, June 3, 1936

Stephen Prina

screen capture from http://www.petzel.com/attachment/en/59c5131c5a4091aa128b4568/Press/59c513755a4091aa128b727f
on November 27, 2017
image © we find wildness

On the occasion of his solo exhibition at Secession in Vienna in 2011, STEPHEN PRINA gave an interview to the curator ANNETTE SÜDBECK. The discussion revolved mainly around his work that the presented in the Austrian institution.

PRINA is currently presenting an abridged version of this installation at Capitain Petzel in Berlin. Titled As He Remembered It, the exhibition is on view until January 13, 2018.

The whole interview is available online here.

wfw weekend #437

Two Pairs of Shoes (Size 35 & 41) (2017), MIRIAM LAURA LEONARDI
seen in the exhibition Interiors
at Galerie Maria Bernheim, Zürich
on Friday, November 24, 2017
image © we find wildness

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wfw weekend #436

Untitled (2017), SEBASTIEN VERDON
seen in the exhibition Haterz
at Smallville, Neuchâtel
on Saturday, November 18, 2017
image © we find wildness

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Roman Ondak. The Day Before Now

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

ROMAN ONDAK, The Day Before Now
exhibition view at GB Agency, Paris,  October – November 2017
photo AURELIEN MOLE

all images courtesy GB Agency, Paris

My dad once told my brother and I in front of our cereal bowl that he would never have built an underground to the house we were living. The reason he advanced, was the proximity of a river which I have to confess is looking more like a water leak than the Niagara Falls, not even a water leak from the Niagara Falls. From that day on, every time I am in that house, I am imagining that nonexistent floor. Though I have never managed to imagine it without being flooded.

The Day Before Now by ROMAN ONDAK is on view at GB Agency in Paris until November 25, 2017

Let’s put it this way: I have little interest in the position of autonomous authorship that I obviously inhabit, and I have absolutely no interest in making it the subject matter of my writing or even present it as something special. So when I’ve written something that, in the process of writing, I believe I’ve never read anywhere else before, I tend to try and find a section that says the same thing before I did. Then I replace my so-called “own” with the so-called “other”. To me it is more important to place myself within a network of thinking and thought-paths rather than trail after the old-fashioned chimaera called ‘artist’ that propounds one has produced something unique and new. Which means that I prefer the quoted text to “my own” but I make a bow towards the sources by stating more than once where they do come from. The quoted idea may come up again about 40 pages later, this time without any hint towards the source, but that’s because I rely on the readers to notice “Ah, here we’ve got someone like Hubert Fichte or Jack Smith again. But they were introduced some time before.” I do not really use quotation marks. Simply because I do not believe in the enclosed autonomy of the Other. I regard that as open as anything else. That’s why I follow a form of writing that was propagated by feminists such as Hélène Cixous, who describes feminine text as openly accessible from the top and the bottom, from both sides, from the front and the back. – Direction Artiste – Appendix – A Conversation with Thomas Meinecke, David Lieske at Lovaas Munich, November 16, 2017 – December 16, 2017

Alan Schmalz. Appareils de Récréation

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

ALAN SCHMALZ, Appareils de Récréation
exhibition view at Forde, Geneva, September – October 2017

all images courtesy of the artist and Forde, Geneva

Appareils de récréation (Recreational devices) by ALAN SCHMALZ was on view at Forde in Geneva from September 16, 2017 to October 15, 2017. An exhibition soundtrack that has been produced in collaboration with REMI BRIQUET, is still available to download via forde.ch.

Michael E. Smith at KOW, Berlin, September 16 – November 12, 2017 via Contemporary Art Daily