wfw weekend #405

Bitters (2017), OLGA BALEMA
seen at Kunsthalle Basel
on Thursday, May 19, 2017
image © we find wildness

➝ follow we find wildness on instagram for instant content

wfw weekend #404

Insights (crisis trolley) (2017), YURI PATTISON 
seen at Kunst Halle Sankt Gallen
on Saturday, May 20, 2017
image © we find wildness

➝ follow we find wildness on instagram for instant content

Davide Stucchi at Deborah Schamoni, München

installation view at Deborah Schamoni, München, May-July 2017

installation view at Deborah Schamoni, München, May-July 2017

installation view at Deborah Schamoni, München, May-July 2017

installation view at Deborah Schamoni, München, May-July 2017

WW (Walkwear) I, 2017
3 pairs of Mattel doll jeans, 20 x 14 cm

WW (Walkwear) II, 2017
Y-project oversized folded jeans, stairs

installation view at Deborah Schamoni, München, May-July 2017

Not too much, (detail) 2017
bathtub, squid ink spaghetti, 38 x 160 x 70 cm

Desiderando gli amici, 1992
belts, iron wire, variable dimensions

all images are courtesy the artist and Deborah Schamoni
photo credits: ULRICH GEBERT

DAVIDE STUCCHI‘s arrangements of sculptures and objects at Deborah Schamoni in München are revealing despite their minimal and meticulous aesthetic, uncertain foundations of identity and unstable authenticities.

At the core of the exhibition stands a group of objects situated somewhere between sculpture, boutique decor, or set design. They evoke nightstand tables, armoires, and partial walls, and seem to explore the closet and its surrounding space. Nothing adorns these black wood structures; no backdrop, nor garments are exposed into them. They appear rigid and austere.

Yet the installation includes a number of objects such as items of clothing, which seem to refer to the human figure, although not really. The uncertainty comes from the absurd size of these garments: a pair of oversized jeans as well as three miniature ones are displayed in the staircase area of the gallery.

STUCCHI‘s works refuse transparent signification nor to anchor precise moods and feelings. Instead, the relationship between these works seems to explore the boundaries and restrictive parameters of the object in relation to the body and, hence, the spectactor.

DAVIDE STUCCHI‘s exhibition is on view at Deborah Schamoni, München until July 8, 2017


David Claerbout in conversation with Chus Martínez at Schaulager, Basel, December 2015 –

one pic tuesday. Henrik Olesen

Produce 4, 2017
Courtesy of the artist and Galerie Buchholz, Berlin/Cologne/New York. photo: JOHNNA ARNOLD

The screw is usually slave to the screwdriver, which determines where it goes and how it behaves. HENRIK OLESEN loosens that grip and fixes his metal screws onto canvas with thick sticky globs of glue instead. Sexual innuendo aside (although it’s clearly not meant to be put aside), the objects are left naked and only marginally contained, as if they had been released from serving a function within a larger system and allowed to speak for themselves. They are free to be connected to both pain and pleasure.*

Produce 4 (2017) was part of OLESEN solo exhibition The Walk presented at the Wattis Institute in San Francisco from March 16 to May 14, 2017.

*The Walk press release

I saw him in belt and braces. He grabbed a woman by the throat. No that was a sculpture. The sculpture had a throat. And faces broken open. That was art. Where? At Leo’s. Leo who? Leo two. Or Three. – rumors and echos about Manicomio ! (2017) by Dora Budor

wfw weekend #403

view from Preview, ALAN BELCHER
seen at Le Consortium, Dijon
on Saturday, May 13, 2017
image © we find wildness

➝ follow we find wildness on instagram for instant content

one pic friday. Richard Tuttle

Releasing: Biologically Poor Endings, IV, 2016
image courtesy of the artist and Modern Art, London


When brought together,
These two bodies of work*
Will transform space.
The rules of one** are
Longitudinal, which we
Read on a vertical, the
Other,*** the opposite.
They also engage depth
Perception, one, through
Layering brings us in;**
The other, out.*** You
Could give each group
its separate room (place-
in-space). Now, it seems,
mixing them will erase
space, helping to see
each for what it is.
The exhibition, then,
Is a chance to see what
Will happen– though
Each work’s need
Is paramount. We
May try both ways to
Show, it doesn’t matter.


The three, 17th c., Dutch
Masters are Vermeer,
Rembrandt and Hals.
The first two paint you
Looking at the glass.
Hals paints the glass
Looking at you. Hals
Uses art to put you
Solidly in the world,
Giving you power,
Making you the subject,
Or, perhaps, more cor-
Rectly, your Psyche.
His paintings often
Leave one uncom-
Fortable, for they rely
On the truth of the
Viewer, who is divided
In the act of seeing a
Painting. The laughing
In Hals comes from
Seeing, the light in light
And darkness is the
Same light- as the viewer
Is left pondering Hals’s
Genius as a painter
Revealed—where did
It come from?


Coming home from a
Long walk in New Mexico,
Natural wilderness, I
Thought the painting I
Wanted was not depen-
Dent or independent
On its means of record-
Ing. We are composite
Creatures, not neces-
Sarily accessed planerly,
(Or not), so one could
Produce a painting that
Was first, a statement,
Then, creatively edited
And finally, presented,
Using its own “call to
Form” as a solution—
The whole would unify,
As painting is supposed
To do, and make a pic-
Ture closer to love, truth,
Freedom. I worked like
This for some time, both
In New Mexico and New
York. Where as the results
Bore looking, something
Was wrong… Like music,
The purely visual has
An ability to express, uni-
Que to itself. Thus, be-
Lieving the picture was
Good, justifiable, proven,
But not available, I went
On, seeking an explanation.
The two groups at Stuart
Shave’s**** are the result-
If we have the eyes to
See them? No matter.
If valuable an advance,
We will develop the eyes.
If not, is it not just one more
Try on humanity’s stage
left to the offices of wor-
thy tries and discarded?

*”Pressing: Hole in the Head”
“Releasing: Biologically Poor
**”Pressing: Hole in the Head”
***”Releasing: Biologically
Poor Endings”
****Modern Art – RICHARD TUTTLE, NYC, 2017.*

Whenever I see the work of RICHARD TUTTLE, I can’t help but to think about what RASHID JOHNSON said in an interview: “Seeing RICHARD TUTTLE put a small piece of cloth on the wall, I thought to myself, “There’s two kinds of people in this world, the type of people who see RICHARD TUTTLE put a piece of cloth on the wall and both of them say, ‘I can do this.’ But one of them says, ‘I can do this?!’ while the other one says, ‘I can do this,’ in disappointment.

Releasing: Biologically Poor Endings, IV (2016) by RICHARD TUTTLE is part of his solo exhibition entitled My Birthday Puzzle shown at Modern Art in London. This exhibition coincides with a show of TUTTLE’s recent work entitled The Critical Edge at Pace London. Both are closing on May 13, 2017.

*press release



#laterpost 2015. Gustav Metzger

Mobbile, 2015
Mexico, Fundación Jumex Arte Contemporáneo
picture COLIN SWAN

image courtesy Fundación Jumex Arte Contemporáneo, Mexico

Mobbile (1979-2016) is a work by GUSTAV METZGER (1926-2017) that has been performed for the first time in 1970. The artist drove through London with a car onto which a large transparent cube containing plants is fastened and which is directly connected to its exhaust pipe. The plants inside are gradually asphyxiated from the fumes.

Please note that the MAMAC (Musée d’Art moderne et d’Art contemporain) in Nice is currently showing a retrospective of the late GUSTAV METZGER. The exhibition entitled Remember Nature is on view until May 14, 2017.

Bubble Paintings, Jeff Geys at Essex Street New York, 9 April – 21 May 2017 (Contemporary Art Daily)

David Hanes. wfw aware #44

Aware: Take, Put and Abandon, STEFAN BRÜGGEMANN
presented at Hauser and Wirth, Zürich
shot on April 8, 2017, altered on April 28, 2017 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 #402

detail from Ideas (2017) and Bed (2017), MAGGIE LEE
seen at Kunsthalle Zürich
in the group exhibition Speak, Lokal
on Thursday, May 5, 2017
image © we find wildness

➝ follow we find wildness on instagram for instant content

wfw weekend #401

view from the exhibition Choose A Character, KARIN BORER
seen at Milieu, Bern
on Saturday, May 6, 2017
image © we find wildness

➝ follow we find wildness on instagram for instant content

wfw weekend #400

page from Wages For Wages Against, RAMAYA TEGEGNE
produced in conjuction with the exhibition Speak, Lokal at Kunsthalle Zürich (March-May 2017)
image © we find wildness

One form of resistance is to go dark, to stop making artwork that can in any way be represented on the platforms that facilitate these forms of recuperation. But even if you as an artist don’t post images of your work on social media, other people might. You could institute a Berghain rule and administer stickers over phone’s camera lenses upon entering an exhibition, but then, hashtags are indexable forms of language that don’t require images and are still a useful metric for brands. You could literally never show your work to anyone. You could embrace chaos and illegibility, creating visual or written work that is non-instrumentalizable, but legible across many parts over a longer period of time. This might mean making work that operates at a different tempo than that of branding and social media, work that occupies multiple sites and forms, work that fights for the complexity of identity (as artist or otherwise) and form, and believes in a creaturely capacity for patience with a maximum dedication to understanding. – Dena Yago, on Ketamine and Added Value, e-flux, May 2017