one message interview #24. Rachel de Joode


Across sculptures and installations, RACHEL DE JOODE wrestles materials and images in order to stress the duality between abstraction and depiction, between surface and proportion, movement and stillness as well as flatness and depth.

Her work is currently on view in the group exhibition The Analogy between Bulbs and Buds presented in the Berliner Botanischer Volkspark Blankenfelde-Pankow until June 18, 2016.

check the previous one message interviews here

*this question has been taken from 032c twitter

wfw sound #9. Hybrid Jaguar

HYBRID JAGUAR is not a human, nor a robot but rather an animal with a human mask and mechanical arms.

If you have missed the previous wfw sounds, you can listen to them here or via, enjoy!

David Hanes. wfw aware #31


Aware: after the exhibition BountyMIKE BOUCHET
presented at Peres Projects, Berlin
shot on May 1, 2016, altered on May 18, 2016 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.

Domenico de Chirico for We Find Wildness #64

all images courtesy the artist and Casey Kaplan, New york
photo: JEAN VONG

a solo exhibition by N.DASH
on view at Casey Kaplan in New York
until June 18, 2016

chosen by curator and editor DOMENICO DE CHIRICO

actual_size #6. Knut Ivar Aaser



Untitled 1, 2016 
lace, fabric, ribbon, kale, leek, green onion, lemon grass, artichoke and asparagus
20 x 49 x 30 cm (7 ⅞” x 19 ¼” x 11 ¾”)

image courtesy of the artist and VI, VII, Oslo

The image above is a work by KNUT IVAR AASER that has been presented in a solo exhibition at VI, VII in Oslo a few weeks ago as well as at the art fair Miart this april.

I remembered having seen an online image from the presentation in Miart, and the idea to present raw and organic materials in an art fair appeared to me at that time as brave. In the context of the gallery, the vegetable composition presented on freestanding pedestals, is a mix of Dutch still-life paintings, Ikebana art, and WILLEM DE ROOIJ’s work.

KNUT IVAR AASER‘s bouquets are all untitled and little informations are given concerning the description of the vegetable arrangements. The press release for the exhibition in Oslo informed the viewers that these pieces had been actually crafted by an unnamed florist. A shared authorship that can be compared to found footage or autonomous materials.

Dena Yago. In Escrow


DENA YAGO, In Escrow
installation view at High Art, Paris / May 2016


In Escrow (Mural), 2016
coloured chalk, variable dimensions


A Chicken Consists of the Outside and the Inside, 2016
industrial grade rubber, approx. 90 x 110 cm / 35.4 x 43.3 in


Remove the Outside and the Inside Remains, 2016
industrial grade rubber, approx. 60 x 120 cm / 23.6 x 47.2 in


In Escrow #9, 2016
framed photograph, 51,8 x 36,8 cm / 20.4 x 14.5 in


In Escrow #7, 2016
framed photograph, 51,8 x 36,8 cm / 20.4 x 14.5 in


In Escrow #3, 2016
framed photograph, 51,8 x 36,8 cm / 20.4 x 14.5 in


DENA YAGO, In Escrow
installation view at High Art, Paris / May 2016


DENA YAGO, In Escrow
installation view at High Art, Paris / May 2016

all images courtesy of the artist and High Art, Paris

In Escrow is the title of the solo exhibition by DENA YAGO that is currently presented at High Art in Paris. The show features a series of prints, three text works and one large mural. These works are like sequences of images and sequences of texts, all suggesting the possible presence of a narrative. They are equally as strange and distant as they are familiar. Even the hand drawn chalk mural is defamiliarised from its ordinary context, making it enigmatic.

The press release (below) is a kind of economic lexicon, which adds the last layer of absence of authorial subjectivity in the exhibition. Finally the viewer is left to determine his or her narratives conditioned within our system of shared, cumulative culture.


In escrow is known to most by its use on real estate signs, hanging below the placard for the indeterminate period of time after for sale and before sold. In this regard, being in escrow means that a buyer has shown committed interest in the property by making an additional mortgage payment designated for property taxes and hazard insurance. This is known as T&I, for taxes and insurance, which, in addition to standard mortgage insurance consisting of principal and insurance (or P&I) is referred to as PITI (pronounced “pity”).


An asset is a resource controlled by an entity from which future economic benefits are expected to flow. It must be owned or controlled to produce value or have positive economic value. Tangible assets include anything from real estate to the body, while intangible assets include trademarks or intellectual property. In programming, an asset refers to CSS, JavaScript, and image files – all front-end elements that control the appearance of a web page. Assets (plural) is a term also used to refer to a person’s ass, breast, legs or hips. Speaking of one’s body in terms of long-term investment may feel familiar – a mother telling her daughter to protect her assets might be said to mean that she should control her appearance and furthermore regulate other people’s access to it.


More broadly, escrow is a contractual agreement in which a third party receives and holds assets for primary transacting parties. Disbursement is contingent on an agreement being met, or a set term of conditions being fulfilled. Again, in real estate, when withholding rent from a landlord one might put their rent in an escrow account in order to prove that you do, in fact, have the money, but that you won’t hand it over until say, the heating has been fixed. In essence this is a principle of proving that you have something by putting it in the hands of a neutral third party. Putting one’s assets in escrow is an act of demonstrative forfeit. You’re showing your cards to prove that you have them, then losing the hand.

In Escrow is on view at High Art in Paris until June 10, 2016

wfw weekend #308


view from the exhibition The Life Sized Black (a Porsche for RH), JONATHAN MONK
seen at Blondeau & Cie, Genève
on Thursday, May 12, 2016
image © we find wildness

wfw weekend #307


Rauhfaser nr80 (Royal)(1992-2016), KARIN SANDER
seen at Haubrok Foundation, Berlin
on Sunday, May 1, 2016
image © we find wildness

one pic thursday. Antoine Renard

30 - Antoine Renard - Diesel project space

BraveNewWorld study 2, 2016
automobile cold air intake pipes (inner cast), wax and fabric. 152 x 52 x 38 cm
image courtesy of the artist and Diesel Project Space Liège

This is a view from the exhibition I Spell It Nature by ANTOINE RENARD that is currently shown at the ghost gas station called Diesel in the outskirt of Liège.
BraveNewWorld study 2 (2016) is a series of wax candle sculptures which melted dramatically. The sculptures are gradually transformed, reshaped by drips and dribbles and dirtied by soot from the wick as the wax is consumed.
Among other works in the exhibition, this piece not only provides a clear glimpse into RENARD‘s concerns beyond monumentality but also prompts questions about materiality, and its control.
I Spell It Nature by ANTOINE RENARD is on view at Diesel Project Space in Liege until May 14, 2016

Domenico de Chirico for We Find Wildness #63

all images: courtesy of the artist and The Swiss Institute, New York

Early Man, a solo exhibition by OLGA BALEMA
on view at The Swiss Institute in New York
until May 19, 2016

chosen by curator and editor DOMENICO DE CHIRICO

Mark Borthwick & DIS


Un-retouched photos are so raw and sexy. Advertisers need to hop on that boat. — DIS Magazine May 10, 2016

In less than two days, I stumbled upon the question of the highly clean pics in advertising as a certain high-resolution fatigue. In a short text for Artforum, British photographer MARK BORTHWICK, who is best known for his experimental work started in the 90’s, speaks about his analog process and editorial photography in general.

The whole text is available via

Simon Mullan. Die Fläche

Simon Mullan_Bravo_2016_hi

Bravo, 2016
textile collage
183 × 137 cm

Simon Mullan_Die Fläche_install2_hi

Die Fläche, installation view at PM/AM, London, 2016

Simon Mullan_Die Fläche_install3_hi

Die Fläche, installation view at PM/AM, London, 2016

Simon Mullan_Edith_2016_hi

Edith, 2016
stainless steel, powder coated in black.
230 × 210 cm (3 x 70 cm panels)

Simon Mullan_Gary_2016_hi

Gary, 2016
white tiles, blue grout, MDF.
60.5 × 43 × 4 cm

Simon Mullan_Heat_2015_hi

Heat, 2015
textile collage
183 × 137 cm

Simon Mullan_Indian Summer_2016_hi

Indian Summer, 2016
textile collage
60 × 50 cm 

Simon Mullan_Josephine_2016_hi

Josephine, 2016
stainless steel, powder coated in grey.
242 × 210 cm (3 x 70 cm panels)

Simon Mullan_Marc_2016_hi

Marc, 2016
black tiles, blue grout, MDF
60.5 × 43 × 4 cm

Simon Mullan_Marius_2015_install_hi

Marius, 2016
glazed and unglazed black tiles, white grout, MDF.
116 × 89 × 4 cm

Simon Mullan_Robbie and Howard_2016_hi

Robbie, 2016 / Howard, 2016
white tiles, grey grout, MDF.
60.5 × 43 × 4 cm

Simon Mullan_Stefano_2016_hi

Stefano, 2016
black tiles, yellow grout, MDF.
60.5 × 43 × 4 cm

all images courtesy of the artist and PM/AM, London

I once read that one knows sculpture by what it is not: not architecture, not landscape, and, importantly, not painting. On the map of ‘what it is’, the work of SIMON MULLAN is located at the intersection of painterly abstraction and the object. His last exhibition currently presented at PM/AM in London, radically answered the question thanks to the title Fläche (Surface).

The show features MULLAN‘s ongoing series Alpha (2012–ongoing), a set of monochrome patchworks made of bomber jackets and Popularis (2015–ongoing) that follows the same pieced principle but by using white or black ceramic tiles.

Whether MULLAN is using soft materials or rigid components, the walls of the gallery are flanked with craggy geometric forms whose edges are hard, and junctions clear. His approaches mirror the impulses of American abstractionists by embracing a reduced palette and simple compositions.

With these two bodies of work, SIMON MULLAN offers no view, no space, no time but also no diversion. Additionally these pieces do not function as monochrome because of their clear materiality. The only natural light coming from these immured windows is given by their title which all features first name and thus offers glimpses of existence.


Die Fläche by SIMON MULLAN is on view at PM/AM in London until May 3o, 2016

one message interview #23. Sabine Delafon


SABINE DELAFON is a French artist currently based in Milan. Her work in photography, performance, and installation addresses representation of identity, social classes and power.

One of her latest project is entitled Fame (2014-ongoing), for which she is buying signs saying ‘I’m hungry’ from homeless people. She then photographs the signs and uses the documentation to create a series of works.

wfw weekend #306

oslo 10_kampusderkröten

as part of the group exhibition Kampus der Kröten
seen at Oslo 10, Basel
on Thursday, May 5, 2016
image © we find wildness

wfw weekend #305


detail from Supplement ’16 (Mixed Typologies /Male Model) #13 (2016) , CHRISTOPHER WILLIAMS
seen at Capitain Petzel, Berlin
on Sunday, May 1, 2016
image © we find wildness