Domenico de Chirico pick #60

all images courtesy of the artist and Koppe Astner, Glasgow
images by PATRICK JAMESON

Pussycat, a solo exhibition by MATTHEW SMITH
on view at Koppe Astner in Glasgow
until May 31, 2016

chosen by curator and editor DOMENICO DE CHIRICO

one pic thursday. Daniel Turner

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Untitled, 2016
nickel, brass, adhesive tape
21 x 192 x 3 inches | 53.3 x 487.6 x 7.6 cm
image Courtesy Franklin Parrasch Gallery, New York

In his work, DANIEL TURNER – who was trained as a painter (btw: in 2006 he burnt all the paintings he had produced since 1997 in an action called ‘Burning an Entire Body of Work‘) – seems to disrupt art from its hierarchical and modernist structure thanks to a minimal and conceptual investigation of materials.

For this exhibition entitled 110/120TURNER placed an ‘accumulation of polished, nickel-plated brass rods cast diagonally upon the floor’. Stacked upon each other, the rods at once appear precious, individually treated, but also very much discarded and disposed of in the context of an empty domestic room. This work as a whole, gives the impression of abandonment. Human presence is absent, yet man’s discarded wastes now mix with this vacant bourgeois space.

110/120 by DANIEL TURNER is on view at Franklin Parrasch Gallery in New York until May 14, 2016.

Bea Fremderman & Andrew Laumann. Machine in the Garden

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BEA FREMDERMAN & ANDREW LAUMANN, Machine in the Garden
installation view at Springsteen Gallery, Baltimore, March – April 2016

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BEA FREMDERMAN & ANDREW LAUMANN, Machine in the Garden
installation view at Springsteen Gallery, Baltimore, March – April 2016

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ANDREW LAUMANN
Untitled (Morpho), 2015
methylcellulose, acrylic, spraypaint & paper on wood panel in acrylic float frame, 60”x40”

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BEA FREMDERMAN
Untitled, 2016
found Clothing, sprouts, dimensions variable

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BEA FREMDERMAN & ANDREW LAUMANN, Machine in the Garden
installation view at Springsteen Gallery, Baltimore, March – April 2016

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BEA FREMDERMAN
Untitled, 2016
found Clothing, sprouts, dimensions variable

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BEA FREMDERMAN & ANDREW LAUMANN, Machine in the Garden
installation view at Springsteen Gallery, Baltimore, March – April 2016

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BEA FREMDERMAN
Untitled, 2016
found Clothing, sprouts, dimensions variable

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BEA FREMDERMAN
Untitled, 2016
locally sourced stones, locally sourced sticks

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BEA FREMDERMAN & ANDREW LAUMANN, Machine in the Garden
installation view at Springsteen Gallery, Baltimore, March – April 2016

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BEA FREMDERMAN & ANDREW LAUMANN, Machine in the Garden
installation view at Springsteen Gallery, Baltimore, March – April 2016

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BEA FREMDERMAN & ANDREW LAUMANN, Machine in the Garden
installation view at Springsteen Gallery, Baltimore, March – April 2016

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BEA FREMDERMAN
Untitled, 2016
found Clothing, sprouts, dimensions variable

all images courtesy of the artists and Springsteen Gallery, Baltimore

Machine in the Garden fluidly combines the work of BEA FREMDERMAN, which consists of an ephemeral sprouts installation, with a series of wall pieces by ANDREW LAUMANN.

While FREMDERMAN is using found garments to grow sprouts, ANDREW LAUMANN‘s works look like scratch posters you can find in the streets. These composition are made by tearing off layers of sheets of papers that have been previously glued together. Both artists are creating works in which natural elements follow artificial processes, and in which the passage of time acquires a fundamental role, if not a certain vandalistic tendency.

Thanks to its title and the works presented, one can find similarity to what CAROLYN CHRISTOV-BAKARGIEV wrote in her essay Worldly Worlding: The Imaginal Fields of Science / Art and Making Patterns Together (Mousse Magazine #43):

(..) I argue instead (as I also argued with dOCUMENTA (13) in 2012) for a broader vision of the situation, and for alliances between art and organic life, new materialisms, and scientific studies, so that forms of art and forms of life can be combined, sharing architectural and creative knowledge with bees and butterflies and beavers, with bacteria and microbes, with eukaryotic cells as well as with software; cobbling together desires, sensibilities and abilities on a par with the microcosmic world within our bodies and the macrocosmic “music of the spheres” in a multi-species dimension, extending the “we” to all living sentient beings (Margulis, Tristan Garcia). This neocybernetic, ecological perspective is committed to pleasure, imagination, sensuality, expression, and play, joined to a sense of justice in the world, foregrounding diversity, complexity, depth, appreciation, equanimity, and compassion, rather than the depletion of the world’s potential, stupidity, fascism, extinction, monoculture, unhappiness, fear, conflict, suicide, the death drive, and the exercise of hoarding, control, and power. This is not a “naturistic” backlash against the urban or the artificial, a turn which would simply be neo-Romantic, even detrimental to the scope of becoming-with, and of doing so outside the frames of current production/distribution/finance systems. It is not that I celebrated “Nature” in some neo-Romantic way in dOCUMENTA (13). It’s more that there is no difference between nature and culture. Even a painting is made of subatomic particles that go through certain reactions in space. So a painting is not exactly a human-made thing, but the fruit of combined agencies (Latour). It is only partially a human-made thing. Anything that’s in the world comes from something else, so everything is culture, or everything is nature, depending on how you wish to define these words.

Machine in the Garden by BEA FREMDERMAN and ANDREW LAUMANN is currently presented at Springsteen Gallery in Baltimore until April 23, 2016.

 

Domenico de Chirico pick #59


all images courtesy of the artist and Hannah Hoffman Gallery, Los Angeles

Motor Earth, a solo exhibition by BEN SCHUMACHER
on view at Hannah Hoffman Gallery in Los Angeles
until May 21, 2016

chosen by curator and editor DOMENICO DE CHIRICO

wfw weekend #297

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The Game V (2016), JOE FLETCHER ORR
seen in the group exhibition A Journey from a sweeping gesture to a lasting effect
presented at Vitrine Gallery, Basel
on Saturday, April 9, 2016
image © we find wildness

wfw weekend #296

mimosa-echard

view from the exhibition IDEATH, MIMOSA ECHARD
seen at Galerie Samy Abraham, Paris
on Wednesday, March 30, 2016
image © we find wildness

one message interview #21. Fabio Santacroce

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FABIO SANTACROCE is the artist behind the art project staircase called 63rd-77th STEPS. If you are in Paris, 63rd-77th STEPS will present a group exhibition in Paris at Cité International des Arts from 14 April to 30 April, 2016.

This question has been taken from the questionnaire Would you have gotten kidnapped? by FLORENCE JUNG and RANDOM INSTITUTE.

Keith Boadwee & AA Bronson. Plaid

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KEITH BOADWEE & AA BRONSON, Plaid
installation view at Deborah Schamoni, München /February – April 2016

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KEITH BOADWEE & AA BRONSON, Plaid
installation view at Deborah Schamoni, München /February – April 2016

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KEITH BOADWEE & AA BRONSON, Plaid
installation view at Deborah Schamoni, München /February – April 2016

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KEITH BOADWEE & AA BRONSON, Plaid
installation view at Deborah Schamoni, München /February – April 2016

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Plaid, 2015
tempera on canvas, 90 x 90 cm

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Plaid, 2015
tempera on canvas, 90 x 90 cm

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Plaid, 2015
tempera on canvas, 90 x 90 cm

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Plaid, 2015
tempera on canvas, 90 x 90 cm

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Plaid, 2015
tempera on canvas, 90 x 90 cm

all images courtesy of the artists and Deborah Schamoni, Munich
photos by ULRICH GEBERT

The material of the body is spewed onto the canvas. Sanguine red, bilious green, shit brown: a dripping stream of interleaved humors crisscrossing the canvas. Two assholes creating a dense weave that is from the body, but transcends the body; a fireworks display of anal abandon. Two assholes are better than one. – excerpt from the press release by JUSTIN LIEBERMANN for Deborah Schamoni

Plaid by KEITH BOADWEE & AA BRONSON is on view at Deborah Schamoni in München until April 9, 2016.

Ian Wooldridge. The Skin of a Drum

all videos courtesy of the artist

Home for 2 minutes is a project by IAN WOOLDRIDGE which takes the form of a blog and which is the base for a double projection video installation currently presented at Taylor Macklin in Zürich.

Home for 2 minutes is an extensive collection of two minutes videos containing dead webcam space that IAN WOOLDRIDGE extracted from male chat rooms. The videos depict frozen moments in which the distinctions between the virtual and the physical collapse into blank loops of longing and déjà vu.

http://homefor2minutes.tumblr.com

wfw comix #3

wfw comix, april 2016
all images © JEREMY PININGRE and We Find Wildness

JEREMY PININGRE for we find wildness, April 2016. Please read about this special project here.

one pic tuesday. Tobias Spichtig

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TOBIAS SPICHTIG, Die Matratzen
installation view at Jan Kaps, Cologne
image courtesy Jan Kaps, Cologne

Die Matratzen was an exhibition by TOBIAS SPICHTIG presented at Jan Kaps in Cologne, which just closed a few days ago. As its title implies, an important part of the show consisted of mattresses that paved the entire first room of the exhibition space. The mattresses appeared covered with different printless bed linens which, according to the press release, have been provided by SPICHTIG‘s friends.

This installation appeared familiar yet nevertheless it gave us a sense of absence, instability and perversion : here the mattresses and their bed linens became co-opted things like a fusion of representation (in the sense that they are portraits of his friends who once inhabited them), abstraction as well as abjection thanks to the fact that the viewers had to walk on them to see the entire exhibition. Die Matratzen was an exhibition about the body, where the body never appears.

Die Matratzen was shown at Jan Kaps in Cologne from February 12 to April 2, 2016.

David Hanes. wfw aware #28

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Aware: after the exhibition Tomber Sous le Vent (part II), ANISSA NUSSBAUMER
presented at CAN, Neuchâtel
shot on March 24, 2016, altered on April 4, 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.

wfw weekend #295

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Expo 02, ATELIER OÏ
seen at Smallville, Neuchâtel
on Thursday, March 24, 2016
image © we find wildness

wfw weekend #294

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video still from Community Without Qualities (2015), ANNA WITT
seen at Kunsthalle Sankt Gallen
on Saturday, March 26, 2016
image courtesy the artist

autopromo : David Hanes at Cosmos Carl

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still from http://psychogif.com

Cosmos Carl is a platform which is hosting links provided by artists with the aim to explore ‘new ways of producing and displaying art online’ according to their website. Since a few days, cosmoscarl.co.uk is featuring the work of wfw contributor DAVID HANES. From 2012 to the beginning of 2016, DAVID HANES replicated the entire movie Psycho (1960) by ALFRED HITCHCOCK  in the format of an animated GIF.

Please make sure to ‘watch’ psycho.gif (2016) via http://psychogif.com

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Editor’s note:

Since wfw contributors are even more engaged in online and offline projects, the #autopromo section aims to give an insight into these activities.

three kisses

Sophie