Much talk – some of it real, a lot of it fake – has been in the air over the last decade about empathy for the “other,” for people different from us. But no one has dwelled on the essential otherness of a work of art. There is, after all, that hackneyed but profound notion of a willing suspension of disbelief. Genuine art makes you stake your credulity on the patently counterfeit. It takes you by surprise. And for art to take you by surprise, you have to put yourself in the power of another world – the work of art – and in the power of another person – the artist. Yet everything in our society, so saturated with economic imperatives, tells us not to surrender our interests even for a moment, tells us that the only forms of cultural expression we can trust are those that give us instant gratification, useful information, or a reflected image of ourselves. So we are flooded with the kind of art that deprecates attentiveness, tells us about the issues of the day, and corresponds to our own personalities. – Lee Siegel, Eyes Wide Shut, Harper’s Magazine, October 1999



Karl Holmqvist. Another War is Possible (2019)


To Live and To Think Like Pigs, The Incitement of Envy and Boredom in Market Democracies, Gilles Châtelet, 2014

the book is available in pdf 

Haim Steinbach. Appear to Use

all images: Appear to Use, HAIM STEINBACH, exhibition views at Tanya Bonakdar Gallery, Los Angeles, image courtesy: Tanya Bonakdar Gallery, Los Angeles

Appear to Use, a solo exhibition HAIM STEINBACH is on view at Tanya Bonakdar Gallery in Los Angeles until May 18, 2019. STEINBACH presents a new body of work including objects, sculptures, site-specific installations, wall paintings and language-based work.

The stuff of conceptualism (the weather reports, the statements of fact, the list of shops in a shopping mall) can be easily understood by anyone. (For purposes of this conversation, ”anyone” is a certain kind of Westernized citizen.) Also easily misunderstood, which is a different form of understanding. I know what to do with a urinal. I know less what to do with a urinal on a pedestal. I may or may not turn to theory for a kind of understanding or at least interpretation; either way, I may just use it for a piss. – Vanessa Place, Notes on Conceptualism, February 22, 2012, Jacket 2

wfw weekend #467

Inventaire (exhibition view), MARCIA HAFIF
seen at MAMCO, Geneva
on Friday, April 12, 2019
image © we find wildness

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wfw weekend #466

La Langosta Loca (2019), FABIAN BOSCHUNG
seen at Quark, Geneva
on Friday, April 12, 2019
image © we find wildness

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Sidsel Meineche Hansen. An Artist’s Guide To Stop Being An Artist

A monologue by SIDSEL MEINECHE HANSEN written for the work An Artist’s Guide to Stop Being an Artist (2019) that is on view at SMK in Copenhagen until July 28, 2019.

The exhibition booklet is available online and features an essay by writer and independent curator, KARI RITTENBACH.

Julius von Bismarck and Julian Charrière. I Am Afraid

Utah Arch Destroyed, source: World Wide Leaks, December 10, 2018

Read also How Two Berlin Artists Fooled American Media, SWANTJE KARICH for, published on March 31, 2019

I Am Afraid by JULIUS VON BISMARCK and JULIAN CHARRIERE is on view at Sies + Höke in Düsseldorf until May 11, 2019.

One of the things I feel about the current art that’s being spotlit is that it claims to be subversive on some level, by imitating the culture that surrounds us, or the culture of people who are in control – which is ad, media culture, et cetera – but I think its subversiness is purely intellectual and it’s not visual. Because if you look at the work of these artists, their work has become the very thing that they hate or that they intend to disrupt or they intend to undermine. And I think it’s a joke. (…) I try to show my own sense of things and my own sense of time, creating a history that’s for me, or it’s a record of things for me – one that challenges the record we’re given daily, whether through the newspapers, through television, or through politicians. If I were a violent person, I would run out into the street and buy guns and go into the nation’s capital and start annhililating the people who I believe responsible for this pre-invented existence. But the originators of this existence are long dead. It’s like a machine that runs itself that can’t stop. – David Wojnarowicz, The Weight of the Earth, January 1989

Akemi Takeya, Sweet heart / Granular Synthesis (1997, 7:30)

Injuring, Wagering, Controlling: Looking Back at a Metalanguage, Diedrich Diederichsen, 2018


Henrike Naumann. 14 Words

14 Words, 2018
mixed media installation [90ies flower shop interior], exhibition view MMK Tower Frankfurt

image courtesy of the artist, and Kow, Berlin

I’m currently installing an exhibition in Frankfurt, part of Because I Live Here, a group show at the MMK, in the middle of the banking district. The installation is called 14 Words and, for it, I’ve transported a 90s flower store from East Germany to Frankfurt. After rebuilding it, I will fill it with objects: no flowers, only empty vases. The group exhibition looks to racism in Germany, going back to the 1970s. I’ve been looking back to the roots of contemporary white supremacism and a neo-Nazi group known as the Order, who were active in the US in the 1980s. One of the group’s founding members, David Lane, established the Fourteen Words, a set of slogans derived from Hitler’s Mein Kampf, that have formed the basis of white supremacism. The most famous slogan is: “We must secure the existence of our people, and a future for white children.”HENRIKE NAUMANN, Studio International, October 30, 2018.

Because I live Here is on view at MMK Tower in Frankfurt until March 31, 2019.


Seth Price, There Is No Society (2018)