wfw weekend #435

excerpt from Rewriting The Human Story (2017), NIKOLA DANAYLOV
as part of the group exhibition Vernunft und Ordnung
seen at Milieu, Bern
on Saturday, November 4, 2017
image © we find wildness

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wfw weekend #434

Seven Problems Solved (2017), JOHN TREMBLAY
seen at Wallriss, Fribourg
on Saturday, November 4, 2017
image © we find wildness

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I define the archive as a “para-institution.” And this relates to the fact that I conceive the archive as an artistic instrument of self-historicising (which in many cases blends with the artwork itself). The para-institution of the artist’s archive was designed for recording, presenting and diffusing ephemeral, often subversive activities, and it produced autonomous contexts. Artists’ archives often reflect on how the ideological apparatuses manipulate everyday life, moreover they inscribe the artwork in history from the artist’s standpoint. That does not only mean that they put the artwork in circulation and communicate it within a limited circle of kindred spirits. Frequently the artist’s archive has a further role, involving an attempt to control the reception of the work in the local and international setting. Such an approach takes a number of levels of comparative research into account. Work at the varying levels of textual or pictorial documents demands a re-evaluation of the relationship of original and copy and must reflect the documents’ modes of production and reproduction, and must also take into account their unique, unrepeatable arrangement in the artist’s archive. One cannot reduce the artist’s archive exclusively to purposes of communication. With the deliberate multiplication and diffusion of documents, things come to a point where archival practices break free from the instrumentalisation, reification and commodification of the artwork. – Daniel Grúň, Monument to a Heroine. Július Koller’s Archive and Processes of Self-Historicisation, September 2017

Art & Politics: Alfredo Jaar, Frieze Talks, October 8, 2017

Merlin Carpenter. Title of Show

Witty Title, 2017
wooden pallet. 80 x 60 x 13 cm

Wacky Title, 2017
wooden pallet. 98,5 x 118 x 13,5 cm

Sick Title, 2017
wooden pallet. 100 x 74 x 18 cm

Political Title, 2017
wooden pallet. 80 x 120 x 14 cm

Important Title, 2017
wooden pallet. 99 x 123,5 x 13,5 cm

Clever Title, 2017
wooden pallet. 80 x 120 x 14 cm

Radical Title, 2017
wooden pallet. 100 x 120 x 16,5 cm

Great Title, 2017
wooden pallet. 100 x 120 x 14 cm

all images courtesy Christian Andersen, Copenhagen

Serge: What do you give a fuck about?

Marc: I give a fuck about you buying that painting. I give a fuck about you spending two hundred grand on that piece of shit.

Yvan: Don’t start again, Marc!

Serge: I’m going to tell you what I give a fuck about – since everyone is coming clean – I give a fuck about your sniggering and insinuations, your suggestion that I also think this picture is a grotesque joke. You’ve denied that I could feel a genuine attachment to it. You’ve tried to set up some kind of loathsome complicity between us. And that’s what’s made me feel, Marc, to repeat your expression, that we have less and less in common recently, your perpetual display of suspicion.

Marc: It’s true I can’t imagine you genuinely loving that painting.

Yvan: But why?

Marc: Because I love Serge and I can’t love the Serge who’s capable of buying that painting.

Serge: Why do you say, buying, why don’t you say, loving?

Marc: Because I can’t say loving, I can’t believe loving.

Serge: So why would I buy it, if I didn’t love it?

Marc: That’s the nub of the question.

– excerpt from Art (1994) by YASMINA REZA (pdf available here)

This series of wooden pallets by MERLIN CARPENTER hanging on the wall like readymade paintings are on view at Christian Andersen, Copenhagen until November 2017.


wfw weekend #433

seen at Haus Konstruktiv, Zürich
on Sunday, October 29, 2017
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wfw weekend #432

view from the exhibition Journey Journée , PHILEMON OTTH
seen at Alienze, Lausanne
on Wednesday, October 25, 2017
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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.