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all images:

BEA SCHLINGELHOFF, Bazaarro
exhibitions views and details at Taylor Macklin, Zürich, June 14 – July 19, 2015

courtesy of the artist and Taylor Macklin, Zürich

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In the summer of 2015, BEA SCHLINGELHOFF presented a solo exhibition at the artist-run space Taylor Macklin in Zürich. Entitled Bazaarro, the exhibition consisted mainly of the removal of a portion of the gallery floor. This was the press release.

“Why Don’t You … ?” – Diana Vreeland

Bazaarro

I find participating in art fairs close to Arendt’s insight on the banality of evil. It’s an extreme comparison, however, most artists and friends I speak with do not find art fairs an interesting context for their work, to say the least. Institutions have been successfully dismantled in a critical discourse in the past 40 years, but what about the stall architecture of art fairs? 

Maybe art fairs are too vernacular to be bothered with critically or artists feel that their sole function is to accumulate income. In that case, what reason can there be to sabotage your own income? Book fairs are great, for example, but somehow different, aren’t they?

Bizarro is a genre – a recent usamerican literary genre – roughly denoting absurdist fiction or horror comedy. Bazaarro, too, is a genre – a contemporary art genre – recognizable because of (at least) one missing wall. Artists decide to use floating compartments like L-, H-, or E- shaped exposition bays to make their works of art a more assertive and singular statement, practical modular cells. These bays or booths spring up like mushrooms. Bazaarro takes the architecture of the fair outside the fair. Absurdist fiction.

The genre is visible in graduation shows at art schools, art conventions or competitive settings for prize money. To ‘booth’ is a verb replacing the seared expressions of ‘exhibition making’ or ‘installing,’ and has finally been recognized as the common denominator for meaning itself… even poetry is boothing! However, Bazaarro is not the horror comedy of the grey area. In fact it’s architecture’s new mercenary: a booth for hire.

Taking away the metal plates from the floor has gained an additional 15 cubic meters of exhibition-space for Taylor Macklin, sinking the entire room approx. 35 cm. The drywall that had been built into the former gym in order to separate the space from another gallery in the same room, Plymouth Rock, floats. An enlarged blackmail letter hangs on the wall that separates Taylor Macklin from the Capoeira school next door, in the same way a painting was hung in Hitler’s antechamber in Munich in 1942. Gymnastic rings are installed in front of the painting, completing the Bazaarro gymnasium. Words that rhyme with ‘genre’: ‘Double entendre’, ‘amour proper’, ‘Le Nôtre’, ‘contra’.

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→ The laterpost series is featuring past exhibitions that have slipped under our radar. More laterposts here.

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Aware: Mars (2018) and Beast (2018), NINA BEIER
presented at Kunstmuseum St Gallen
shot on February 10, 2017, altered on February15 , 2018 by DAVID HANES*
image courtesy of the artist and we find wildness

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*DAVID HANES lives and works in Berlin. Read more about this special project for we find wildness here.

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Untitled (2018), MICHAEL E SMITH
seen at Kunstmuseum St.Gallen
on Saturday, February 10, 2018
image © we find wildness

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Les activités parallèles (2018), ARNAUD WOHLHAUSER
seen at Kunsthaus Langenthal
on Friday, February 2, 2018
image © we find wildness

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Jugend ist Trunkenheit ohne Wein
exhibition view, Bikini, Basel, 2018

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Jugend ist Trunkenheit ohne Wein
exhibition view, Bikini, Basel, 2018

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Jugend ist Trunkenheit ohne Wein
exhibition view, Bikini, Basel, 2018

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TOBIAS MADISON, Krawling from the Wreckage, 2017
epson print mounted on aluminium, vinyl sticker, plastic frame, 80 x 80 cm

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AMALIA ULMAN, Wheelchair (Los Angeles), 2017
wire, 140 x 90 x 90 cm

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JULIAN-JAKOB KNEER, Jugend ist Trunkenheit ohne Wein
exhibition view, Bikini, Basel, 2018

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ELIN GONZALEZ, Even when you self-destruct, you want to fail more, lose more, die more than others, stink more than others, 2016
styrofoam, acrylic paint, oil paint, acrylic lacquer, 100 x 50 cm

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Jugend ist Trunkenheit ohne Wein
exhibition view, Bikini, Basel, 2018

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Jugend ist Trunkenheit ohne Wein
exhibition view, Bikini, Basel, 2018

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LOUISA GAGLIARDI & ADAM CRUCES, Pains (2018)
breads, wheels, dimensions variables

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JULIAN-JAKOB KNEER, Jugend ist Trunkenheit ohne Wein
exhibition view, Bikini, Basel, 2018

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ZOE FIELD, Anybunnys Turtle Trouble, 2017
ceramic, steel, enamel, paper, tie, cigarettes

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LAURA SCHUSINSKI, Golf (2017) & Walther König (2017)
both: acrylic paint on canvas, plastic bag, 45 x 30 cm

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Jugend ist Trunkenheit ohne Wein
exhibition view, Bikini, Basel, 2018

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ANTOINE RENARD, Untitled (pink), 2018
aluminium, 160 x 155 x 25 cm

all images courtesy of the artists and Bikini, Basel

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Jugend ist Trunkenheit ohne Wein is a group exhibition that is on view at the artist-run-space Bikini in Basel until February 10, 2018.

The exhibition features the work of BORA AKINCITURK, FRED H. BERGER, CHROMOSOME RESIDENCE, KAMILLA BISCHOF AND LAURA WELKER, ADAM CRUCES AND LOUISA GAGLIARDI, VEIT LAURENT KURZ, AMALIA ULMAN, R. CRUMB, ELIN GONZALEZ, ADAM SHIU-YANG SHAW, TOBIAS MADISON, EVAN MCGRAW, ESBEN WEILE KJÆR, YVES SCHERER, LAURA SCHUSINSKI, NEW NOVETA, JULIAN-JAKOB KNEER, THE GATE, MICHAEL LUBERRY, MARIE LEA LUND, JAN KIEFER, ANTOINE RENARD, ZOË FIELD and MALTE ZANDER.

Jugend ist Trunkenheit ohne Wein has been conceived and curated by JULIAN-JAKOB KNEER.

edit: the exhibition text is available here

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Himmel und Meer (2011), KATINKA BOCK
seen at Kunstmuseum Winterthur
on Saturday, January 27, 2018
image © we find wildness

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screen capture from http://www.betonsalon.net/IMG/pdf/bs22-final-complet.pdf
on January 31, 2018
image © we find wildness

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A Hard White Body is the title of CANDICE LIN‘s recent exhibition that took place at Bétonsalon in Paris from September 6, to December 23, 2017

CANDICE LIN’s recent show at Bétonsalon in Paris, titled A Hard White Body (Un corps blanc exquis), examines narratives of race, gender, class, and sexuality through the lives and stories of JAMES BALDWIN and JEANNE BARET, as well as through non-human actors, such as porcelain, plants, and glass. The installation includes a video on Lin’s research on plants, materials, and histories of their use in narratives of race and gender; research documents atop a short wall made of bricks; plants throughout the gallery; intricate drawings; and larger drawings that cover the windows of the gallery, occluding parts of the exhibition from the outside while introducing other elements to the inside, namely a life-size drawing of a white body with plants growing out of its stomach; a bed made of porcelain, and a filtration system.

Welcoming visitors at the entrance of the gallery is a urinal connected to a distillation system that processes urine from the urinal and combines it with distilled water and water from the nearby Seine River. Tubes cross the gallery walls, feeding into a set of sprinklers that every hour mist a room that is curtained off as if it were quarantined. The room is based on James Baldwin’s novel, Giovanni’s Room and is replete with mugs, bottles, domestic debris, a bed—all made of unfired clay. In misting, the filtration system (further assisted by gallery workers who spray the room by hand daily) assures perpetual change, a resistance to permanence, to a fixed solid state. – Like Piss in Motion: Race, Gender, and Filtration Systems in the work of Candice Lin, DAN BUSTILLO for http://contemptorary.org/

The exhibition publication from which the above screencapture is coming from, is available online via http://www.betonsalon.net/IMG/pdf/bs22-final-complet.pdf

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Accept Baby, 1983

image courtesy of the artist and Forde, Geneva

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Over three decades, MAYER’s work suggests that to resist becoming oedipal capitalism’s human waste is futile. One can only run to the bathroom and hope that their mind has enough time to pry open and squeeze out that small dingy bathroom window and survive the long drop into a new and unknown world. Having his particular approach to late capitalism termed as ‘accelerationism’, the British philosopher NICK LAND has suggested that by escalating capitalism’s processes, its fundamental contradictions will be exacerbated and eventually bring the entire system toward an early grave and with it theoretically rationality as its practiced. LAND notes that in the process, schizophrenia should pour forth from every new rift in capitalist reality; he writes, “Schizophrenia creeps out of every box eventually, because ‘there is no schizophrenic specificity or entity, schizophrenia is the universe of productive and reproductive desiring machines, universal primary production.’ It is not merely that schizophrenia is pre- anthropoid. Schizophrenia is pre- mammalian, pre-zoological, pre-biological … It is for those trapped in a constrictive sanity to terminate this regression.” – In Einer Fatalen Welt: Gender, Abjection, and Pessimism in HANS-JOERG-MAYER by MARC LEBLANC, 2013

Accept Baby (1983) by HANS-JOERG MAYER was part of the group exhibition Accept Baby presented at Forde in Geneva from November 25, 2017 to January 7, 2018.

 

KEITH FARQUHAR, Lap Gods
exhibition view at Office Baroque, Brussel, 2018

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Lap God (Costa), 2018
Nylon sleeping bag, toy dog, branded coffee cup
230 x 100 x 35 cm (90 1/2 x 39 1/4 x 13 3/4 in.)

Lap God (Starbucks Grande), 2018
Nylon sleeping bag, toy dog, branded coffee cup
190 x 100 x 35 cm (74 3/4 x 39 1/4 x 13 3/4 in.)

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Lap God (Starbucks Grande), 2018
Nylon sleeping bag, toy dog, branded coffee cup
190 x 100 x 35 cm (74 3/4 x 39 1/4 x 13 3/4 in.)

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Lap God (Starbucks Grande) (detail), 2018
Nylon sleeping bag, toy dog, branded coffee cup
190 x 100 x 35 cm (74 3/4 x 39 1/4 x 13 3/4 in.)

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Lap God (Starbucks Grande), 2018
Nylon sleeping bag, toy dog, branded coffee cup
190 x 100 x 35 cm (74 3/4 x 39 1/4 x 13 3/4 in.)

Untitled (LAP GOD), 2014
U.V. direct print on corrugated, galvanised steel
304,8 x 213,4 cm (120 x 84 in.)

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Lap God (Venti), 2018
Nylon sleeping bag, toy dog, branded coffee cup
200 x 100 x 35 cm (78 5/8 x 39 1/4 x 13 3/4 in.)

Lap God (Greggs), 2018
Nylon sleeping bag, toy dog, branded coffee cup
210 x 100 x 35 cm (82 5/8 x 39 1/4 x 13 3/4 in.)

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Lap God (Greggs), 2018
Nylon sleeping bag, toy dog, branded coffee cup
210 x 100 x 35 cm (82 5/8 x 39 1/4 x 13 3/4 in.)

Lap God (Subway), 2018
Nylon sleeping bag, toy dog, branded coffee cup
184 x 100 x 35 cm (72 3/8 x 39 1/4 x 13 3/4 in.)

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Lap God (Greggs), 2018
Nylon sleeping bag, toy dog, branded coffee cup
210 x 100 x 35 cm (82 5/8 x 39 1/4 x 13 3/4 in.)

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Lap God (Greggs) (detail), 2018
Nylon sleeping bag, toy dog, branded coffee cup
210 x 100 x 35 cm (82 5/8 x 39 1/4 x 13 3/4 in.)

all images courtesy of the artist and Office Baroque, Brussels, Belgium

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Lap Gods by KEITH FARQUHAR is on view at Office Baroque in Brussels until February 17, 2018.

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