Darja Bajagić. Nobody Knows I’m Funny

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Nobody Knows I’m Funny, 2016
exhibition views at Carlos / Ishikawa, London

image courtesy of the artist and Carlos / Ishikawa, London

The last exhibition of DARJA BAJAGIĆ is entitled Nobody knows I am funny. Knowing that her work is boldly uncomfortable and can brutalise the imagination, it feels slightly weird to associate the word funny with BAJAGIĆ‘s artistic practice. Her collages, paintings and installations appropriate images drawn from the Internet, mostly faces of girls she found on porn websites or social networks, as well as serial killers’ ephemera such as letters and drawings. 

Some of her pieces in the exhibition have a rough, childlike quality thanks to their crafty presentation and the materials used, while some are precisely manufactured. Paradoxically both are hard to turn away from because the gallery space is featuring few elements, but also because the pieces are aesthetically appealing.

Although she stated in interviews that her work has no political position, DARJA BAJAGIĆ establishes, thanks to the use of provocative material, an occasion during which we as viewer or visitor have the necessity of taking a stand. An occasion that requires us to examine the fundamentally political question of one’s personal responsibility for looking.

Nobody Knows I’m Funny is on view at Carlos / Ishikawa, London until October 29, 2016.

Along the exhibition, an online publication is available in pdf via http://www.carlosishikawa.com/exhibitions/nobodyknows/nobodyknows.pdf

Additionally I really recommend to read this discussion BAJAGIĆ had in 2014 with JEAN KAY for aqnb.com.

#laterpost 1995. Paul McCarthy

Painter, 1995
video, projection or monitor, colour and sound, 50 min, 1 sec

courtesy of the artist and Tate Modern, London

The buffoonery and unpolitical correctness of American artist PAUL MCCARTHY feels somehow right for today.

This video entitled Painter (1995) is not part of his current solo exhibition at Xavier Hufkens in Brussels. Please note that Paul McCarthy: White Snow & Coach Stage Stage Coach, Spinoffs is on view in both locations of the Belgian gallery through Saturday, October 22.

More about this specific work here

Sam Ekwurtzel. Late morning early spring

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10:35 someone and someone entering, 2016
cast iron drainage pipe, wye fitting, 107 x 8.5 x 3 inches (271.78 x 21.59 x 7.62 cm)

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10:35 someone and someone entering (detail), 2016
cast iron drainage pipe, wye fitting, 107 x 8.5 x 3 inches (271.78 x 21.59 x 7.62 cm)

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SAM EKWURTZEL, late morning early spring
installation view at Simone Subal Gallery, New York, September – October 2016

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SAM EKWURTZEL, late morning early spring
installation view at Simone Subal Gallery, New York, September – October 2016

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SAM EKWURTZEL, late morning early spring
installation view at Simone Subal Gallery, New York, September – October 2016

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10:39 someone and someone exiting, 2016
cast iron drainage pipe, wye fitting, 107 x 8.5 x 3 inches (271.78 x 21.59 x 7.62 cm)

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SAM EKWURTZEL, late morning early spring
installation view at Simone Subal Gallery, New York, September – October 2016

all images courtesy of the artist and Simone Subal Gallery, New York

On March 30, 2016, New York based artist SAM EKWURTZEL bought some random building materials manufactured between 10:35 am to 10:42 am on that specific day for his upcoming exhibition at Gallery Simone Subal in New York. Nothing exceptional apart the fact that just like grocery products, each of the construction items produced in America have their production date and hours printed on them in order to facilitate quality control.

Six months later, on September 10, the show chronologically documents the objects from EKWURTZEL‘s action. The press release informs that ‘the materials were not generated specifically for the exhibition; rather they were synchronously pulled from the four independent production lines or purchased from distributors’. It means also that the exhibition is featuring a series of cement boards and pipes that have been produced at the same time but by competing manufacturers.

Adopting the approach of a pre-archaeologist, EKWURTZEL plays with temporal scale, in which the slow process of erosion of these objects is stopped, while at the same time his work is starting to deal with obsolescence.

late morning early spring by SAM EKWURTZEL is on view at Simone Subal Gallery, New York until October 16, 2016

wfw weekend #347

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Marion (2016), CURTIS MCLEAN
seen at Weiss Falk, Basel
on Saturday, October 8, 2016
image © we find wildness

wfw weekend #346

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excerpt from If You Don’t Have Bread, Eat Art!, HITO STEYERL
published on e-flux.com, Journal #76 (October 2016)
screen captured on Saturday, October 8, 2016
image © we find wildness

one message interview #33. Nelly Haliti

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Do not miss: NELLY HALITI in Roma, this winter, for her residency at the Istituto Svizzero. Meanwhile in Paris, she is also presenting an installation video entitled JOURS : MOIS : ANNÉES (2016) at the Centre Culturel Suisse.

http://www.nellyhaliti.ch

This question has been taken from the Drawing Room Confessions . Make sure to read the previous one message interviews here.

 

#actual_size #9. Mia Goyette

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The prospect of an end, 2016
installation view, Kunstverein Nürnberg – Albrecht Dürer Gesellschaft, 2016
Courtesy the artist, image: ANNETTE KRADISCH

The Prospect of an end (2016) is a work by MIA GOYETTE that is currently on view in the group exhibition Gestures of Tomorrow at the Kunstverein Nürnberg.

Gestures of Tomorrow with JULIEN PRÉVIEUX, MIA GOYETTE, NONA INESCU, RACHEL DE JOODE, SANDRA VAKA OLSEN is running through November 20, 2016.

➝ Read more about actual_size, a special section on wfw here

 

wfw comix #6

wfw comix, October 2016
all images © JEREMY PININGRE and We Find Wildness

click on the arrows or the dots to navigate the gallery

WFW Comix is a project started earlier this year with French artist JEREMY PININGRE. This is the 6th episode and if you have missed the previous issues, follow this link. If you want to know more about this special commission, it’s here.

one pic wednesday. Edward Kienholz

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Jody Jody Jody, 1993-94
photo SISTO LEGNAN, Courtesy Fondazione Prada

 

In the mid-1950s, EDWARD KIENHOLZ (1927-1994) was part of a generation of artists engaged in multi-disciplinary practices such as gallerist and curator in his native United States. By the end of the decade, KIENHOLZ started to reconstitute a sort of a creepy version of the Madame Tussauds made in US. His life-size installations or tableaux are composed of trashes or found objects as well as figures carrying in place of their face, the signs of their decay, their despair, and their obsessions.

The current exhibition at Fondazione Prada in Milano brings together a selection of artworks realized between 1959 to 1994 by EDWARD KIENHOLZ and NANCY REDDIN KIENHOLZ. The pieces which include installations and sculptures seem to have been frozen in sometimes grotesque, gruesome and somehow literal dramas in which the viewer is whether in a voyeuristic or complicit position.

In an essay, writer and artist DAVID COLOSI who aimed to locate the literary aspect in the work of KIENHOLZ, wrote about the infamous and controversial scene entitled Five Car Stud (1969-1972) that is the centrepiece of the Milanese exhibiton:

The act of looking at a piece of art is a commitment to responsibility:  once s/he has looked, the choice and act are irreversible. (…). To ignore the scene and escape the tent to view the Frankenthaler in the next room implicates the viewer with turning his/her back on the issue; to stay forces one to take a position in relation to it. – http://www.3dlit.org/practice/Kienholz/section2_1_1kienholz_colosi_towards.html#_ftn7

Five Car Stud (1969-1972) is an immersive installation which depicts precisely a scene of racial violence, where four cars and a pickup truck encircle a group of masked men holding down and castrating a black man. His white girlfriend is vomiting and watches helplessly from one of the cars. The license plates read “State of Brotherhood.”

The artwork has been shown in 1972 during the Documenta 5 in Kassel, and has been in storage in Japan for nearly forty years. It is now part of the Prada Collection.

Kienholz: Five Car Stud is on view through 31 December 2016.

Cédric Fargues. Bébéfleurs

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CEDRIC FARGUES, Bébéfleurs
exhibition view at New Galerie, Paris, September – October 2016

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Serre Christique, 2016
green house, cake, suagar paste, terracotta pot

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Bébéfleurs, 2016
framed prints, each 28,5 x 37 cm

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Bébéfleurs, 2016
framed print, 28,5 x 37 cm

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Bébéfleurs, 2016
framed prints, each 28,5 x 37 cm

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Bébéfleurs, 2016
framed print, 28,5 x 37 cm

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Bébéfleurs, 2016
framed prints, each 28,5 x 37 cm

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Bébéfleurs, 2016
framed print, 28,5 x 37 cm

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Bébéfleurs, 2016
framed print, 28,5 x 37 cm

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Bébéfleurs, 2016
framed print, 28,5 x 37 cm

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Bébéfleurs chapelle, 2016
silicone pots, cake, wooden furniture

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Bébéfleurs chapelle (detail), 2016
silicone pots, cake, wooden furniture

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Notre-Dame Des Bébéfleurs, 2016
framed print, 85 x 107,5 cm

all images courtesy of the artist and New Galerie, Paris

When the press release is as hallucinatory as the exhibition, it well deserves to be featured entirely:

CEDRIC FARGUES has long remained a mysterious figure. From Figeac, town located in the damaged hills of Lot, his name got attached to aggressive collages of BRITNEY SPEARS’ face (Preteen Gallery, Mexico City, 2010), coquette compositions of pink ribbons (Courtney Blades, Chicago) or wallpaper dedicated to Henry, the vacuum cleaner star of the English housewife in the 1980s (Weekends, Copenhagen). As a seasoned and a little skewed housewife, he bobbles between searching for the perfect cedar candle, TERI HATCHER’s Amazon page and new age specialized forums, transforming his domestic activities into metaphysical experiences. Busy between the classifying flower petals according to their caloric intake, the sweating of a chicken in a jacuzzi of vegetable broth (Artsoup) and the frosting of stigmata shaped cookies (Stigmateye Cookies), he lays the foundation for a return to tradition somewhere between the Catechism of TAYLOR SWIFT and the description of cycles by the practitioner of esotericism JEAN PHAURE. Gardener, beekeeper, ufologist, mystical confectioner or simple diner, CEDRIC FARGUES is the unexpected encounter between DOCTOR FAUSTROLL and BREE VAN DE KAMP, a great inventor of everyday life.

For his exhibition at the New Galerie, fifty-five “baby flowers” collected in the lands of the Causse plateau act as a digital herbarium. Decadent offspring of the photographer KARL BLOSSFELDT, they foreshadow the end of worlds according to him. Violets, thistles and wild orchids are adorned with Facebook stickers to announce the advent of a new era. If their blooms augured the birth of a cycle, they also foretell the fierce design of an apocalypse. Encircling a frayed wooden kindergarten greenhouse, flower babies celebrate the crystallized Christ child. Resurrected by a pastry operation, the newborn is coated, glazed and then finally topped with ornaments. Recalling ROLAND BARTHES discussing recipe cards in Elle magazine, his Christcake is both baroque and commonplace, artificial and irresistibly heavenly in its shroud of sugar. Even if this chemical transformation could have had its place on the kitchen counters of MARTHA STEWART discussing the tone of a baby shower with JOHN WATERS, or in a last minute collaboration between CLAES OLDENBURG and the JONAS BROTHERS, here it is rather the result of a kinship with the alchemist Fulcanelli predicting the ascension of the big event.

In the basement thirty pipettes contain sediment of a past world. Transformed, then liquefied, they exhale chaotic notes: legendary laurel, herbs and sandalwood, moss, and psychedelic mushrooms. Designed with the perfumer ANGELO ORAZIO PREGONI, this oil condenses the vital forces of flower babies. Placed not far from an icon of the VIRGIN MARY, they evoke tears of our Lady of La Salette, the one cited by LEON BLOY with ‘her white dress spangled with straw and its ruined shell of multicolored roses’ that is said to have appeared alone in the Hautes-Alpes.

After the altar, the time of judgment is in the last room. In this Priory, plants proliferate and prophesy the passage in the great Adamic cycle. Bringing together ancient and modern times, liturgy and camp fantasies, their branches run to an unexpected world. An eschatology in short, where in turn cosmic powers, antiquity, Gaga hermeticism and queerituality are summoned.

Bébéfleurs by CEDRIC FARGUES is on view at New Galerie in Paris until October 13, 2016.

wfw weekend #345

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Catachresis (2016), AMALIA PICA
seen at Kunstverein Freiburg
on Saturday, October 1, 2016
image © we find wildness

wfw weekend #344

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view from the exhibition Mustard, MAGALI REUS
seen at Stedelijk Museum, Amsterdam
on Sunday, September 25, 2016
image © we find wildness

wfw weekend #343

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view from the exhibition Slapstick, STEFAAN DHEEDEN
seen at P/////AKT, Amsterdam
on Sunday, September 25, 2016
image © we find wildness

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wfw weekend #342

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Slab 72 (Fourteenth Assault), Slab #73 (L’aventura) (2016), MATHEUS ROCHA PITTA
seen in the group exhibition A spear, a spike, a point, a nail, a drip, a drop, the end of the tale
at Ellen de Bruijne Projects, Amsterdam
on Saturday, September 24, 2016
image © we find wildness

 

one pic wednesday. Liz Magor

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Double Cabinet (blue), 2001
polymerised gypsum, cans of beers 23,5 x 68,58 x 43,18 cm
installation view No Fear, No Shame, No Confusion, by Triangle France © Photo : AURELIEN MOLE
private collection, Vancouver

Fairytales have the same interest in finding the animus or the energy in the object, in the material world. I’m doing it not from a religious or ritualistic or a witchy point of view. I’m doing it as a person who has a psychology that’s operating all the time to project and receive meaning from the material world. That’s a business that goes on all day. Like a bat using the walls, using the sonar to sound against the wall to find out how far the wall is. I think a similar process goes on with the objects in a life. That you’re testing your feelings against these things: I like this thing! I hate this thing! I want this thing! This is a beautiful thing. It’s all about me, really. It’s not about that thing. I’m using those things. So what I’m interested in is to stop using things. So when I turn them into sculpture I am stopping their usefulness. It’s no longer a jacket. And when it becomes art, it then becomes free of that sort of endless process of using objects for my ego or for my purposes. I want them to have this integrity of their own where they are recognized as having qualities that are independent of me. – LIZ MAGOR about Double Cabinet (2001) via 

The tension or play between the cast objects and the actual ones in Magor’s small pieces involves a complex relationship between history and memory. One of the elements in the small sculpture Still Alive (2016) is a very used, actual deerskin jacket, such as what might have been worn by the late 1960s, a hippy-era “back-to-the-landers” item in her photo series Field Work (1989). The jacket retains its own history, its marks and scars, and its strange, embroidered, leather-fringed materiality forfeits nothing. – E.C WOODLEY, Liz Magor Waits, But Not For You, August 17, 2016.

Habitude by LIZ MAGOR was presented at the Musée d’art contemporain de Montréal and closed on September 5th. In 2017 MAGOR‘s work will presented at the Migros-Museum für Gegenwartskunst, Zurich and at the Kunstverein in Hamburg.