Baptiste, Paris 2012
© EMMANUELLE TRICOIRE

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EMMANUELLE TRICOIRE is a French photographer who worked for music magazines, her first body of work documented the upcoming underground music scene in New York City where she only shot in the streets, proclaiming “the streets were her studios”. Wanting to evolve not only as a photographer but as an artist, she completely detached herself from that scene; desiring to get closer to the people that she was shooting and get to know them personally in order to tell much deeper stories through her images.

And good news: EMMANUELLE TRICOIRE will be exhibiting her latest project on the 13th of April, entitled: XIII. at En Face (2 Rue Jacquard) in Paris from 19:00.

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found via

A Piece Dance Alone, 2012
photo by MELANIE HOFMANN
pictured is ALEXANDRA BACHZETSIS and ANNE PAJUNEN

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A Piece Danced Alone, 2011
Installation view at Chisenhale Gallery, London
photo: MARK BLOWER

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A Piece Danced Alone, 2011
Installation view at Chisenhale Gallery, London
photo: MARK BLOWER

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ALEXANDRA BACHZETSIS is an artist, performer and choreographer whose work examines the techniques of choreography, expressions of performing arts, and forms of scenic behavior. Taking interest in the codes defining gestures, both in everyday life and on stage, her work scrutinizes the use of gesture and movement in terms of the mutual influence between expressions of “popular culture”, such as romantic comedies, TV soap operas or hip-hop video-clips and of “high culture”, such as ballet, modern dance and performance.

A Piece Danced Alone confronts the audience with a series of micro-performances – each involving an interpretation of specific physical instructions executed by two identically dressed performers – BACHZETSIS herself and dancer ANNE PAJUNEN- who, as if learning and stealing from each other, exchange and gradually modify the elements of each one’s individual choreography .

I am interested in a duality in dance: the mystery of human expression on one side and controlled material organized by routines and rules on the other. This can be compared to the difference between articulated verbal and physical languages that constitute the presence of an individual. It’s the search for these constituent elements of personality that drives me to make work.

Through technical devices, such as video, projections, or a mirror wall, I try to make the audience aware of what they are looking at while they’re watching the performers dance or strip or move or talk. I confront the audience with their own voyeuristic gaze. The audience gains presence through the fact that my shows are clearly directed towards them — made for and of the audience’s watching. – ALEXANDRA BACHZETSIS in conversation with CATHERINE WOOD for Kaleidoscope magazine #14, Spring 2012

And good news: A Piece Danced Alone will be on view at the Glasgow International Festival of Visual Art on the 25 and 26 of April 2012, at the Shedhalle in Zürich on May 11 2012 and at the Kaserne in Basel from the 30 of May until June 3, 2012. Additionally her latest project, Flirt, will be premiered at the Theaterhaus Gesnerallee Zürich on May 22.

ALEKSANDRA DOMANOVIĆ, From yu to me
at Kunsthalle Basel, from 01 April to 27 May, 2012

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Untitled (30.11.2010), 2010
3 x 7500 A4 pages, inkjet print, each 75 x 21 x 29.7 cm

19:30 (stacks), 2011
4 x A4 and 2 x A3 pages, inkjet print, various dimensions

Marina Lučica, 2012
9000 A4 pages, inkjet print, 75 x 21 x 29.7 cm

Plitvice, 2012
7500 A4 pages, inkjet print, 75 x 21 x 29.7 cm

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Bubanji Fist Relief, 2012
mdf, tadelakt
160 x 55 x 20 cm

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Prilep Nymph, 2012
styrofoam, tadelakt
290 x 190 x 190 cm

Portrait (messing), 2012
inkjet print, framed
200 x 145 cm

all images © WFW

portrait (Kilim), 2012
inkjet print, 137 x 190 cm
courtesy the artist and Tanya Leighton Gallery, Berlin

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The first solo exhibition in Switzerland of ALEKSANDRA DOMANOVIĆ opened a few days ago at the Kunsthalle in Basel. The artist’s works questions the complex ways how the digital culture has fundamentally changed our landscape of information and our notion of public space, mostly in her native country, the former Yugoslavia.

The exhibition shows a series of new sculptures (pieces coated with Tadelakt, a finishing material typical of the North African country) as well as further developed versions of previous works like her paper-stacks (2009 and ongoing). Her video works aren’t outdone: Turbo Sculpture (2012) is projected onto a monumental screen occupying one of the main spaces of the ground floor.

All these works are closely connected with her own experience and the history of her native Yugoslavia whether she is investigating the phenomenon of what she has dubbed Turbo Sculpture, constructing modest steles out of printer paper emblazoned with digital distortions of images from pre- and postwar life, or making semi-autobiographical forays into the rave scene that united the youth of the balkanized Yugoslavian territory, DOMANOVIĆ addresses the ways in which we attempt to heal the wounds of history.

➝ ALEKSANDRA DOMANOVIĆ, From yu to me, at Kunsthalle Basel, from 01 April to 27 May, 2012

Kostërrc, 2011
Soil, grass, metal container, 230 x 600 x 400 cm
Installation view “Statements”, Art Basel 2011, with Chert, Berlin

Bourgeois Hen, 2009
drawing on paper

The places I’m looking for, my dear, are utopian places, they are boring and I don’t know how to make them real, 2010
Wood, iron, various materials, 13 x 11 x 8 meter circa
Installation view 6th Berlin Biennial for contemporary art, Berlin, June 2010

They are Lucky to be Bourgeois Hens II, 2009
Wood, paint, electricity, chickens, 550 x 150 cm circa
Installation view, solo exhibition at Contemporary Art Center, Pristhina

The cabin where he spent the night was so small that anyone who wasn’t a child or a dwarf couldn’t lie down full-length inside it, 2011
Wood, straw, 500 cm ø 300 cm
Installation view “Struktur & Organismus”, Muhldorf in der Wachau, 2011
photo: eSeL.at

Astronauts saw my work and started laughing, 2011
Wood, strings, metal, soil, beans, 280 cm ø 180 cm
Installation view from “Based in Berlin”, Berlin, 2011
Photo: AMIN AKTHAR

Astronauts saw my work and started laughing, 2011
Color print photograph, 30 x 50 cm

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Astronauts saw my work and started laughing, 2011
Wood, strings, metal, soil, beans, 280 cm ø 180 cm

Can we do something together, just this and then free forever, 2011
Metal, wood, glass, color pigment, 200 x 90 x 60 cm
Installation view “Petrit Halilaj”, solo exhibition at Kunstraum Innsbruck, 2011

Because it is for you my Dear, and the Sky doesn´t see you and we can fall. Yes I am doing it for you, to see if you are free too, 2011
Site specific installation, iron, plastic, 12 painted panels, wood, motor

all images courtesy the artist and Chert, Berlin

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Ten things you need to know about PETRIT HALILAJ:

1. he was born in Kostërrc, Skenderaj-Kosovo, in 1986
2. at the age of thirteen, he fled with his family to Albania
3. later he was able to study art at the Brera Academy in Milan
4. he gained the art world’s attention thanks to the project They Are Lucky to Be Bourgeois Hens, 2008 (three versions of which were shown in Istanbul, Berlin and Pristina), his participation in the Berlinbiennale with house and chickens in 2010, as well as his installation Kostërrc at Art Basel 42 in 2011
5. his practice  – sculptures, installations, pen or ink drawings – is built around his own biography and life situation
6. and raises questions as to everyday codes and conventions, to identity and integration or to unwritten boundary lines between cultures and social groups
7. he uses simple materials such as earth and wooden slats, but also live chickens and found objects from the archives of vanished museums in Kosovo, to construct/reconstruct places or objects dedicated to his memories, his family or other people close to him
8. the recollection only has meaning as long as it remains the same as reality, and it only remains the same as reality as long as reality remains the same as itself. In a glass case, in a new nest – PETRIT HALILAJ for Domus, November 2009
9. today, he lives and works between Pristina, Bozzolo (Mantova) and Berlin
10. and good news: he will create a new project for the Kunsthalle Sankt Gallen (Switzerland) on view from 21st July to 23rd September, 2012

Arrangement #14 (Blumen), 2008

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Lilly Pads #2, 2006

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Lilly Pads #2, 2006

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Die Blaumann-Akademie (Cornelius), 2008

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Arrangement #7 (Blumen), 2005

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Arrangement #9 (Blumen), 2008

all images courtesy the artist 

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After her masculine portraits of wrestlers and young men in military uniforms, American photographer COLLIER SCHORR worked on a project called Forests and Fields, where she documented life (real and imagined) in the small German town of Schwäbisch Gmünd. When she started making flower pictures she wanted to make portraits of something that escaped nationality and identity, but that kept an idea of the “pose” and a kind of struggle between the subject and the photographer – so she uprooted the flowers and transported them to another location, tied them and watched them die.

There’s something illicit about the “Blumen” photos, a literal trespassing. In order to get the flowers, I have to go into strangers’ gardens and yards to steal them. Then I have to go someplace that’s not my place and build this thing; within minutes, the flowers begin to wilt, changing shape and color. And inevitably, the wind blows them down. It takes about six minutes to construct a structure. It’s the perfect illustration of the term deracinated. I like that about it, the clarity of its purpose. It’s the opposite of arranging a still life in a studio with a table—and unlimited time. Here, you tie a flower to two or three sticks and hope it stays up. After I take the picture, I take a step back and look at this little theater or shrine to nothing that I’ve built and then tear it down. The picture is a document of a public sculpture or an act of vandalism.

I made the first “Blumen” picture after looking at MAPPLETHORPE’s Pictures book. I was struck by how much freedom MAPPLETHORPE was able to extract from his model’s restraint—that in tying up and cropping his models, he appears to be able to work with people as forms. I never thought about my flowers as related to his (which I saw as annoyingly erotic); I thought of them in relationship to bondage. I wanted to make the flowers more aggressive and ironic and less docile and sensual. – COLLIER SCHORR for Artforum

More recently she trained her lens on fashion photography, portraying women in preparation for a forthcoming book.

untitled, 2011
© BEA FREMDERMAN

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BEA FREMDERMAN is visual artist based in Chicago who works with photography and video. Her photographic explorations rely on ubiquitous ideas and places to construct alternate realities within our commonplace objects and situations.

Creating results of irony, surprise and ambiguity, each individual shot by BEA FREMDERMAN challenges the existent visual language of photography and deals with the ways in which our image-based culture experiences itself.

The suburban nightmare pertains to placelessness. It is within subdivisions where individuality, desire and freedom homogenize to form a synthetic reality. As one dwells in this maze, a false sense of freedom delineates all that is true. From the confines of the office cubicle to the sovereignty of the home, urge is suppressed and ennui sets in. Relief is found in leisure but the temporary escape is nothing more than a cul-de-sac; placing one right where they started. Those who fear placelessness see the artifice and resist information. ” – BEA FREMDERMAN

Knave, 2011 
oil on canvas, 200 x 120 cm
courtesy the artist and Jack Shainman Gallery, New York

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Six AM, Wednesday, 2009, oil on canvas, 200 x 120 cm
11 pm Friday, 2010, oil on canvas, 200 x 130 cm
11pm Saturday, 2011, oil on canvas, 200 x 120 cm
Conspiracies, 2010, oil on canvas, 140 x 190 cm

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Any Number of Preoccupations, 2010, oil on canvas, 160 x 200 cm
Doves, 2009, oil on canvas, 200 x 120cm
Piano, 2009, oil on canvas, 180 x 160 cm
Kingfisher, 2011, oil on canvas, 70 x 76 cm

all images courtesy the artist and their respective galleries

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The work of LYNETTE YIADOM-BOAKYE is quite abstract even though her paintings allude to traditions of European portraiture. In fact, these characters are only pure fictions, they’re not portraits, instead they are a composite of her imagination and of people who don’t exist. Occasionally there are small traces of specificity, such as clothing or hairstyles, but largely the figures and scenarios appear unfixed to any clear associations of race, class, gender or location. The resulting collection of paintings become essays and documents between her reality, history, and imagination.

Painting for me is the subject. The figures exist only through paint, through color, line, tone and mark-making. (…) They don’t share our concerns or anxieties. They are somewhere else altogether.

LYNETTE YIADOM-BOAKYE was born in London in 1977. She studied at Central Saint Martin’s School of Art 1996-97, Falmouth College of Art 1997-2000 and the Royal Academy Schools 2000-03. She began exhibiting her paintings in 2001 in group shows, and was selected for John Moores 23 and Bloomberg New Contemporaries both in 2004. In 2006 she received a Painting Fellowship from The Arts Foundation and won a deciBel Visual Arts Award. Her most recent solo exhibitions include Notes and Letters, at Corvi Mora, London (2011); Any Number of Preoccupations, at Studio Museum Harlem, New York (2010); Essays and Documents, at Jack Shainman Gallery, New York (2010); at Gasworks, London (2007). Recent group exhibitions include The Ungovernables, at New Museum Triennial, New York (2012); A Terrible Beauty is Born, at 11th Lyon Biennial (2011); Secret Societies, at Schirn Kunsthalle, Frankfurt (2011)

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Effects & Affects: The Alphabet
with CHARLES ATLAS, RUEDI BECHTLER, TRISHA DONNELLY, CÉDRIC EISENRING, PEPE MORENO, PAT O’NEILL, JAN VORISEK, JENNIFER WEST
all photos © WFW

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The exhibition Effects & Affects: The Alphabet explores the connection between comics and contemporary art, and depicts this link between the two art genres based on visual qualities such as the handcrafted design, illustrative and onomatopoeic effects, appearance and abstraction, image and language.

The chosen works are deliberately diversified – wall projections alternate with works on paper and objects – in order to showcase the multimedia-based richness of the thin border between comics and art.

Effects & Affects: The Alphabet has been curated by Swiss artist TOBIAS MADISON and critic/curator MARTIN JAEGGI. The exhibition is running through April 1, 2012 during the Fumetto Festival. You can see some of my other Fumetto pictures here.

Spirou, 2010
resin
photo © WFW

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Ten things you need to know about French comic artist YVES CHALAND:

1. he was born on 3 April 1957
2. he published his first comics at the age of 17 in the fanzine Biblipop
3. thereupon, he studied at the art school in Saint-Etienne,
4. where he founded his first fanzine L’Unité de Valeur in 1976 together with LUC CORNILLON
5. in 1978 he started his collaboration with the magazine Métal Hurlant
6. he created the characters Bob Fish, Adolphus Claar and Freddy Lombard
7. in 1982 he took over the drawing for The adventures of Spirou & Fantasio
8. together with TED BENOIT, SERGE CLERC and FLOC’H, he contributed to the revitalisation of the Ligne claire
9. he died on 18 July 1990 in a car accident
10. Fumetto is currently showing the first comprehensive retrospective in the Germanspeaking countries

Sein erster zweistelliger Geburtstag (His first double-digit birthday), 2010
© ANJA WICKI

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It’s that time of year again: the city of Luzern in Switzerland devotes itself to the art of comics from the avant-garde and independent scene by both national and international artists.

ANJA WICKI is one of the Swiss artists presented during this edition of Fumetto who likes to tell stories via animations or illustrations which begin seemingly peacefully but often end in catastrophe:

At the beginning, man, animal and nature are one with each other or have at least set up a partnership of convenience. But then there are the machines. With WICKI they are never intrinsically menacing, on the contrary: they are clean, under control, functional. Their functionality becomes more suspect when they produce a new best friend from a guinea pig, cut down an entire forest in a dream or make a dolphin out of a freshwater fish. Admittedly, the operations always work, but sooner or later they are revealed as abuse.

Additionally she has been supported by the Festival by enabling her to release her first publication entitled Hast du das Meer gesehen? (Have you seen the ocean?).

➝ Fumetto is running until April 1, 2012 throughout the city of Luzern. For those of you who can’t make it either because you are too far away or you didn’t get a slot, you can see some of my other Fumetto pictures here.

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all images from the series Double Bind, 2010
courtesy the artist and Pilar Corrias Gallery, London

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For his latest project, Double Bind (2010), American artist LEIGH LEDARE arranged a trip to a remote country house where he spent four days photographing his ex-wife, MEGHAN LEDARE, whom he had divorced five years before. Two months later, his ex-wife returned to the same location, this time with her current husband, ADAM FEDDERLY, a photographer. He also documented her for four days.

The result of this doubled process is about thousand images in total, both strangely intimate and strangely similar, sharing a certain erotic ambiguity and encompassing voyeurism: The question becomes how a person is bodied forth into the world by another’s gaze, LEDARE says, how one person gives another permission to be a certain way, to be a certain person for that moment. It’s dealing with this impossibility of the shift in the relationship and the inability to acknowledge certain feelings and potential desires that may still be very present.

Working with photography, archives, film and text, the focus of LEIGH LEDARE’s practice lies in an investigation of how we are formed as subjects, not merely at the level of identity but at the level of our projected desires, motivations and aspirations. His famous photographic essay Pretend You’re Actually Alive (previously published on WFW) already pushed photography to its limit by capturing his unusual relationship with his mother.

And good news: in 2012, a survey of his work is planned at WIELS in Brussels, stay tuned!

Diptych Words and Views I
Words and Views I-II Fragmente einer Sprache der Liebe
Diptychon, Berlin 2012
277 x 140 cm, coloured Ingres paper, pencil, ink on paper

 

 

 

Diptych Words and Views II
Words and Views I-II Fragmente einer Sprache der Liebe
Diptychon, Berlin 2012
277 x 140 cm, coloured Ingres paper, pencil, ink on paper

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detail from Piece For Words and Views I – XXXVI
Installation View 36 drawings, Berlin 2012,
ca 3 m x 24 m

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Piece for Words and Views XXXIII, 2012
colored vellum, ingres paper, pencil and ink on watercolor paper
80 x 180 cm

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Piece for Words and Views XXXVI,
2012 colored vellum, ingres paper, pencil and ink on watercolor paper
80 x 180 cm

all drawings courtesy of the artist

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I mentioned the work of Berlin-based artist JORINDE VOIGT before, and with two shows opening this month, the first at David Nolan Gallery in New York and the second at Lisson Gallery in London, and being one of the three nominees for the 2012 Guerlain Contemporary Art Foundation’s drawing prize, she has manifestly matured into one of the best artist who attempts to measure the invisible in intense algorithmic detail.

Employing concepts and terms from subjects varying from music, to philosophy, to mathematics, her large-scale drawings which incorporate color, form, movement, melody, rhythm, imagination, notation and collage, evoke the atmosphere of a rare moment, depicting the multiplicity inherent in concepts of time, space and speed.

ROLAND BARTHES’ book, A Lover’s Discourse: Fragments inspired VOIGT to create a series of 36 collaged drawings entitled, Piece for Words and Views (see above). Each drawing contains collage elements cut to represent words and ideas in Barthes’ book, thus recreating the central tenets of semiotics: signifier and signified. These representations are then linked to elements such as melody, rotation speed, and a new elaboration of the concept of time: the day before yesterday, yesterday, today, tomorrow, the day after tomorrow → ∞, repeat/year.

JORINDE VOIGT’s work can be seen at David Nolan Gallery in New York until April 28, 2012  and at Lisson Gallery, London, from March 21 to April 28.

We Are Silently Illiterate
exhibition view at Wien Lukatsch, September – October 2011

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We Are Silently Illiterate
exhibition view at Wien Lukatsch, September – October 2011

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Like a hundred mirrors, I reflect your body, 2011
Papier maché, aluminium wire, laser prints
300 x 285 x 130 cm

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Entropology, 2009

Estas Ruinas que ves (These Ruins you see), 2006
courtesy: Museo de Arte Carrillo Gil, Messico City

Kaleidoscopic Eye, (exhibition view), 2009
courtesy: courtesy: Kunsthalle St. Gallen, St. Gallen

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Do ut Des, (exhibition view), 2010
courtesy: Koelnischer Kunstverein, Cologne

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Estas Ruinas que ves (These Ruins you see), 2006
courtesy: Museo de Arte Carrillo Gil, Messico City

Books, sandblasted, dimensions variable

Part of the installation “Between you and the image of you that comes to me”

Il filo e le tracce , 2011
Aluminium and papier maché structure
88 x 87 x 80 cm
Courtesy of the artist

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Mémoire Interlope, 2010
From the collection of stones of Roger Caillois,
held at the museum of Natural History, Paris

all drawings from the book: Mariana Castillo Deball & Roy Wagner , Coyote Anthropology: A Conversation in Words and Drawings published by Hatje Cantz
all images courtesy Wien Lukatsch and the artist (unless stated otherwise)

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MARIANA CASTILLO DEBALL‘s work examines historical fragments, documents, and objects in a new light. She takes on the role of amateur archaeologist as she works with found objects and fragments that she reproduced, damaged or falsified; even though it is clear that her view is not obscured by a reverence for ancient cultures. Rather she analyses the role of objects and the media for their storage as tools of modern cultural production to revitalize the aura of these objects: I’m interested less in the meaning of the artefacts than in the way people treat them, how they are manipulated.

During her research, she looks for institutions that house collections, classifications, catalogues and (re-)presentations of cultural assets, such as libraries, museums and archives, and which represent a symbolic classification of the world. After the process of collecting and selecting information, she creates site-specific installations, objects, photographs, video and audio-works, that reflect upon fictional encounters with objects and places.

MARIANA CASTILLO DEBALL was born in 1975 in Mexico City. Her works were shown in solo shows at the Museum of Latinoamerican Art, Long Beach, Cal. (2010), Kunsthalle St. Gallen (2009), Museum Carrillo Gil, Mexico City (2006), Stedelijk Museum, Amsterdam, and the Center for contemporary art, Maastricht (both 2004), a. o. She participated in the 54th Biennale di Venezia (2011), ars viva 09/10, Migros Museum, Zurich (2010), group shows at Tate Modern, London (2010), the Museum of Contemporary Art, Detroit, ICA, London, de Appel, Amsterdam (2009–10), the Athens Biennial (2009), and Manifesta 7 (2008). She now lives and works in Berlin.

And good news: MARIANA CASTILLO DEBALL will participate at the dOCUMENTA (13) and she will have a solo exhibition this autumn at Zurich’s Haus Konstruktiv for winning the 2012 Zurich Art Prize.

When Dreams Work, 1992
oil on canvas, 228 x 305 cm

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Life Without Thought, 2011
oil on linen, 152.4 x 203.2 cm

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The History of the Boudoir, 1991 
oil on linen, 160 x 213.4 cm

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The Boundary of Luck and Providence, 2011
oil on linen, 191 x 305 cm

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The Consequence of Idealism in an Imperfect World, 2011
oil on linen, 152.4 x 203.2 cm

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The Commerce of Dreams, 2011
oil on linen, 152.4 x 203.2 cm

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Exclusive Expression, 2007
oil on linen, 190.5 x 254 cm

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exhibition view at Galerie Thaddaeus Ropac, Paris, January- February 2012

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Book cover Jonathan Lasker
published by Cheim & Read (2007)

all images courtesy of the artist

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Last Friday, the exhibition The 80s opened at Galerie Thomas Schulte in Berlin with works by New York artist JONATHAN LASKER.

Born in 1948 in Jersey City, LASKER studied at the School of Visual Arts in New York. He continued his studies at the California Institute of Arts (CalArts) which was during the ‘70s a bastion of young conceptual artists who had a tendency to dismiss painting as a naïve pursuit and a lifeless art.

JONATHAN LASKER, an ardent believer in the vitality of painting as a medium for artistic expression, rebelled against the pervasiveness of conceptual art: It started as a response towards minimalism and the position that painting found itself in at the end of the 70s, which was a situation where on the one hand you had conceptual artists who opposed painting altogether and thought painting was thoroughly dead; and on the other the last really successful body of painters that almost declared they had ended painting. They painted the last possible most reduced painting you can make which would be a minimal painting, the flat surface. So to me as an artist was like how do you reinvest the picture plane with metaphor, maybe narrative or maybe not narrative, to talk about picture making and put it in the way that shows the consciousness of the elements of making a painting, and that’s how I began this body of work.

Through his unique approach to abstract painting, he gives new breath to painting by introducing basic pictorial elements such as lines, colours, and textures.

My work originates with notions of form which then become ideas. Originally, I wanted to engineer a visual object which operated in a manner that I did not know before. Basically I was looking for a visual event which would satisfy my own sense of vision. That’s a formal issue. Once I created that image, then I started inferring what it meant. (…) My interest in composition has actually been three-dimensional. I often think of these biomorphic shapes that are laid down on top of the grounds of my paintings as being picture puzzle elements that I can grab and lift off the canvas and hang on the wall for a second. Just let them sit there on a coat hanger totally separate from what’s happening on the painting ground. And the drawing element is also very separate—those three elements are, conceptually in the third-dimension.

For the past thirty years, JONATHAN LASKER has been committed to producing bold and enigmatic abstract paintings. His current show at Galerie Thomas Schulte in Berlin, summarises his early works of the 1980s by showing some pivotal works from that period. The show is on view until April 21, 2012.