wfw comix #8

13 March 2017 - wfw comix, wfw contributor - Comments Off on wfw comix #8

wfw weekend #387

12 March 2017 - art, exhibition, features, weekend - Comments Off on wfw weekend #387

wfw weekend #386

12 March 2017 - art, exhibition, features, weekend - Comments Off on wfw weekend #386

Arriving for the opening of ERIC WESLEY’s survey-scale exhibition at the Los Angeles gallery 356 S. Mission Rd. in January 2015, visitors encountered a new Nissan parked at a rakish angle in the back lot, with its front doors ajar and music blaring from its speakers. That this was an artwork would surely never have occurred to many of those in attendance had it not been for the checklist, where it was designated Infinity Project (Black), 2015, with materials given as “clear lacquer paint on Infiniti.” (…) As a found object that was in fact rented, the vehicle could also be seen as a monument to transience and ephemerality. After the close of the show, one had to imagine the automobile undergoing a further turn in this Duchampian game of contextual transposition, mingling inconspicuously with all the other non-art cars in the rental fleet upon return. Moreover, once replaced within its original context, WESLEY’s Infiniti can only be faced with steady depreciation, the fate of all uncollected cars. – JAN TUMLIR on ERIC WESLEY, Artforum February 2017

9 March 2017 - art, hyperlink, text, web - Comments Off on Arriving for the opening of ERIC WESLEY’s survey-scale exhibition at the Los Angeles gallery 356 S. Mission Rd. in January 2015, visitors encountered a new Nissan parked at a rakish angle in the back lot, with its front doors ajar and music blaring from its speakers. That this was an artwork would surely never have occurred to many of those in attendance had it not been for the checklist, where it was designated Infinity Project (Black), 2015, with materials given as “clear lacquer paint on Infiniti.” (…) As a found object that was in fact rented, the vehicle could also be seen as a monument to transience and ephemerality. After the close of the show, one had to imagine the automobile undergoing a further turn in this Duchampian game of contextual transposition, mingling inconspicuously with all the other non-art cars in the rental fleet upon return. Moreover, once replaced within its original context, WESLEY’s Infiniti can only be faced with steady depreciation, the fate of all uncollected cars. – JAN TUMLIR on ERIC WESLEY, Artforum February 2017

Violet Dennison. Transcend

8 March 2017 - art, exhibition - Comments Off on Violet Dennison. Transcend

wfw weekend #385

5 March 2017 - art, exhibition, features, weekend - Comments Off on wfw weekend #385

wfw weekend #384

4 March 2017 - art, exhibition, features, weekend - Comments Off on wfw weekend #384

one message interview #39. Pauline Beaudemont

3 March 2017 - one message interview - Comments Off on one message interview #39. Pauline Beaudemont

Domenico de Chirico for We Find Wildness #82

3 March 2017 - art, exhibition, wfw contributor - Comments Off on Domenico de Chirico for We Find Wildness #82

Repetition in choreography is a useful procedure that brings out the materiality of what might often be considered as immaterial. By experiencing something again and again and again you go through waves of proximity, observation of detail, boredom and desire. When a structure becomes very apparent, you begin to see the way the performer is navigating and engaging with that structure. The split between the performer and what they are doing, between the dancer and the dance becomes more apparent. The opposite is also true, there is an impossibility because these two elements can never be split. – ALEX BACZYNSKI-JENKINS in conversation with ELLEN GREIG, Chisenhale Gallery London, January 2017

1 March 2017 - art, exhibition, features, text - Comments Off on Repetition in choreography is a useful procedure that brings out the materiality of what might often be considered as immaterial. By experiencing something again and again and again you go through waves of proximity, observation of detail, boredom and desire. When a structure becomes very apparent, you begin to see the way the performer is navigating and engaging with that structure. The split between the performer and what they are doing, between the dancer and the dance becomes more apparent. The opposite is also true, there is an impossibility because these two elements can never be split. – ALEX BACZYNSKI-JENKINS in conversation with ELLEN GREIG, Chisenhale Gallery London, January 2017

one pic wednesday. Robert Grosvenor

1 March 2017 - art, exhibition, one pic - Comments Off on one pic wednesday. Robert Grosvenor

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