Matmos. California Rhinoplasty ( A Chance to Cut Is a Chance to Cure)

California Rhinoplasty (10:06), 2001
from Chance to Cut Is a Chance to Cure, 2001

California Rhinoplasty is a 10’06” song and EP by American experimental/electronic music group MATMOS. The song is originally from the 2001 album A Chance to Cut Is a Chance to Cure. The recordings of this album are composed entirely from samples of plastic surgery (rhinoplasty, endoscopic forehead lift, chin implants) performed in California.

More recently BOMB Magazine released an interview with MATMOS entitled Inhuman Sound, read it here:


For 10000 gestes, I envision a choreographic forest in which no dancer ever repeats any of the gestures, each of which will be shown only once and will vanish as soon as it has been executed, like an ode to the impermanence of the art of dance. This shower of movements, which could have been a data project generated by lists of digital parameters, will be instead generated in an artisanal way, using the very bodies of the performers, in an absolutely subjective way. (…) 10000 gestes constitutes a choreographic anti-museum aiming to explore the means of escaping the instinct and the strategies of preservation at work in the activity of a dancer… It will be matter of exploring the possibility that one gesture is never completed by another, and that, if 1, 2, 3, 4, 5, 6, 7, 8, or 25 dancers come in contact, each still executes a gesture distinguished from those of others through the exclusion of any symmetrical movement: in this piece, it is impossible to shake someone’s hand. The collection thus constituted is also an anti-collection, since no choreographer worthy of the name would risk incorporating 10000 gestes in his or her score, and this totality cannot be comprehended other than by the idea that generated it. – Boris Charmatz about his work ’10 000 gestes’ (2017)

Neil Beloufa, Sans titre, 2010, 15 min

wfw weekend #431

detail from La Chasse (2017), LUCY SKAER
seen at KW Institute for Contemporary Art, Berlin
on Monday, October 16, 2017
image © we find wildness

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If I close my eyes at any point during the day, under any circumstance, I can clearly visualise images that have been etched into my memory. Sometimes they are important ones that bring comfort, that are capable of transporting us to a moment in our lives that makes us feel safe. I like to think of them as a sort of vital pedestal; a base to lean on for support in order to carry on walking. – Juan Canela, Walking with Images, August 2017

wfw weekend #430

She Said Destroy [US, No Wave] (1982)INTERFERENCE 
discovered via Panorama de Frequences, second episode of MANU HOLTERBACH’s introspection on no-wave culture, October 13, 2017


one pic thursday. Kara Walker

Scraps, 2017
sumi ink and collage on paper
40 x 30 inches, 101.6 x 76.2 cm

image courtesy of Sikkema Jenkins, New York

I don’t really feel the need to write a statement about a painting show. I know what you all expect from me and I have complied up to a point. But frankly I am tired, tired of standing up, being counted, tired of “having a voice” or worse “being a role model.” Tired, true, of being a featured member of my racial group and/or my gender niche. It’s too much, and I write this knowing full well that my right, my capacity to live in this Godforsaken country as a (proudly) raced and (urgently) gendered person is under threat by random groups of white (male) supremacist goons who flaunt a kind of patched together notion of race purity with flags and torches and impressive displays of perpetrator-as-victim sociopathy. I roll my eyes, fold my arms and wait. How many ways can a person say racism is the real bread and butter of our American mythology, and in how many ways will the racists among our countrymen act out their Turner Diaries race war fantasy combination Nazi Germany and Antebellum South – states which, incidentally, lost the wars they started, and always will, precisely because there is no way those white racisms can survive the earth without the rest of us types upholding humanity’s best, keeping the motor running on civilization, being good, and preserving nature and all the stuff worth working and living for?

Anyway, this is a show of works on paper and on linen, drawn and collaged using ink, blade, glue and oil stick. These works were created over the course of the Summer of 2017 (not including the title, which was crafted in May). It’s not exhaustive, activist or comprehensive in any way. – KARA WALKER, artist’s statement, press release Sikkema Jenkins and Co., New York, 2017

This work is currently part of the solo exhibition by KARA WALKER entitled Sikkema Jenkins and Co. is Compelled to present The most Astounding and Important Painting show of the fall Art Show viewing season! on view through October 14, 2017.

Silvia Federici. Undeclared War: Violence Against Women

screen capture from
on October 11, 2017
image © we find wildness

SILVIA FEDERICI is best known for her book Caliban and the Witch published in 2004 (pdf available here), that is relating the destruction of the social and economic power of women to the transition to capitalism.

Undeclared War: Violence Against Women by SILVIA FEDERICI is a text that has been published the summer 2017 issue of Artforum. It previews her latest research on the staggering acceleration of violence against women worldwide – a quotidian and widespread manifestation of new networks of control.

one message interview #41. Florence Jung (2)

Not even sure what you want for Christmas? Ask for the album Loyalty and Betrayal (2000) by E-40. Obviously it helps for 2 or 3 things.

FLORENCE JUNG is currently based in Switzerland and she was the very person to answer to the one message interview almost two years ago. She has now officially open the second round of the project.

read the previous one message interviews here

V.S.O.P, Pentti Monkkonen at High Art, Paris, September 9 – October 12, 2017 via Contemporary Art Daily

#laterpost 1973. Michael Craig-Martin

An Oak Tree
, 1973
glass, water, shelf and printed text

image courtesy of the artist

An Oak Tree (1973) is work by MICHAEL CRAIG-MARTIN which consists of a glass of water on a wall-mounted shelf (above head height) with an accompanying text, in which he tells a viewer of the work, “What I’ve done is change a glass of water into a full-grown oak tree without altering the accidents of the glass of water.

In an artist interview in May 2003 CRAIG-MARTIN noted that the piece consists of two units; the object and the text. The object, a Duralex glass filled with water, is placed in the centre of a glass shelf and the text is printed in red on a white background. 

The shelf is displayed ideally at 253cm and is attached to the wall with brackets that have been painted matt grey. The printed text is mounted on the wall to the left and beneath the shelf with a sheet of glass and four bolts. CRAIG-MARTIN has specified how much water should be used to fill the glass and the ideal water level should be maintained during display. – BRYONY BERYJune 2005 ,



wfw weekend #429

exhibition view from Le Charme Indiscret, GINA FOLLY
seen at Kunstraum, Riehen
on Thursday, October 5, 2017
image © we find wildness

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wfw weekend #428

exhibition view from Graue Energie, KARSTEN FÖDINGER
seen at Archizoom, Lausanne
on Monday, October 2, 2017
image © we find wildness

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Options open to painting have in the recent past appeared to be extremely limited. It was not that everything had been done, it was rather that the impulses to create which had functioned in the past were no longer urgent or even the one-to-one relationship experienced in representing a scene or figure in paint – none of these acts was credible in the way it once had been. Abstraction appeared to have been used up; expression through shape and color was very familiar and had become meaningless. The process of flattening out the canvas had reached an end; Formalist painting has soaked color into the canvas and moved shape to the edge presenting an almost but not quite unbroken field. We no longer believed in the transcendency of paint and saw little reason to use the form of painting for making art. In the middle sixties surprise had been expressed that I was still using a brush. – Marcia Hafif, Beginning Again, Artforum, 1978

Yung Chong BaDboI for We Find Wildness #3

image courtesy Yung Chong and We Find Wildness

Read more about this special project by Yung Chong BaDboI  for we find wildness here. Make sure also to explore the complete Yung Chong comics collection via his instagram or tumblr.