wfw weekend #117

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detail from Learning to Love (2013, silver gelatin print)
by Swiss artist GUILLAUME PILET
seen at the Kunsthaus Glarus
on Sunday, February 9, 2014
image © wfw

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GUILLAUME PILET’s solo exhibition Learning to Love is on view at Kunsthaus Glarus until May 4, 2014

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Rita Ponce de León

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Youniverse, 109 x 69 cm, 2013

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David, exhibition view at Sala de Arte Público Siqueiros, México,  2012-2013

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Acepto que nada es mio (I accept that nothing is mine), 2010-2012, 120 ink drawings on paper

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A Change Of Mind Serves To Advance An Honest Mind Drawings (I Started Saying Something But I Forgot And Said Something Else) (Dibujos de Cambio de Idea-Comencé diciendo algo pero lo olvidé y dije otra cosa-), 2014
11 drawings (ink, pencil, colored pencil) on paper, framed
various dimensions

all works courtesy the artist and Galeria 80 metros cuadrados, Lima, PE.
Kunsthalle Basel 2014, photo: SERGE HASENBÖHLER

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all images / drawings courtesy the artist (unless otherwise stated)

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The  31-year old Mexico resident creates large wall compositions as well as small drawings, both precise and subtil, conceptual and metaphorical.  RITA PONCE DE LEÓN develops her work mostly by talking to people, and recording these conversations through the medium of drawing as if they were reports or notesWhat’s interesting lies not only in the discussions and meanings but also in the question of how they are represented.

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Good news: RITA PONCE DE LEÓN is currently presenting her first solo exhibition in Europe at Kunsthalle Basel for which she worked with Mexican architect PABLO PÉREZ PALACIOS to develop an exhibition concept that extends to architectural transformations of space as well as drawings.

➝ Endless openness produces circles is on view at Kunsthalle Basel until March 30, 2014

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Isa Genzken

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Ohr (Ear), 1980
Chromogenic color print, 69 x 46 1/2” (175.3 x 118.1 cm)
Collection Museum of Contemporary Art Chicago, gift of Mary and Earle Ludgin by exchange, courtesy the artist and Galerie Buchholz, Cologne/Berlin © ISA GENZKEN

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This photograph by German artist ISA GENZKEN entitled Ohr (Ear) (1980) is from a series of photographs that she made in 1980 in New York asking women on the street if she could photograph their ear. Around this time, GENZKEN also made a group of works by photographing and enlarging advertisements for stereo systems from American, French, German, and Japanese magazines. She has often installed her photographs of hi-fi stereo equipment, in juxtaposition with her ear photographs and her Hyperbolo and Ellipsoid sculptures, likening the engineering of a state-of-the-art stereo system both to the intricate shape of the human ear and to the precision modeling of her sculptures.

I think that photography has a lot to do with sculpture – because it is three-dimensional and because it depicts reality. For example, I have always been able to relate to photography more than to painting. When I was photographing the hi-fi adverts I thought to myself, everyone has one of these towers at home. It’s the latest thing, the most modern equipment available. So a sculpture must be at least as modern and must stand up to it. Then I hung the pictures on the wall and put an ellipsoid  on the floor and thought, the ellipsoid must be at least as good as this advert. At least as good. That’s how good a modern sculpture has to be. Do you see what I mean? That was the dialogue… - ISA GENZKEN in conversation with WOLFGANG TILLMANS, Camera Austria 2003

Good news: the first comprehensive retrospective of GENZKEN‘s work in an American museum, is currently on view at the Museum of Modern Art in New York.

 

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found via 

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Rei Kawakubo

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For the second issue of System magazine, COMME des GARÇONS’ REI KAWAKUBO reveals the essence of her creative process through a surprising interview with HANS ULRICH OBRIST.

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System is available online via relay.com.

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Olga Balema

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Untitled, 2013
steel rods with latex, exhibition view at Fauna Copenhagen

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Untitled (detail), 2013
steel rods with latex

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exhibition views at 1646, The Hague, June-July 2013

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You Are My Sunshine, 2013
print on canvas, 80 x 120 cm, photography by GERT JAN VAN ROOIJ

Alchemy, 2013
plastic box, steel, hoses, water pump, textile
h = 55, Ø 56 cm, photography by GERT JAN VAN ROOIJ

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Subscribing is Better, 2013
plastic box, steel, hoses, water pump, textile, h = 74, Ø 64 cm

T-shirt translation, 2013
steel, 3D printed object, 46 x 70 x 62 cm

Untitled, 2013
steel, 36 x 51 x 68 cm

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How it feels I and II (detail), 2013
plastic box, steel, hose, water pump, textile
101 x 47 x 80 cm, photography by GERT JAN VAN ROOIJ 

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How it feels I and II, 2013
plastic box, steel, hose, water pump, textile
101 x 47 x 80 cm, photography by GERT JAN VAN ROOIJ 

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exhibition view at Galerie Fons Welters, Amsterdam, September-October 2013

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exhibition view at Galerie Fons Welters, Amsterdam, September-October 2013

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kjhJ, 2013
print on canvas, 120 x 80 cm
photography by GERT JAN VAN ROOIJ

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all images courtesy of the artist (unless otherwise stated)

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OLGA BALEMA is an artist based in Amsterdam whose work is made up of surfaces that she pleats, curves, stretches, expands and contracts to explore sculptural concerns of volume, dimension and weight. Working with found, ready made and fabricated objects, BALEMA’s work moves fluently between various stylistic reference points, from minimal through to pop art and on to the more organic. Her pieces leave the viewer both intrigued, and puzzled by the processes and materials.

Good news: OLGA BALEMA‘s work is currently on view in the group exhibitions: “Material Memory” at Fluxia, Milan, from January 23-March 8; “Apples and Pears” at DREI, Cologne, from January 24-March 8; and “Geographies of Contamination” at DRAF, London, from January 31-March 29.

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wfw weekend #116

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detail from the installation by YNGVE HOLEN
for the group exhibition Speculations on Anonymous Materials
presented at Fridericianum, Kassel (Germany)
on Thursday, January 30, 2014
image © wfw

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more images from this exhibition soon on wfw

update: read my post about this exhibition on Novembre Magazine

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Michele Abeles

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Transparencies, 2013
archival pigment print, oil on museum glass
38 5/8 x 29 in/ 98.1 x 73.66 cm

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3-Way, 2013 
2 archival pigment print, 1/16 inch plexiglas 
36 1/8 x 27 in/ 91.8 x 68.6 cm 

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Coaches, 2013 
archival pigment print triptych 
63 1/8 x 91 1/2 in/ 160.3 x 232.4 cm

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Not So Optimal, 2012
archival Pigment Print, 27 x 37.125 in/ 68.58 x 94.297 cm 

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Re:Re:Re:Re:Re:Re:Re: , 2012

Leef, 2012

English for Secretaries, installation view at 47 Canal NY, April – May 2013

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Reverse Wallpaper, 2012
pigment print w/clear film overlay

Young-Girl, 2013 
archival pigment print , 32 x 24 in/ 81.3 x 61 cm 

Silk robes making motherboards in Oceania, 2013
Archival Pigment Print Mounted on Custom Colored Plexiglass 
46.75 x 34 in/ 118.7 x 86.4 cm

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Plant, Hand, Paper, Fly, Table, Lines, Numbers, 2009
archival Pigment Print, 26 x 31 in/ 66.04 x 78.74 cm

Pot, Paper, Hand, Lines, Numbers, Table, 2010
archival Pigment Print, 26 x 31 in/ 66.04 x 78.74 cm

Pitcher, Paper, Arm, Scuba, Lycra, 2011
archival Pigment Print, 26 x 31 in/ 66.04 x 78.74 cm 

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from the series Caught in a Secret Histories:

8th of April
21st of December, A.M
6th of April
1st of January

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all images courtesy of the artist

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MICHELE ABELES produces highly complex pieces involving a process in perpetual motion and modulation. She shoots models, uses gels over lenses, is no stranger to the Google image search, synchronizes different elements in Photoshop, and is experimenting with clear film run through inkjet printers (a process similar to that used commercially for product displays). The result is a vertiginous spatial dislocation—and since we have become so moored to our system of understanding the world through photographs, a kind of rupture or confusion about whether we are supposed to be attracted or repulsed, comforted or confronted, by the collapsed spaces and aggressive cuts that ABELES makes across her surfaces*.

For ABELES pictures are by no means static entities. Rather they should be viewed as dynamic formations in constant flux. Her work abandons the rigid symbolic order of things in favor of a constant circulation of images and changing angles of vision.

I never work by variations. Formal developments have never appealed to me. My photos each fill a hole—what I think of as the hole of the unfamiliar or even the hole of the unknown. I’m not really interested in any endgame discussions. – MICHELE ABELES in discussion with KERSTIN BRÄTSCH*

Good news: her work is currently part of the group exhibition Speculations on Anonymous Materials at Fridericianum in Kassel, Germany (on view until February 23, 2014).

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Anthony McCall

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British artist ANTHONY MCCALL in conversation with artists GRAHAM ELLARD and STEPHEN JOHNSTONE for Bomb Magazine #97/ Fall 2006 (read the whole interview here).

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found via

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Juliette Bonneviot. Minimal Jeune Fille

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PET Woman 1, 2013
PET plastic sheet ♳
60 x 48 x 26 cm

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PET Woman 2, 2013
PET plastic sheet ♳
60 x 48 x 26 cm

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PET Woman 3, 2013
PET plastic sheet ♳
60 x 48 x 26 cm

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exhibition view at Wilkinson Gallery, London
photo by FLO KOHL for Purple Diary

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PET Woman. Laundry / Cleaning Tips, 2013
PET plastic sheet (70 × 60 × 25 cm)

PET Woman. Dining and Entertaining Tips, 2013
PET plastic sheet and microfibre cloth (70 × 60 × 25 cm)

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Minimal Jeune Fille. Diptych, 2013
PET plastic sheet, stainless steel, metal scrubber and HDPE bottle caps (108 × 143 × 25 cm)

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Minimal Jeune Fille. Kitchen Worktop, 2013
PET plastic sheet, wooden board, wooden brush and HDPE jar (78 × 246 × 20 cm)

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Minimal Jeune Fille – Dining and Entertaining Tips, 2013
PET plastic sheet, steel sheet, stainless steel scrubber, 70 x 70 cm

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Minimal Jeune Fille. Free Standing #2, 2013
PET plastic sheet, stainless steel, wood board, PET bottle and steel bottle (129 × 75 × 81 cm)

Minimal Jeune Fille. Free Standing #1, 2013
PET plastic sheet, stainless steel, glass, PET and HDPE packaging (105 × 58 × 60 cm)

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Minimal Jeune Fille. Cutting board, 2013
PET plastic sheet, HDPE plate, HDPE container and feather duster (205 × 121 × 20 cm)

all images: courtesy JULIETTE BONNEVIOT, Wilkinson Gallery London (unless othewise stated)

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A few days ago JULIETTE BONNEVIOT opened her second solo show entitled Minimal Jeune Fille at Wilkinson Gallery in London where she presents etched sheer plastic body forms and odd sculptures embedded with washing up items and scrubbers.

Artist JULIETTE BONNEVIOT  created the character ‘Jeune Fille Minimale’, as a protagonist to inspire a new body of sculpture and video, exploring what writer TIMOTHY MORTON describes as a ‘dark ecology’, akin to a noir film, in his book ‘The Ecological Thought‘. Yet unlike MOORE‘s character, BONNEVIOT‘s Jeune Fille is not afraid of what the world will do to her, but instead, develops a neurosis about what her conspicuous consumption and lifestyle will do to the world.- KATHY NOBLE

JULIETTE BONNEVIOT (born 1983, France) lives and works in Berlin, Germany. Recent solo exhibitions include CEO, Malmö (2012); Wilkinson Gallery, London (2014); and Circus, Berlin (2011). She was also part of the 12th Biennale de Lyon.

 

Minimal Jeune Fille is currently on view at Wilkinson Gallery in London and is on view until February 23, 2014.

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wfw weekend #115

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click here to see the whole painting

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detail from The assistant (2014, oil on canvas, marble frame) by NELLY HALITI
seen at Schwarzwaldallee, Basel
on Saturday, January 26, 2014
image © wfw

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Waldo features the work of KEVIN AESCHBACHER, ADRIEN CHEVALLEY and NELLY HALITI and is on view until 22 February, 2014 at Schwarzwaldallee, Basel

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wfw weekend #114

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exhibition view from the solo exhibition by HANNAH WEINBERGER
seen at Fri Art, Fribourg, Switzerland
on Thursday, January 23, 2014
image © wfw

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this exhibition is on view through February 9, 2014

➝ more about this exhibiton on Novembre Magazine

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