Bubble Paintings, Jeff Geys at Essex Street New York, 9 April – 21 May 2017 (Contemporary Art Daily)

David Hanes. wfw aware #44

Aware: Take, Put and Abandon, STEFAN BRÜGGEMANN
presented at Hauser and Wirth, Zürich
shot on April 8, 2017, altered on April 28, 2017 by DAVID HANES*
image courtesy of the artist and we find wildness

*DAVID HANES lives and works in Berlin. He is represented by Birch Contemporary, Toronto.

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

wfw weekend #402

detail from Ideas (2017) and Bed (2017), MAGGIE LEE
seen at Kunsthalle Zürich
in the group exhibition Speak, Lokal
on Thursday, May 5, 2017
image © we find wildness

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wfw weekend #401

view from the exhibition Choose A Character, KARIN BORER
seen at Milieu, Bern
on Saturday, May 6, 2017
image © we find wildness

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wfw weekend #400

page from Wages For Wages Against, RAMAYA TEGEGNE
produced in conjuction with the exhibition Speak, Lokal at Kunsthalle Zürich (March-May 2017)
image © we find wildness

One form of resistance is to go dark, to stop making artwork that can in any way be represented on the platforms that facilitate these forms of recuperation. But even if you as an artist don’t post images of your work on social media, other people might. You could institute a Berghain rule and administer stickers over phone’s camera lenses upon entering an exhibition, but then, hashtags are indexable forms of language that don’t require images and are still a useful metric for brands. You could literally never show your work to anyone. You could embrace chaos and illegibility, creating visual or written work that is non-instrumentalizable, but legible across many parts over a longer period of time. This might mean making work that operates at a different tempo than that of branding and social media, work that occupies multiple sites and forms, work that fights for the complexity of identity (as artist or otherwise) and form, and believes in a creaturely capacity for patience with a maximum dedication to understanding. – Dena Yago, on Ketamine and Added Value, e-flux, May 2017

Domenico de Chirico for We Find Wildness #85

Courtesy the artist and Galerie Neu, Berlin

transhumanistisch, a solo exhibition by ANDREAS SLOMINSKI
on view at Galerie Neu, Berlin
until June 2, 2017

chosen by curator and editor DOMENICO DE CHIRICO

Remco Torenbosch. Integration

Porter (2017)
installation view at Saloon, Brussels, April-Mai 2017

Porter (2017)
installation view at Saloon, Brussels, April-Mai 2017

Porter (2017)
installation view at Saloon, Brussels, April-Mai 2017

Integration, installation view at Saloon, Brussel, April-May 2017

Integration, installation view at Saloon, Brussel, April-May 2017

Miner (2014-2017)
installation view at Saloon, Brussels, April-Mai 2017

Integration, installation view at Saloon, Brussel, April-May 2017

Integration, installation view at Saloon, Brussel, April-May 2017

all images: courtesy the artist and Saloon, Brussels
photography: LOLA PERTSOWSKY

REMCO TORENBOSCH‘s practice is essentially research-based and explores concrete economic, politic and cultural situations that he is using in a way to ideologically question their context.

In his Saloon exhibition, IntegrationTORENBOSCH deals with two companies rooted in the former Dutch colonies: tin mining company Billiton Maatschappij and natural rubber production company Rubber Cultuur Maatschappij Amsterdam. These two multinationals were established during the last period of the colonial Indonesian occupation by the Dutch, which formed the Dutch East Indies (1816—1949) .

TORENBOSCH was interested by these two industries for their significant role played in the dematerialization of the contemporary digitalized economy.

After analysing the production and distributional data of both companies in the national archives, and visiting several tin mines and rubber plantations on Sumatra and Java in 2015, TORENBOSCH presents a series of ready-made objects as sculptures including Porter (2017) and Miner (2014-2017):

Miner (2014—2017) focuses on the Miner, a crypto mining computer that virtually collects crypto currency, yet requires physical mining of ‘conflict minerals’ to produce its hardware. Torenbosch’s interest in crypto currency was triggered by the heavy contradiction and overlap found in the jargon that surrounds it such as ‘mining’, ‘mining pools’, and ‘workers’. This terminology of physical labour used in fully automated labour counteracts the agonizing physical mining that is needed to produce the printed circuit boards of the actual miner. In the early 1970s, 20 years after the Indonesian National Revolution that officially acknowledged Indonesia’s independence, oil and gas company Royal Dutch Shell acquired the former colonial company Billiton Maatschappij. This acquisition accelerated the mining growth, turning Indonesia into one of the world’s largest producers of tin. From that point on tin became a commodity mainly used for hardware for electronic devices like computers. During his research for this exhibition Torenbosch came across the miners that are on display in Integration. These miners are manufactured in Jakarta, Indonesia, the former capital of the Dutch East Indies and the former epicentre of trading networks in Asia. The circuit boards of these miners contain tin that was physically mined at the Bangka-Belitung islands in South Sumatra Indonesia. Here, the Billiton Maatschappij started its mining, hence the islands became the namesake of the company. In 2001, a fusion of Billiton Maatschappij and the Australian BHP formed BHP Billiton, which later became the largest mining company in the world.

Porter (2017) is a collection of rubber objects used for offshore and deep sea mining. The works are connected to the Dutch East Indies Rubber Cultuur Maatschappij Amsterdam, a leading exporter of natural rubber during the late colonial period. In 1856 it started to produce and collect its high quality natural rubber at several plantations on Sumatra and Java. The company played an influential role as one of the most prominent suppliers of insulation rubber used for the wiring of the British All Red Line that started in 1858. The line was a transatlantic telegraph cable to connect the colonies to the west and ran through the Dutch territory of Java. It is historically seen as the forerunner of the submarine fiber optic cables which are a main instrument of international virtual trade in which transactions are made digital. Originally, the objects in the exhibition functioned as insulation material of water and sound during the process of automated offshore and deep sea mining. They are made of synthetic rubber that since the industrial revolution overruled the industry of natural rubber due to its low production costs. In these objects, traces of usage of offshore mining and natural marks by salt water are noticeable but abstract. Like the miner computers, these objects distribute the shifting notion between physical labour and automation that centralize the paradox of how a dematerialized and digital world emerged from a materialized one with physical labour at its core.*

Integration by REMCO TORENBOSCH is on view at Saloon, Brussels until May 7, 2017.

*press release from Saloon, Brussels

Christopher Williams on Post Studio and Michael Asher for ‘The Experimental Impulse’, September 28, 2011

wfw weekend #399

seen at Klemm’s, Berlin
on Saturday, April 22, 2017
image © we find wildness

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wfw weekend #398

In the Shadow We Put Together a House (2017), EDIT ODERBOLZ
seen at Crac Alsace, Altkirch
on Thursday, April 20, 2017
image © we find wildness

wfw weekend #397

Outside the Dream Syndicate (1973), TONY CONRAD and FAUST
see also TONY CONRAD: Completely in the Present (2016), TYLER HUBBY
watched on Saturday, April 22, 2017


“John Baldessari: Paintings 1966–68” is on view at Craig F. Starr Gallery in New York through Saturday, May 20, 2017. The solo exhibition brings together many of the artist’s earliest text and photo-text paintings for the first time since they were first shown at Molly Barnes Gallery in 1968.

one pic wednesday. Philipp Timischl

Class Drag, 2017
installation view at Galerie Emanuel Layr, Vienna, 2017
Courtesy Emanuel Layr, Vienna

To say that this is a work of extraordinary surfaces is not the same as saying it’s a superficial body of work. But there are some pieces by TIMISCHL that appear as though they are essentially dull screens, put up so the content can run in the background, almost out of sight. It makes no difference how empty or familiar the surface. It’s like seeing the superficial flatness of the image while simultaneously confirming its authority.

Hostile Habits Domestic Monuments, Class Drag / Vienna by PHILIPP TIMISCHL is on view at Galerie Emanuel Layr until May 27, 2017.

wfw weekend #396

Outside Portal (2008), KILIAN RÜTHEMANN
seen at Kunstmuseum Basel
on Thursday, April 13, 2017
image © we find wildness

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