David Hanes. wfw aware #30

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Aware: after You, Me and X,Y, and Z (2016), CLARE KENNY
presented at Ausstellungsraum Klingental, Basel
shot on April 16, 2016, altered on April 28, 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 pick #62

all images: ESTRID LUTZ EMILE MOLD, installation view at The Composing Rooms, Berlin / courtesy of the artists and The Composing Rooms, Berlin

I Dusts, a solo exhibition by ESTRID LUTZ EMILE MOLD
on view at The Composing Rooms in Berlin
until May 21, 2016

chosen by curator and editor DOMENICO DE CHIRICO

one pic wednesday. Heimo Zobernig

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installation view at Malmö Konsthall, Malmö / January – May 2016
image courtesy of Malmö Konsthall
photo by ROBIN ERIKSSON

HEIMO ZOBERNIG needs no introduction as the Vienna-based artist known for stressing exhibition spaces thanks to minimalist interventions, abstract paintings, diy-liked sculptures and conceptual videos.

The image above is an installation view from his solo exhibition that has been presented at Malmö Konsthall earlier this year. For this presentation, he incorporated the temporary partition walls built to display works in the preceding exhibition, JOAN JONAS’s Light Time Tales. These elements have been left unaltered in their original positions. Additionally he added a series of structures which look like folding camping beds that have been recovered with black and white tartan blankets.

Please note that the Schwarzescafé by HEIMO ZOBERNIG is going to open on May 11, 2016 at Luma Westbau in Zürich. If you are in Berlin, do not miss the video he shot in 1991 from the window of the editorial offices of Texte zur Kunst that is currently presented at the Haubrok Foundation in the group exhibition BRD.

Karl Holmqvist. Tuff Love

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all images courtesy of the artist and The Power Station, Dallas / Texas
photos: KEVIN TODORA

For KARL HOLMQVIST, quoting is a way to use words to create allusions and interconnections. His last exhibition entitled Tuff Love which is currently shown at The Power Station in Dallas is no exception. The presentation welcomes the visitor with RIHANNA’s lyrics ‘let me cover your shit in glitter and a quote by artist SETH PRICE: Most artists didn’t know or understand their own motivations, even avoiding self-scrutiny for fear of scaring off inspiration.

In a recent interview, HOLMQVIST explained that he started to write by using other people’s words and thanks to an intuitive and improvised process, he selects things such as texts and forms that surround him on the moment. An additive process that creates an unstable sense of place and time; each manifestation of a work as the product of shifts that occurred then.

Tuff Love consists moreover of silver-coated walls and two sculptures entitled Tuff (2016) and Love (2016). The installation process of each sculpture was filmed entirely and is presented in the exhibition.

Tuff Love by KARL HOLMQVIST is on view at the Power Station in Dallas until June 17, 2017

 

wfw weekend #303

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Forever Angst – Doomsday, CLIFFORD E.BRUCKMANN
seen at Milieu Galerie, Bern
on Thursday, April 28, 2016
image © we find wildness

wfw weekend #302

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both: Untitled (1993), oil on canvas, The Estate of ULL HOHN, Berlin, ULL HOHN
seen at Kunsthalle Bern
on Thursday, April 28, 2016
image © we find wildness

Il Futuro Era Bellisimo Per Noi. Citè Internationale des Arts, Paris

1_IL FUTURO ERA BELLISSIMO PER NOI_Exhibition View

Il Futuro Era Bellisimo Per Noi, exhibition view
Citè Internationale des Arts, Paris / April – May 2016

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EMMANUEL MARCUCCIO, Untitled (I wanted something calm), 2016
powder coated steel and aluminum

8_IL FUTURO ERA BELLISSIMO PER NOI_Exhibition View

Il Futuro Era Bellisimo Per Noi, exhibition view
Citè Internationale des Arts, Paris / April – May 2016

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QUINTESSA MATRANGA, Pet (2), 2016
gift paper, box, stickers, ribbons

ANNA FRANCESCHINI, excerpt from Before they break, before they die, they fly! (2014)
16mm film transferred to HD video, color – mute, 5’40”

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JOSIP NOVOSEL, Opportunism (AfterAffection), 2016
canvases, candles

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JOSIP NOVOSEL, Opportunism (AfterAffection), 2016
canvases, candles

16_IL FUTURO ERA BELLISSIMO PER NOI_Exhibition View

Il Futuro Era Bellisimo Per Noi, exhibition view
Citè Internationale des Arts, Paris / April – May 2016

17_Fabio Santacroce_63rd-77th STEPS

FABIO SANTACROCE, Il Futuro Era Bellissimo Per Noi, 2016
stretched canvas prints, i-pad holders, car side window sunshades, chains, chocolate balls, plastic garden fences

19_Ilya Smirnov_63rd-77th STEPS

ILYA SMIRNOV, No Title Provided, 2016
graphite on paper, wood, glass, plywood

20_Cedric Fargues_63rd-77th STEPS

CEDRIC FARGUES, Stigmata, 2016
biscuit and jam

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CEDRIC FARGUES, Stigmata, 2016
biscuit and jam

22_Anna Solal_Kites_63rd-77th STEPS

ANNA SOLAL, Kites, 2016
metal,fabric, thread,cut vinyl decals, ipad screen

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ANNA SOLAL, Kites, 2016
metal,fabric, thread,cut vinyl decals, ipad screen

26_Sean Townley_63rd-77th STEPS

SEAN TOWNLEY, Intrinsic Apoptotic Pathways, 2013
cast urethan, water

28_Mathis Collins_63rd-77th STEPS

MATHIS COLLINS, Lambrequin, 2016
fabric, wine, coffee, lemon, red berries 

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MATHIS COLLINS, Lambrequin, 2016
fabric, wine, coffee, lemon, red berries 
all images courtesy of the artists
photos: QUENTIN DUBRET

Il Futuro Era Bellissimo Per Noi (The Future Was Beautiful For Us) is a group exhibition initiated by the project space  63rd-77th steps that is currently on view at Citè Internationale des Arts in Paris. The show comprises a constellation of works characterized by a shared aesthetic sensibility and approach.

Individually and collectively the artworks – gathered together in the exhibition under a title borrowed from a pop Italian song – appear as post capitalistic yet spiritual, critical and ironic pieces. Whether as soundtrack or as sculptural objects, Il Futuro Era Bellissimo Per Noi evokes a certain bitter resignation that emerges when the notion of desire for a sudden, total, and irrevocable change failed to happen.

 

Il Futuro Era Bellisimo Per Noi with MARIANTONIETTA BAGLIATO, MATHIS COLLINS, CÉDRIC FARGUES, ANNA FRANCESCHINI, FRIEDER HALLER, KAREEM LOTFY, EMANUELE MARCUCCIO, QUINTESSA MATRANGA, JOSIP NOVOSEL, FABIO SANTACROCE, ILYA SMIRNOV, ANNA SOLAL and SEAN TOWNLEY is on view at Citè Internationale des Arts, Paris until 10 May 2016.

 

 

David Hanes. wfw aware #29

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Aware: after The Lovers (2016) , ARCANGELO SASSOLINO
presented at Frankfurter Kunstverein, Frankfurt
shot on April 13, 2016, altered on April 25, 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.

Orit Gat. Could Reading Be Looking?

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For e-flux journal #72 (april 2016), writer ORIT GAT examines the forms of informative texts you can find in exhibitions and how these labels, press releases or wall texts among others can become source of works.

You can read the entire text via http://www.e-flux.com/journal/could-reading-be-looking/

Dominic Samsworth. Lounge Elopes

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all images courtesy of the artist and Galerie Jeanroch Dard, Brussels

You enter a room. The scene is somehow familiar. There appears to be a couch and a series of wall works. The couch is occupied by empty oyster shells recovered by a glossy transparent pvc. The forms on the wall are reduced and minimal yet aerial.  They have been hung higher than usual. You understand that it would be perfect to sit on the sofa to see them. But you can’t.

Although this installation is loaded with antisocial conditions, Lounge Elopes by DOMINIC SAMSWORTH is only complete when and until the viewer stepped into the room. Only at this moment could the installation be complete as a picture, which is that of a person looking into a space both abstract and figurative. Thanks to an open press release, the exhibition tells us nothing about anywhere else except where the viewer is. There’s no story other than the one he is in, nowhere else to go.

Lounge Elopes by DOMINIC SAMSWORTH is on view at Galerie Jeanroch Dard, Brussels until June 4, 2016.

 

 

wfw weekend #301

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Plaster Jacket (Pepe/Hilux) (2016), MATIAS FALDBAKKEN
seen at Eva Presenhuber, Zürich
on Wednesday, April 20, 2016
image © we find wildness

wfw weekend #300

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detail from Black Xenoestrogens (Tin, Chromium, Bisphenol A, PVC) (2015), JULIETTE BONNEVIOT
seen at Rotwand Gallery, Zürich
on Wednesday, April 20, 2016
image © we find wildness

 

one message interview #22. Elise Lammer

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Curating exhibitions that weave experimental connections between works, mediation and audience, independent curator ELISE LAMMER has produced Hotel Palenque (2011-ongoing); Kunsthalle Roveredo (2013-ongoing); The forgotten memory guide IV/IX (2014) for the Fahrenheit Foundation, Los Angeles; and *MIRRORS* (2016) presented at DUVE, Berlin among others curatorial projects. Since 2014 she is associate curator of Salts in Basel.

Please note that two solo exhibitions (HAGAR SCHMIDHALTER and FLAKA HALITIS) open tonight at Salts.

 

Sanna Helena Berger. The edge must be scalloped

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all images courtesy of the artist and Diorama, Oslo

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The particular context and dynamics of art viewing brings about a heightened sense of self in the viewer; she tends to feel as much on display as the objects that surround her. This observation should ring familiar to anyone who frequent contemporary art events and venues with any regularity. For her exhibition The edge must be scalloped at Diorama, SANNA HELENA BERGER has created a situation that aims to provoke and intensify precisely this alternation between scrutinizing and coming under scrutiny that signifies our interaction with art.

Rather than the evisceration of the viewing body’s carnal aspects—a desired effect famously attributed to the white cube construct by BRIAN O’DOHERTY—what the carefully honed atmosphere we encounter in art venues actually produce, experientially speaking, is physical discomfort. We’ve all seen it and tried to pull it off : the pretense of ease. Most would testify that to be in the presence of art, whether it’s a daytime visit to a museum or going to an opening, is tethered to a nagging feeling of exposure. What is inspired by art displays and their attending rituals, is not an interrogation after the meaning or value of the intentionally crafted and displayed works, but a questioning of the claim to importance of the sweaty-palmed inter- rogator him- or herself—in short: self-doubt.

(…)

The edge must be scalloped by SANNA HELENA BERGER was on view from April 1 to April 29, 2016 at Diorama in Oslo.

*excerpt from the press release

Domenico de Chirico pick #61

all images courtesy of the Artist and Andrew Kreps Gallery, New York

a solo exhibition by MICHAEL E.SMITH
on view at Andrew Kreps Gallery in New York
until May 7, 2016

chosen by curator and editor DOMENICO DE CHIRICO