Andrea Fraser

Essential: ANDREA FRASER spoke to DELIA BAJO and BRAINARD CAREY on October 1, 2004 about her work Untitled (2003).The work consists of a DVD in an edition of five showing FRASER having a sexual encounter with a collector who was contractually bound to sleep with her. Untitled (2003) is a ‘silent, unedited, sixty-minute document shot in a hotel room with a stationary camera and existing lighting‘.

Read the whole interview via http://brooklynrail.org/2004/10/art/andrea-fraser

wfw weekend #377

Should I make you a bank transfer?

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It’s not me, it’s the culture.

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His home in Miami is so gestalt and ungestalt at the same time.

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I’m painting a lot, it really impresses people .

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I am not queuing !

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I am looking for a neon.

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His wife sent us a mail by error, if you receive it, do not open it !

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When I arrive on my booth, I am scared.

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Is the guy already disabling his booth?

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The business card is like a pizza margarita: if it is good you can try the rest !

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I don’t know what I have but I am a real hit today.

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You should come for the cheese degustation tonight, those are in plaster!

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It’s a mix of fascism and wallpaper.

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When did you become known?

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This is the booth for our soap opera !

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I showed them those great dried drops on Franz West’s piece. They did not give a fuck.

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It’s a place of work, the keyword is resistance !

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I am waiting for the next big ego artist.

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She is so young and so successful, its good to know it can happen.

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Even your credit card is cold.

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You forgot an art piece in a train, you are definitely more artist than curator.

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she had a minuscule fame in 2000.

a selection of snippets of overhead conversations
gleaned at Art Geneva
on Friday, January 28, 2017 from 12.21 pm to 14.57 pm

wfw weekend #376

TOM OF FINLAND animated by XAVER XYLOPHON
for DJ Hell ‘I want U‘, December 2016
video courtesy Gigolo Records

 

wfw weekend #375

Untitled (2014), JOEL SHAPIRO
seen at Kunstmuseum Winterthur
on Thursday, January 26, 2017
image © we find wildness

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one message interview #37. Marguerite Humeau

MARGUERITE HUMEAU is currently based in London. Her most recent exhibition, entitled FOXP2 was on view at Palais de Tokyo in Paris last year, before heading to Nottingham Contemporary, where it was on view until January 15, 2017. In a few months, she will present a solo exhibition at Haus Konstruktiv in Zürich as recipient of the 2017 Zürich Art Prize.

http://margueritehumeau.com

Please note that this question has been stolen from the discussion between ANTON VIDOKLE and ARSENY ZHILYAEV that has been published on e-flux under the title Art Without Death.

Read the previous one message interviews here.

Domenico de Chirico for We Find Wildness #79


all images courtesy the artist and Christian Andersen, Copenhagen

Steven, a solo exhibition by SVEN LOVEN
on view at Christian Andersen in Copenhagen
until March 11, 2017

chosen by curator and editor DOMENICO DE CHIRICO

one pic tuesday. Lina Viste Grønli

Slipper, 2017
slipper, pebbles, glue, 31 x 10 x 10 cm

image courtesy of the artist and Gaudel de Stampa, Paris


Temporal positioning of events with respect to the transitory present is continually changing; future events become present, then pass further and further into the past.

Or, the temporal position of events become more present, then pass further into the transitory present, then pass further and further and further into the past.*

LINA VISTE GRØNLI‘ solo exhibition entitled Ygoloeahcra is on view at Gaudel de Stampa, Paris until February 24, 2017.

*press release Gaudel de Stampa

wfw weekend #374

detail from Untitled (2016), JAROMÍR NOVOTNÝ
seen at Hunt Kastner, Prague
on Saturday, January 21, 2017
image © we find wildness

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wfw weekend #373

Untitled (from the series Foreshadow Fences) (2013), AGNIESZKA GRODZINSKA
seen at Futura, Prague
on Saturday, January 21, 2017
image © we find wildness

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one message interview #36. Sonia Kacem

image © we find wildness

click on the phone to read the whole message

SONIA KACEM does not only have great hair, she is also having a solo exhibition at Galerie Gregor Staiger in Zürich until January 28, 2017.

http://soniakacem.ch

read the previous one message interviews here

David Hanes. wfw aware #41

Aware: Funktionieren (2016-2017), NASAN TUR
presented at Blain Southern, Berlin
shot on January 7, 2016, altered on January 13, 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.

Anna-Sophie Berger. Places to fight and to make up

ANNA-SOPHIE BERGER, Places to fight and to make up
exhibition view at mums, Wien, October 2016 – January 2017
photo: mumok/KLAUS PICHLE

ANNA-SOPHIE BERGER, Places to fight and to make up
exhibition view at mums, Wien, October 2016 – January 2017
photo: mumok/KLAUS PICHLE

ANNA-SOPHIE BERGER, Places to fight and to make up
exhibition view at mums, Wien, October 2016 – January 2017
photo: mumok/KLAUS PICHLE

Parabolic Reflector (1), 2016
concrete, spray paint, 180 x 140 x 45 cm
courtesy of the artist and JTT New York

ANNA-SOPHIE BERGER, Places to fight and to make up
exhibition view at mums, Wien, October 2016 – January 2017
photo: mumok/KLAUS PICHLE

Choicest Relic (1), 2016
paper, water, wooden frame, 142,5 x 181 cm
courtesy of the artist and JTT New York 

Pea Earring, 2016
pea seed, sterling silver, 0,6 x 0,6 x 1,3 cm
courtesy of the artist and JTT New York

Agony half-hourly, 2016
ale-bench, dimensions variable
courtesy of the artist and JTT New York

Back when I moved to my apartment in the 3rd district, the Golden Harp pub was still Café Goldengel—subtitled »Kommunikations Café.« People who moved here later, like my sister, who took my apartment after I left Vienna, don’t remember it usually. The »Kommunikations Café« aspect is what had me confused about Café Goldengel. It suspended the place somewhere in between a swingers’ club and a fake coffee house. 

(…)

Three restaurants make up a conglomerate of 3rd district mostly middle-class living, from Rochus, the restaurant by the market, with its syntaxless menu composed of dishes described by nouns (chicken, salad, basil, balsamico), via Iridion, the overbooked Greek restaurant populated with doped waiters, their pupils as deep as oceans (the only thing anyone ever seems to remember from this part of town: »aber den guten Griechen habt ihr!«). Finally too, Goldengel turned into Golden Harp, spatially in bad limbo almost by the canal. For all I remember Goldengel was mostly empty. I never went in.

(…)

The paved path that separates the park from the subway station building is lined by trees. The park is configured as an attempt to construct a place around an area without a center. The proximity to the subway station building, with its fans and ventilation systems conspicuously relating to dust and dirt, make it unthinkable to spend more than a moment there, to stay longer than waiting. It is just within this non-space that two concrete parabolic reflectors have been installed.

Sourced from a company called Richter Spielgeräte GmbH, which specializes in large outdoor toys and activity tools, the parabolic reflectors directly refer to the dimensions of the area. They signify the parameter of need- ing thirty meters of distance between each other to function as »communicative toys.« If a person speaks right into the middle of one mirror, a second person, thirty meters away, will hear their voice as if standing right next to them. It is a phenomenon of acoustics that comes close to magic when first experienced. They are mostly used as a canvas for tags and graffiti—like a communication gone awry. The parabolic reflectors came to mean to me something more complex than a well-meant social imperative to »enjoy« a space. Like silent symbols, they waited patiently for us if we needed them. We had a ritual, to use them to fight and to make up. – http://anna-sophie-berger.com/placestofighttext.pdf

Place to fight and to make up by ANNA-SOPHIE BERGER is on view at mumok, Vienna until January 29, 2017.

Luis Ortega Govela, Olivia Erlanger. Hate Suburbia

LUIS ORTEGA GOVELA, OLIVIA ERLANGER, Hate Suburbia
lecture on October 20, 2016 at Architectural Association School of Architecture, London

One of my family myths is that my dad started his small business in the garage of our two-storey house in the middle of nowhere in Switzerland. But if I try to recall the year he said he started, I see myself clearly in front of a tv being bottle feed with American entertainment culture, but not a single trace of my dad doing stuff in the garage. Not even fixing the mower. Although I can precisely tell you how long I needed to finish Super Mario Land with the game boy.

Contemporary culture had an idealized and globalised picture of the American Dream where a company could be started from nothing by anyone in the garage. My dad included. Hate Suburbia is all about this imagery and its architecture in suburban areas in America.

Hate Suburbia is a project by London based architect LUIS ORTEGA GOVELA  who is also one of the founders of the collective åyr (previously AIRBNB Pavilion) and New-York based artist OLIVER ERLANGER.

Please note that the book will be launch in New York at 83 Pitt St. on the weekend of January 28, 2017. Meanwhile I really recommend to read the discussion they had with BIANCA HEUSER for 032c.

#laterpost 1996. Ayşe Erkmen at Portikus, Frankfurt am Main

Zuspiel, 1996

image courtesy of the artist and Portikus, Frankfurt am Main

In 1996 AYŞE ERKMEN has placed, in the frame of an exhibition entitled Zuspiel, seven security gates, so-called metal-detectors at the entrance portals of the art venue Portikus in Frankfurt am Main. According to the press release the entrance area was thus transformed to a security zone, in which the detectors indicated whether the exhibition visitors had metal with them through shrill sounds and light signals. The detectors’ sounds of alert were not followed by the refusal of admission; rather, the visitor became aware of his or her physical presence and  of the space surrounding him or her’.

In a more recent interview she gave for Flash Art Magazine in 2011, the artist explained:

The only thing that is inevitable in my work is my process: the things that I come across in any given situation I use to think through. I don’t always know what I will find in advance and what my feelings and interest will be towards what I find. If I find something of interest and significance, this can be the inevitable. But it changes immensely from one project to another. One can also say that the one inevitable aspect of my work is my constant and precise attention to and interest in form. I think this is the part that communicates, and I feel the form should be arresting to the viewer. How it communicates and what it communicates can be vastly different.

AYŞE ERKMEN‘ last solo exhibition entitled Unlikely was on view at Barbara Gross Galerie in Munich  from October 28 to January 14, 2016.

wfw weekend #372

exhibition view 2B Dosenwelt, MANFRED PERNICE
seen at Kunstmuseum St Gallen
on Saturday, January 14, 2017
image © we find wildness