one pic tuesday. Martin Soto Climent


Unknown Feldschlösschen, 2014
plasticine and plastic eye on beer can, 14 x 10 x 7 cm
image courtesy the artist and T293, Napoli / Roma

Unknown Feldschlösschen (2014) is part of the project Contemporary Comedy by MARTIN SOTO CLIMENT which revolves around the notion of death and more specifically the assumed trajectory of an artistic career. Through the bodies of work of different artists that have been more or less fabricated by MARTIN, the project not only explores different aspects and concepts related to contemporary art but also reveals elements of MARTIN SOTO CLIMENT‘s processes.

The series of crumpled beer cans adorned with realistic faces of plasticine is a collaboration with pseudo American artist JOHN BROWN (1989, New York) and evokes SOTO CLIMENT’s early works. Two other pieces than the one presented above – Monster (2014) and Modelo (2014) – are currently part of the group exhibition Road to Ruin that is on view at Cooper Cole Gallery in Toronto until July 18, 2015.

wfw weekend #220


exhibition view from Der Spiegel by THOMAS JEPPE
seen at M J Gallery, Geneva
on Tuesday, June 30, 2015
image © wfw

this exhibition is on view until July 30, 2015


wfw weekend #219


Frégate (2015) by DENIS SAVARY
seen at Mamco, Geneva
on Tuesday, June 30, 2015
image © wfw

more about this exhibition soon on wfw

wfw weekend #218


Falta Tropical by MAYA ROCHAT and SARAH BURGER
seen at the project space of the Centre d’Art Contemporain in Geneva
on Tuesday, June 30, 2015
image © wfw


Domenico de Chirico pick #24

all images: courtesy the artist and MOTInternational, London and Brussels

Airbags, a solo exhibition by VANESSA SAFAVI
presented at MOTInternational in Brussels
until July 31, 2015

chosen by curator and editor DOMENICO DE CHIRICO

Yves Scherer. Days at Sea














all images: courtesy of the artist and Carl Kostyál, London

Days at Sea is YVES SCHERER‘s new solo exhibition that opened a few days ago at Carl Kostyál in London. The press release provided by the gallery gives little information about the show but rather features an extract of HENRY MILLER’s Tropic of Capricorn (1939). For those of you who haven’t read the book, the novel chronicles MILLER’s life in New York City in 1920. The book that followed up Tropic of Cancer (1934) was really controversial because of the numerous sexual encounters that are depicted with explicit details.

As his previous exhibitions, YVES SCHERER has created for Carl Kostyál an immersive installation in which previous and new works are embraced into an intense pink atmosphere. The sculptures presented in the show are all versions of the actress EMMA WATSON: two of them are even life-size models that the artist modeled by using online material he found of her. Additionally a picture of a fatty bearded LEONARDO DI CAPRIO at the beach is pasted on the wall, floor and ceiling of the gallery as a recurrent pattern. These pieces tangle in conversation with a series of wall works comprising paintings and drawings that seem to offset the virtual and unreal aspect of these figures.

More than a real obsession for EMMA WATSON or LEONARDO DI CAPRIO, YVES SCHERER attempts to question thanks to these prominent subjects including HENRY MILLER’ semi-autobiographical novel, the mediatization, commercialisation – and eventually alienation – of individual life and models of sexual and social identity.

Days at Sea is on view at Carl Kostyál, London until


Haus Am Gern. Aire de Bellelay








all images:

HAUS AM GERN, Aire de Bellelay at Bellelay Abbey, June 2015
images © we find wildness

It’s that time of the year again, the Bellelay Abbey is currently hosting a contemporary art installation that triggers a dialogue between the Baroque architecture of the Abbey and the pieces created especially for this unique venue.

The previous years have featured surprising and most of the time monumental works, and this year edition is no exception. The Swiss artist duo HAUS AM GERN (RUDOLF STEINER and BARBARA MEYER CESTA) has created, which seems to be at first sight, a featureless black monolith that clashes with the Baroque curves of the space and that evokes instantly the KUBRICK’s movie 2001: A Space Odyssey

Just like the apes in KUBRICK‘s movie, the viewer approaches to the mysterious black object and moves toward to discover its other side. Like in the movie, the visitor experiments the passage of space, if not of time: from darkness to light, from shadow to reflection thanks to a kaleidoscope of mirrors. The visitor is no more alone but multiplied by four giving the sensation to enter a virtual abstract room filled with clones. Nevertheless the bright side doesn’t give a clearer shape of some kind for something that has no shape like a monolith.

This iconic work is subject to countless interpretations, including religious, alchemical, historical, and evolutionary. To some extent, the very way in which it appears and is presented allows the viewer to project onto it all manner of ideas relating to his or her personal knowledge.

Aire de Bellelay by HAUS AM GERN is on view at Bellelay Abbey in Switzerland until September 13, 2015.

Domenico de Chirico pick #23

all images: courtesy of the artist and Bortolami Gallery, New York

A Bone in the Cheese, a solo exhibition by WILL BENEDICT
presented at Bortolami Gallery in New York
until July 31, 2015

chosen by curator and editor DOMENICO DE CHIRICO

one pic monday. Adam Cruces


Lantern, 2015
LED lantern, sand casted plaster, freeze dried food, resin, seashells, golden ink, hemp, zip ties, 39 x 12 inches

image courtesy of the artist and Smart Objects, Los Angeles

This a work entitled Lantern (2015) by ADAM CRUCES from his solo exhibition Diet Sonata at Smart Objects in Los Angeles.

The exhibition which is running through July 2, comprises a series of sculptures, space blankets that cover the floor of the whole exhibition space, as well as sand on the perimeter of the walls of the gallery. The sculptures (five in total) are each composed of various material such as LED lanterns, sand casted plasters, freeze dried astronaut food suspended in resin and golden constellations in seashells.  

The press release that you can find on Smart Objects’ website comes from Voyager Golden Record, a phonograph record included in the two Voyager spacecrafts launched in 1977, in which CRUCES removed any words that referenced outer space. With this work ADAM CRUCES engages notion of memory, experience and time through a cheesy summer atmosphere, the one you can experience around a fire on a beach on a mild starry night.

Diet Sonata by ADAM CRUCES is on view at Smart Objects, Los Angeles until July 2, 2015


wfw weekend #217


view from the installation Aire de Bellelay (2015) by HAUS AM GERN
presented at Bellelay Abbey (Switzerland)
seen on Sunday, June 28, 2015
image © wfw

more about this exhibition soon on wfw, meanwhile follow We Find Wildness on instagram for more exclusive content!

wfw weekend #216


detail from the installation Other Ghosts (2015) by JASON KAHN
from the group exhibition Screamscape
seen at Fri Art, Fribourg
on Friday, June 26, 2015

Screamscape is on view till July 26, 2015

wfw weekend #215


‘Ug’ (Ug), ‘Duh’ (dǝ), ‘Muh’ (mɜːɹ), ‘Bam Bam’ (bæm bum) (2015) by MARLIE MUL
part of the group exhibition Raw and Delirious
seen at Kunsthalle Bern
on Friday, June 26, 2015
image © wfw

more about this exhibition soon on wfw

Dora Budor. Spring


One Million Years of Feeling Nothing, 2015


Spring, installation view at Swiss Institute, New York


Our Children Will Have Yellow Eyes, 2015


Spring, installation view at Swiss Institute, New York


What Kind of a Person Does This, 2015


Slow Ticking of the Callous Mind, 2015


Spring, installation view at Swiss Institute, New York


Spring, installation view at Swiss Institute, New York

all images: © DORA BUDOR, 2015
photographs by DANIEL PEREZ, Courtesy Swiss Institute

Earlier this week, the Swiss Institute in New York opened the first institutional solo exhibition of Croatian artist DORA BUDOR. Entitled Spring, the exhibition seems to be an immersive dark sci-fi installation featuring four sculptures onto a slimy black floor and wall piece entitled Chinchorro People (2015).

According to the press release, the sculptures ‘wrap around architectural miniatures originally featured in the blockbuster films The Fifth Element, Batman Returns, and Johnny Mnemonic’. Eventually the pieces are ‘covered with artificial weathering, dust, and dirt to become real-life fossils of on-screen experiences’. The models which are supported by pedestals looking like viscera ossified, assume the role of physical art objects onto the dark sticky surface, bringing the whole installation a sense of futuristic, archaic yet familiar aesthetic.

Based in New York, DORA BUDOR‘s recent works engage with the particular culture of mainstream cinema and media industries by ‘creating sculptures and architectural interventions that incorporate screen-used cinema props. She calls this process “reanimation,” acknowledging the objects’ fictional histories while re-contextualizing them in a second life’.

Spring by DORA BUDOR is on view at the Swiss Institute in New York until July 24, 2015

one pic wednesday. Kader Attia


still from KADER ATTIA, Arab Spring, 2014
at Art Basel Unlimited, 15 June 2015

click here or on the image to view the entire performance

Monday June 15, 2015. Art Basel Unlimited preview. 16 glass vitrines; all empty. On the floor; stones, boulders and bricks. One artist, KADER ATTIA – a hoodie sweater hiding his face – starts to smash the cabinets with the projectiles found on the feet of the glass cases.

The piece – both performance and sculptural installation – is entitled Arab Spring (2014) and consists of the reenactment of the destruction of the Egypt museum in Cairo that happened in 2011. As for his previous works, this intervention that features in a fascinating way the riot debris raises relevant and actual questions concerning political and social issues, and more specifically for this work ‘what does the destruction of cultures mean‘ according to the artist.

KADER ATTIA is currently having a solo exhibition entitled The Injury Are Here at the Cantonal Museum of Fine Arts in Lausanne that is running through August 30, 2015. Make sure to watch the performance via

Domenico de Chirico pick #22

all images: installation view at Bonner Kunstverein, Bonn
courtesy of the artist and Gaudel de Stampa, Paris

a solo exhibition by JONATHAN BINET
on view at Bonner Kunstverein in Bonn
until August 9, 2015

chosen by curator and editor DOMENICO DE CHIRICO