Paul Taylor, Richard Prince, Sherrie Levine


screen capture from Richard Prince, Art’s Bad Boy, Becomes (Partly) Respectable by PAUL TAYLOR, may 17, 1992

It should exist on this blog a special section for gossips and anecdotes just like this one from a review written by PAUL TAYLOR on the occasion of RICHARD PRINCE‘s 1992 Whitney Museum of American Art survey.

The review has been published  in the New York Times in 1992 and is available online via :

A bit more actual, RICHARD PRINCE is sued yet again for unauthorised appropriation of photographs

If you are interested in gossips, rumours and echos, this is essential:

wfw comix #7

wfw comix, November 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 7th 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. Lili Reynaud-Dewar


screen capture from TEETH GUMS MACHINES FUTURE SOCIETY, 2016
HD-Video, color, no sound, 3:55 min

Click here to see a clip

image courtesy of the artist and Kunstverein Hamburg. Video courtesy of Clearing, New York/ Brussels; Kamel Menour, Paris; Emanuel Layr, Vienna and the artist.

This is a still from LILI REYNAUD-DEWAR‘s film called Teeth Gums Machines Future Society, which is now showing in the exhibition of the same title at the Kunstverein Hamburg.

Teeth Gums Machines Future Society is a project started in 2009 in a residency in Memphis, Tennessee. The work includes  a series of films, performances, installations and texts that reflect further on body representation, popular culture with the social-political backdrop of the United States.

(..) A central element of the film, exhibition, and overall performance is the so-called grill—a jewelry worn over the teeth, which is typically made of precious metals. In Black music, especially in rap and hip-hop, the grill functions as a sort of relic and status symbol. Through her adoption of these objects as a white, European artist, REYNAUD-DEWAR knowingly raises provocative questions of cultural appropriation, impression, and transformation, as well as the legitimization of these acts. The connective link in this work is Donna Haraway’s 1985 text, A Cyborg Manifesto. This treatise—a feminist essay that employs, albeit in a partly ironical sense, a cyborg as a metaphor for the dissolution of conservative borders between humans, machines, and animals—propagandizes a state of chimerical fusion in which normative categories like class, gender, or race are discarded. Excerpts from Haraway’s text are part of the performance, while the grills themselves are reminiscent of a cybernetic body modification. Moreover, the discussions between the artist and the comedians consistently revolve around the reasons behind the discrimination of minority communities in Memphis and elsewhere. (…)*

TEETH, GUMS, MACHINES, FUTURE, SOCIETY by LILI REYNAUD-DEWAR is on view at Kunstverein Hamburg until November 20, 2016.

* press release

Hanne Lippard. FOAM


exhibition view at LambdaLambdaLambda, 2016
photo credit: GEORG PETERMICHL, Courtesy LambdaLambdaLambda


101 misspellings of Cappuccino USB, 2016
LED screen, text, 100×20 cm
photo credit: GEORG PETERMICHL, Courtesy LambdaLambdaLambda


Café de Flore, 2016
mirror, vinyl print, 150×100 cm
photo credit: GEORG PETERMICHL, Courtesy LambdaLambdaLambda


101 misspellings of Cappuccino mp3, 2016
digital audio, acoustic foam panels, automatic milk foamers, organic milk,

No Milk Today, 2016
digital audio file, 16’’ looped, LED sign, size variable, audio 4’10’’

photo credit: GEORG PETERMICHL, Courtesy LambdaLambdaLambda


101 misspellings of Cappuccino mp3, 2016
digital audio, acoustic foam panels, automatic milk foamers, organic milk,

No Milk Today, 2016
digital audio file, 16’’ looped, LED sign, size variable, audio 4’10’’

photo credit: GEORG PETERMICHL, Courtesy LambdaLambdaLambda


101 misspellings of Cappuccino mp3, 2016
digital audio, acoustic foam panels, automatic milk foamers, organic milk,

No Milk Today, 2016
digital audio file, 16’’ looped, LED sign, size variable, audio 4’10’’

photo credit: GEORG PETERMICHL, Courtesy LambdaLambdaLambda


101 misspellings of Cappuccino mp3, 2016
digital audio, acoustic foam panels, automatic milk foamers, organic milk,

No Milk Today, 2016
digital audio file, 16’’ looped, LED sign, size variable, audio 4’10’’

photo credit: GEORG PETERMICHL, Courtesy LambdaLambdaLambda


The art venue LambdaLambdaLambda in Prishtina, Kosovo is currently presenting FOAM, a solo exhibition by HANNE LIPPARD. As with much of LIPPARD‘s works the core of this exhibition is an audio piece that is played in loop over a collection of objects and writings. Eventually this performance, this stage, this art show is accompanied by a text which seems to relay the installation.

Sorry I have to run

Part #1

We enter the shop and look straight at the woman serving coffee. We ask, DO YOU DO TO GO? She says, NO WE DO NOT DO TO GO, you must go somewhere else to have a TO GO. We say, WE ARE HERE, we can’t go somewhere else. WE HAVE NO TIME to go somewhere else we only have time to be here and TAKE A COFFEE TO GO to go some- where else, to the place that we are going. WE NEED A COFFEE BUT WE HAVE NO TIME TO GO ANYWHERE ELSE. She says, the only way TO GO is to buy the cup that the coffee is served in. HOW MUCH IS THE CUP, we ask. She says, It’s TWELVE EURO for the cup, plus THREE EURO for the coffee. We pay a total amount of thirty euro for two coffees in two ceramic cups and start walking towards where we should have been already long time ago. WE ARE ALREADY LATE, and so we rush down the street with each our cup and break our cups at the turn of the corner where we bump into a man holding two paper cups full of COFFEE TO GO. The street corner is now covered in pale brown milkfoam. All cups are empty, none are half-full. We all lick the corners clean and con- tinue walking to where we should have been ages ago. Finally we feel awake.

FOAM by HANNE LIPPARD is on view at LambdaLambdaLambda, Prishtina until December 3, 2016. Some of LIPPARD‘s audio performances are available via

Domenico de Chirico for We Find Wildness #75

all images Courtesy of the artist and Ginerva Gambino, Cologne

next Him. Him. Him. Him., a solo exhibition by DUNCAN MACQUARRIE
at Ginerva Gambino in Cologne
until December 3, 2016

chosen by curator and editor DOMENICO DE CHIRICO

Martha Rosler


When American artist MARTHA ROSLER – who is best known for tackling subjects like war, gender and politics or security climate among others – asks herself why are people being so nice?, the result is a short text that has been published in the last issue of e-flux journal:

Mierle Laderman Ukeles. Washing (1974)

excerpt from Not Just Garbage, 1990

On the occasion of MIERLE LADERMAN UKELES‘s retrospective at the Queens Museum in New York, here is an excerpt from the documentary Not Just Garbage (1990) in which the American artist is explaining her performance Washing (1974). Her action consisted of scrubbing the sidewalk of the AIR Gallery in SoHo.

MIERLE LADERMAN UKELES is best known for her performances in which she is taking on the tasks of cleaner or maintenance worker. The core of her work is actually a text entitled Manifesto for Maintenance Art 1969! that she wrote after the birth of her first child.

I worked for years to become a free artist. Then in 1968, we were blessed to have a child. We fell madly in love with her. I became a maintenance worker, not only to do the work necessary to keep her alive but to do the work to help her thrive! I learned that Jackson, Marcel and Mark didn’t change diapers; I fell out of their picture. Also, my Air Art in atable works that were to be free- ying symbols of freedom, leaked! I fell into a crisis. I didn’t want to be two separate people—the maintenance worker and the free artist—living in one body. In October, 1969, an epiphany! If I am the boss of my boundless freedom, then I call necessity art. I name Maintenance – Art. In a quiet rage, in one sitting, I wrote the Manifesto for Maintenance Art, 1969! From the beginning, I name three levels of Maintenance as Art: Personal; Society/the City; the Planet. With limited resources from our nite planet, how do we do this? How do we survive? I got new eyes. I looked out in this new world and saw that most people were working to get along, to survive. They had to. At that time, there was no language, no culture, no recognition, and very little honor for service work and service workers: those at home and those who work outside. So I set out to make this visible, i.e. to make a revolution with everyone in the picture. After making maintenance art myself and with one or two workers, then 300 maintenance workers, I got a call from the Sanitation Department: ‘How would you like to make art with 10,000 NYC sanitation workers?’ ‘I’ll be right over,’ I said. I entered maintenance heaven at the time of the maintenance hell of the NYC scal crisis of the 1970’s: the housekeepers of the city-as-home. I have been very lucky to have of cials and workers and the art world willing to open all the doors, to take a risk and say ‘Yes. Yes!’ Welcome to the results. — MIERLE LADERMAN UKELES, 2016 (from the press release of the Queens Museum)

MIERLE LADERMAN UKELES: Maintenance Art is on view at Queens Museum, New York until February 19, 2017. A review of this exhibition is available in french via

Please note also that the manifesto is online here .


He said: Suppose you are blind. How would you see the art fair? I said: I am blind. [ noises of the train entering a tunnel ] I yelled: I am blind ! He said: Babe, I am not deaf.

Three days later, I said: here is a compilation of snippets of overhead conversations I have gleaned at the fair as a blind blogger not a deaf one.

It looks great from a certain distance.


He is afraid to lose his suffering.


What a great booth ! Congratulations !


I put on my shoes twenty hours ago.


Do whatever you want with me, I am your bitch !


He did nothing apart dying.


I can’t hear you, my wheels are too loud.


I don’t have a blogger’s life.


We don’t have internet, we don’t have toilets.


It’s kinda good to know that you can take your dog at the fair.


Did you see the naked guy with the small champagne bottle at the opening?


Wearing sunglasses is actually an honest way to visit a fair.


Who told you to come here?


You have to drink a lot.


It’s a great booth: nobody is there.


I just do what is written !


I am not risking anything for the ideas of others.


He is trying to find a connection. It’s not his day.


It’s more Esso than Aesop.


She is like a dragqueen on a high hill.


My work is dark. I take dark pictures in dark places.


Make Rothko Siffredi hot again.


Please tell me stories, at least lies.


It’s not complicated, it’s long.


What are they doing? Working !


I wanted to be an actor, now I am a gallerist.


Say yes, not guess.


You should try black magic, Turin is the perfect place for that !


The artist prefers not to explain her work, it’s a statement.


She is at the border, if you see what I mean.


Marc was there !


You look depressed. I am real good, just don’t talk about Liste.


She is not an avatar, her parents came at the opening.


The moment I told him ‘basta cosi’, he was into me.


I already curated 500 exhibitions.


The smell of the melt.


What did she tell you? That my phone is changing the molecules of her food.


It’s brilliant: you think you are missing something great !


Let’s go there and be hated together.


It means:



wfw weekend #356


view from the exhibition of ED ATKINS
seen at Fondazione Sandretto Re Rebaudengo, Torino
on Saturday, November 5, 2016
image © we find wildness

wfw weekend #355


The Sun (2016), ANNA SOLAL
from the group exhibition Laura Feral in the Well curated by Siliqoon
seen at Macao Hangar, Milano
on Wednesday, November 2, 2016
image © we find wildness


I really wanted to make it nice. Really. While I was lying in my bed this morning, petting my fly Gregory, I told myself in a kind of meth-driven motivation: “Stop complaining about the system. It’s boring. Write something positive. Come on babe, you can do it!”

Initially my main concept was to create a text as though I was the Mary Poppins of literature on a ultimate extravagant cocktail. I mean, a blog post in which I would have magically blended excerpts from the biography of Dustin Hoffman, the program of the art fair, quotes from Andre Agassi while receiving the Nobel prize, the program of the satellite events, facts about the death of Bob Dylan, and the program of the booze. I would have discreetly managed to add my grandma – hi grandma! – into the mix. Eventually, a trance-inducing techno-beat, or even better a polyphonic score, would have been the orchestra’s conductor.

Everything would have made sense, everything would have been fluid. And then i would have just pressed the publish button on WordPress and at that very moment, a couple of dolphins would have jumped out my bedroom window in front of a honestly violent sunset.

But first, coffee.

It means:


Vittorio Brodmann. Become Door


exhibition view at Gavin Brown, New York, October-November 2016


exhibition view at Gavin Brown, New York, October-November 2016


Barking up a Tree, 2016
oil on fabric, double-sided, each 95 x 55 inches (240 x 140 cm)


exhibition view at Gavin Brown, New York, October-November 2016


Extending the Frontiers, 2016
oil on acrylic on linen 16 x 15 inches (40 x 38 cm)

Chosen to Ignite, 2016
oil on acrylic on linen 43 1/4 x 43 1/4 inches (109.9 x 109.9 cm)


exhibition view at Gavin Brown, New York, October-November 2016


Barking up a Tree, 2016
oil on fabric, double-sided, each 95 x 55 inches (240 x 140 cm)

Anticipointment, 2016
oil on acrylic on canvas 21 5/8 x 21 5/8 inches (55 x 55 cm)

all images courtesy of the artist and Gavin Brown’s enterprise, New York

Become Door is the new solo exhibition by VITTORIO BRODMANN that is currently presented at the New York gallery Gavin Brown’s enterprise. The interview published below is a conversation between VITTORIO BRODMANN and curator TENZING BARSHEE.

TENZING BARSHEE: How many paintings are you currently working on?


TB Is that normal for you?

VB It’s usually between three and fifteen.

TB Do you have them laid out next to one another?

VB They’re all standing and hanging in my studio. I’ll work on up to four a day or just one. If it’s a good day, I need multiple options. The pressure to get the one painting right is too much.

TB Is this process an intuitive chain of events?

VB Yes, I might work on a large format and realize I need to switch to a smaller one. Usually I work on a different one than the day before.

TB This bouncing back and forth between different forms and shapes happens daily in your studio but over longer periods of time as well. After mainly painting small formats for years, you recently made a huge canvas, five and a half by ten meters. Possibly the largest you’ll ever make?

VB There are several things that made this transition interesting and possible. First of all, the painting was made for a specific room, which is the main hall at Kunsthalle Bern. To make this painting meant I needed to engage with the spatial structure and architecture. I’ve always thought of the gestures that make up my paintings as a type of slapstick, which generates the cartoony characters that I employ. When I tried to figure out what to do on fifty-five square meters—by testing new tools and climbing the ladder to see how everything looked—my labor definitely turned comedic.

TB Can you talk more about your figures and the slapstick that drives their composition?

VB They are usually imaginary portraits, exposed and self-sufficient, taking part in casual conversation or a shared understanding, and it takes time and affection to make them. It’s important for me to understand the canvas as a stage, on which my gestures produce these characters and their actions, and they, in turn, set the stage for future ones that might join them. In this sense, once a figure has emerged, it makes demands and I deal with them in a selection process, not unlike casting a film.

TB That sounds brutal.

VB [laughs] Well, a character might be making a good first impression and look flashy, quirky, or whatever, but while its appearance is vital, that may as well distract from what matters. The character might turn out to be a dimwit, not achieving what it has to, and then I ask it, gently, to leave, so it has to go away.

TB What about the situation that you create?

VB I analyze how particular roles work in a given setting. For that, I looked closely at structural parallels in sitcoms [situation comedies]. The limitation to a stage: a given environment, like a living room, café, or bar, et cetera. Basically, a nutshell where all of life supposedly happens. This is actually one of my main subjects.

TB How do your figures end up interacting?

VB The premise might be a binary situation. This can be quite flat, an everyday scene with a high level of relatability, an account of a social exchange. An initial character does the setup for the following one. Once they assemble, a problem arises, then others may join.

TB Can we make an analogy to stand-up comedy here?

VB In the instant, when we hear a comedian tell a joke, we are aware of the fact that this joke has been told a hundred times before. But we laugh like it’s the first time. Delivery is a matter of sympathy. Even if it works the other way around. You can love to hate someone. I intend to depict these situations genuinely, and concurrently I attempt to escalate them. This sequence of conditional events pretty much guides my process, which writes the narrative of an image. I’m interested in these stereotypical moments that make up an emotional-psychological moment that implies tension, like a date or a group of people coming together, connected yet alone. This depiction of an emotional state and a psychological condition—

TB —is in fact not as flat and polemical as the original stereotype suggests, but something that feeds off of complex human interplay.

VB I’m aiming for all that range. It’s really important that these figures always know they’re made up of brushstrokes and at the same time are able to achieve more than that. That’s how I tune the humor. A jokey character isn’t really convincing on its own; same thing with the stuck-up or serious ones. Sometimes you need to go full frontal and other times it requires a more subtle, poetic approach, almost devoid of humor. This helps to delineate the space of the stage and brings us back to the quality of delivery—a comedian has to achieve this but paintings do as well, on the back of their vocabulary of gestures and signs. This has to happen as believably as a joke does in order to pull off what it needs to do. It is rooted in a system of belief and disbelief in signs and matters of aesthetics. I’m trying to manage the balance between reaffirming and questioning this system.

TB In your imagery, you layer abstraction on figuration, and vice versa. How does that happen?

VB I intend to be simultaneously aware of both spheres. But there is a tendency to figuration, and I have to admit to a hierarchy between the two. The figure is definitely more accentuated. On the other hand, an abstract part may evoke a figure. I usually look for the space in between, where neither is fully articulated. Something like a digital rendering mistake: that’s where abstraction gains weight as it becomes a tool to abort the narrative and enhance a sense of artificiality. This process is dialogical.

TB The kind of “slapstick painting” you describe involves potential failure, mishaps, and vulnerability. That is something I’ve been tracing throughout your work in recent years. The fine line between exposing and exhibiting an object or the image of the artist itself. Five years ago, you imitated the dance moves of the pop icon Ciara as a public performance. By affirming these moves as an amateur dancer you were also exposing the image of yourself as an artist.

VB My intention was to take something that works perfectly, and try to apply it in a different context and expose myself. My lack of ability, and attempt to re-create it as an approximation to the original, turned myself into the cliché of the laughable artist.

TB This image of the “laughable artist” is a recurring motif. You went on to do public stand-up comedy, portray a painter as a shrimp in a collaborative video piece, and recently dressed as a large banana to perform in front of your huge painting at Kunsthalle Bern. Is this something you’re interested in developing?

VB These are all references to popular culture and the mass media: stand-up comedy, sitcoms, tropes of theater or cabaret, and so on. This harks back to my wish to approach any given subject through humor. I look for different disciplines and methods to do that. The image of an artist as a comedian is something that I care about, as comedy has an analytical aspect but at the same time never takes its own position too seriously. When you’re willing to make fun of yourself and your subject, it also allows you to get closer and question the authority of both.

Become Door is on view until November 13, 2016.


#laterpost 2013. Virginia Overton at Kunsthalle Bern


Parquet (c) and Parquet (b), 2013
exhibition at Kunsthalle Bern, August-October 2013
image courtesy of the artist and Kunsthalle Bern

At the end of August 2013, VIRGINIA OVERTON took over for two months the entire space of the Kunsthalle Bern. The press release that is published below, consisted of an interview between FABRICE STROUN, now former Director of the Kunsthalle Bern, and the American artist.

FABRICE STROUNYour show at Kunsthalle Bern is constructed as a series of echoes. In the center room, you’ve constructed a floor piece that mirrors the pattern of the glass ceiling; downstairs, you’ve hung wall pieces that reverberate the pattern of the building’s parquet.

VIRGINA OVERTON: It’s a protracted process: I’ve visited Kunsthalle Bern numerous times in the last year and a half to prepare for this show. Once I arrived for the installation, I began to try things out. It’s a process of trial and error. The work is conceived as a reaction to the space and the materials I found here and around Bern. At times the work can be a literal reflection of the space.

FB I’m interested in the fact that this game of mirrors is experienced as much optically as it is conceptually. Your work has barely any illusionistic qualities.

VO Yeah, I don’t think of them as tricks in any way; it’s not a funhouse. My hope is that the experience of the work is physical, but also objective. The pieces are what they are: Planks of wood wedged between the floor and a wall. Pieces of real parquet hung on walls. I feel like the work I make can exist in a museum or on a driveway or in a barn or whatever, and still function as real things in the world, not as some extraneous objects to be placed on a pedestal.

FB But a piece of wood looked at in a space consecrated for art is no longer the same piece of wood found on the side of the road.

VO Actually, I think they are the same thing.

FB Ha! So how much of the cultural or social makeup of these objects and materials carries over from their point of origin to the Kunsthalle? You’ve recently made a work in New York using cedar lumber from Tennessee, where you grew up, which you trucked half across the country. This wood had a particular color and, most importantly, a particular smell, which led a number of commentators to describe your work as a kind of abstract representation of the rural South. Similarly, many of the materials you use to make your sculptures are associated with a D.I.Y, quotidian working-class culture.

VO That’s definitely all in there, but I’m not that interested in mapping out an American vernacular aesthetic.I like to work with materials I am familiar with and the rural South is simply where I come from. But I can adapt to other contexts, as most of my work is made with materials and ideas found on site. When I travel for shows, I like working with local materials. It keeps me from having to ship so much stuff around the world.

FB Materials as well as images. For your show in Bern, you’ve decided to include in the exhibition both a light box sign advertising the name of our institution as well as an old photograph of it’s façade.

VO The light box sign is the same format as one I made for The Kitchen in New York when I showed there last year. I liked the idea of making a sign for the place and then putting it inside the building. I found the photograph of Kunsthalle in the basement. In this case, I’m still working with a material that is familiar to me. It’s the ubiquitous image of Kunsthalle Bern I have known for years, long before I ever traveled to Switzerland.

Please note that the work of VIRGINIA OVERTON is currently presented at White Cube Bermondsey,  London until November 6, 2016.


wfw weekend #354


Maneki-neko (Winkekatze) (2016), RAPHAEL LOOSLI
seen at Schwarzwaldallee, Basel
on Friday, October 28, 2016
image © we find wildness

wfw weekend #353


Centuries (2016) and Stuck in Motion (2016), VANESSA BILLY
seen at Kunst Halle Sankt Gallen
on Thursday, October 27, 2016
image © we find wildness

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