We Find Wildness

Curating in the Post-Internet Age, Boris Groys, e-flux #94 – October 2018

31 October 2018 - hyperlink, text, web - Comments Off on Curating in the Post-Internet Age, Boris Groys, e-flux #94 – October 2018

It is important to note that Natascha Süder Happelmann is not a pseudonym – such as Lutz Bacher, for example – but an adaption. While pseudonyms are used to avoid revealing one’s real identity, Süder Happelmann wants her name to be traced back to her real one. For this purpose, the artist evaluated collected misspellings and autocorrects of her name with which she had been addressed over the past 30 years and selected Natascha Süder Happelman to be ‘the proper name for this important task’ as her spokeswoman Duldung explained. In order to represent Germany at one of the most important exhibitions in the world, the artist considered it necessary to ‘integrate’ by using a more German-sounding with umlauts and ‘-mann’ suffix to her surname. – ‘Natascha Süder Happelmann’ will represent Germany at the 2019 Venice Biennale, Carina Bukuts, Frieze Magazine, October 26, 2018

28 October 2018 - hyperlink, web - Comments Off on It is important to note that Natascha Süder Happelmann is not a pseudonym – such as Lutz Bacher, for example – but an adaption. While pseudonyms are used to avoid revealing one’s real identity, Süder Happelmann wants her name to be traced back to her real one. For this purpose, the artist evaluated collected misspellings and autocorrects of her name with which she had been addressed over the past 30 years and selected Natascha Süder Happelman to be ‘the proper name for this important task’ as her spokeswoman Duldung explained. In order to represent Germany at one of the most important exhibitions in the world, the artist considered it necessary to ‘integrate’ by using a more German-sounding with umlauts and ‘-mann’ suffix to her surname. – ‘Natascha Süder Happelmann’ will represent Germany at the 2019 Venice Biennale, Carina Bukuts, Frieze Magazine, October 26, 2018

Dominique Gonzalez-Foerster & Eva Marisaldi. Film

22 October 2018 - publication, text, wfw library - Comments Off on Dominique Gonzalez-Foerster & Eva Marisaldi. Film

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

15 October 2018 - publication, web - Comments Off on 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

Curating in the Post-Internet Age, Boris Groys, e-flux #94 – October 2018

Dominique Gonzalez-Foerster & Eva Marisaldi. Film

wfw weekend #459

wfw weekend #458

wfw weekend #457

The Jean Freeman Gallery Does Not Exist, Christopher Howard, MIT Press, October 2018