Saw myself in film. Odd, seeing one’s self as a puppet. Heightening of mirror effect. Narcissus stirs, walks, sees himself from the back, as he cannot see and could not imagine himself. Becomes aware of a whole area indissociable from him, a host of hidden bonds, a whole Other sustaining the Same. Receives the invisible self. One is cast out of one’s self, change into another. One passes judgement upon one’s self – If it could see or perceive, through this artifice, the mind thus externalized, and from forbidden angles – what awareness would one have? What effect on one’s sense of self? To see one’s self thinking, responding, sleeping. – Paul Valéry, Ego, 1973 from On the Eve of the Future, Selected Writings on Film, Annette Michelson

wfw weekend #459

Harlequin Teddy (2018), Hotel Marquise (2016), TOBIAS KASPAR
seen at Kunsthalle Bern
on September, 26 2018
image © we find wildness

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wfw weekend #458

#3 x 4′ – Four Fold Light + Shadow + Reflection + Color (2011), Faust (2015), ROBERT IRWIN
seen at Sprueth Magers, Berlin
on Tuesday, October 2, 2018
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wfw weekend #457

Untitled (2018), OLIVIER MOSSET
seen at Circuit, Lausanne
on Saturday, September 22, 2018
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The Jean Freeman Gallery Does Not Exist, Christopher Howard, MIT Press, October 2018

Sarah Smolders reproduced 10’000 tiles to create an exact copy of the floor of the Netwerk Aalst and then presented them on the top of the existing floor – Concrete, Concrete by Sarah Smolders, Netwerk Aalst, Aalst (Belgium) until December 16, 2018

Michael E Smith. Atlantis

all images:
exhibition view at Atlantis, Marseille

copyright and courtesy of the artist and Atlantis, Marseille

Lately I have been thinking a lot about the future, its erstwhile role in the avant-garde, and its more or less complete absence from contemporary art discourse. Who really imagines the future anymore? Or tries to? Is it even possible? What, in the anthropocene, is conceivable at this point? Maybe only forms of collapse. Sudden conclusions. Endings. And the elegies that alternatively succeed or in this case, precede them.

If I had to elect one artist to elegize the end of if not America, then the industrialized world, it would be Michael E. Smith. Working with found and appropriated materials, which have been known to include everything from animal parts to textiles to car parts to human bone, not to mention everything in-between, Smith creates supremely laconic and darkly comic sculptures that seem to come to us from a future that we would either prefer not to or cannot imagine. Whether or not we, as a species, actually figure in that future is unclear (indeed, whether or not we would even want to figure in it is something else entirely). But something seems to have happened there (where? looming on the horizon) in which the objects, tools and technologies we once used to negotiate it no longer seem to possess the uses for which they were intended. Something has happened. Is happening. Will have happened. Already.

Behold these stark and gnarled elegies.

– curator the exhibition CHRIS SHARP

Atlantis by MICHAEL E SMITH is running through December 23, 2018 at Atlantis in Marseille.

Kenneth Anger, Babylon, 1959

I’ve come to think that the idea of a cinematic moment concerns a tension between lived experience and its representation. In other words, just as certain experiences can become iconic so too can certain representations be lived. The observations – propositions? – that I wrote for my booklet do not involve a camera, a projector or a theater. Their cinematic claims are instead rooted in perception and signification. The spectator comprises subjective consciousness in the act of self-observation, a somewhat tautological state. The moment of realization is predicated on redundancy. Moreover, to qualify as “cinematic,” an experience need not echo an actual film. Rather, it only would need to be representable and repeatable. These qualities suggest a narrative kernel. They pertain to both scenario, namely a setting that might engender a narrative arc no matter how minimal, and script, namely an anticipated sequence. A scenario need not be a literal place and a script need not be written. According to these terms, the “cinematic” could be a distillation. – John Miller, What is a Cinematic Moment?

wfw weekend #456

Identity on Display (2013), Kitchen Pieces (2012/2018), KARIN SANDER
seen at Kunst Museum Winterthur
on Saturday, September 8, 2018
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week 36: three exhibitions to see

Vanessa Place & Cassandra Seltman. Gagging on rape

screenshot from
on Monday, September 3, 2018
image © we find wildness

VANESSA PLACE is a writer, artist, and criminal defense attorney who currently lives and works in Los Angeles. She has written the performance in which a curated selection of rape jokes is read by PLACE.

Make sure to listen to the performance and the panel The Onthology of The Rape Joke that took place at Showroom in Brooklyn on January 22, 2015.

The whole essay Gagging on Rape written by VANESSA PLACE and CASSANDRA B. SELTMAN is available via Feminists Say:

one pic saturday. Damien Hirst

The Asthmatic Escaped II (1992)
glass, steel, camera on tripod, film, saucer, biscuits, plastic cup and lid, jeans, t-shirt, trainers and inhaler

courtesy of Hirshhorn Museum and Sculpture Garden, Smithsonian Institute, gift of Marvin and Elayne Mordes and Joseph H. Hirshhorn Purchase Fund, 1993


In DAMIEN HIRST’s 1992 The Asthmatic Escaped II, two glass boxes contain a camera on a tripod, a saucer, biscuits, film, a plastic cup and lid, jeans, a t-shirt, trainers, and an inhaler. The work is a monument to the painter FRANCIS BACON, an asthmatic, who passed away the same year HIRST created this piece.

The Asthmatic Escaped II (1992) is part of the exhibition in What Absence Is Made Of on view at Hirschhorn Museum, Washington until Spring 2020.

Christopher Williams’ show consisted of one work called ‘Bouquet for Bas Jan Ader and Christopher D’Arcangelo’ (1991). For the piece, he started with a cover of a French Elle magazine that pictured top fashion models wearing sailor hats bearing the name of each model’s origin country. Williams then invited a floral designer to create a hand bouquet using flowers from each of the countries emblazoned on the hats. He then photographed the bouquet resting on a table, and hung this framed photo on a freestanding wall constructed in Hetzler’s second floor. Williams instructed the installation photographer to document the empty first-floor gallery, since it was a part of his show. – Christopher Williams at Galerie Max Hetzler, Cologne, 1991

Naomi Velissariou & Joost Maaskant & Frederik Heyman. Digital Funeral

Digital Funeral, 2018

FREDERIK HEYMAN created Digital Funeral (2018) as as part of his visuals for the performance Permanent Destruction (2018) by NAOMI VELISSARIOU and JOOST MAASKANT.

Permanent Destruction (2018) is on view at TheaterFestival Antwerp on September 7, 2018.