wfw weekend #465

Old Food (2017), ED ATKINS
seen at Kunsthaus Bregenz
on Saturday, March 16, 2019
image © we find wildness

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wfw weekend #464

exhibition view, ISA GENZKEN
seen at Kunsthalle Bern
on Saturday, February 23, 2019
image © we find wildness

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Kathy Acker. Blood and Guts in High School (1978)

scan from KATHY ACKER, Blood and Guts in High School, 1978

images © wfw

The text above comes from the novel Blood and Guts in High School by KATHY ACKER officially released in 1984. The book is a composition of fragments of texts and drawings from her notebooks over five years that began when she was twenty-six years old.


Notes on ‘Camp’, Susan Sontag, 1964

To have that sense of one’s intrinsic worth which, for better or for worse, constitutes self-respect, is potentially to have everything: the ability to discriminate, to love and to remain indifferent. To lack it is to be locked within oneself, paradoxically incapable of either love or indifference. If we do not respect ourselves, we are on the one hand forced to despise those who have so few resources as to consort with us, so little perception as to remain blind to our fatal weak- nesses. On the other, we are peculiarly in thrall to everyone we see, curiously determined to live out—since our self-image is untenable—their false notions of us. We flatter ourselves by thinking this compulsion to please others an attractive trait: a gift for imaginative empathy, evidence of our willingness to give. Of course we will play Francesca to Paolo, Brett Ashley to Jake, Helen Keller to anyone’s Annie Sullivan: no expectation is too misplaced, no role too ludicrous. At the mercy of those we can not but hold in contempt, we play rôles doomed to failure before they are begun, each defeat generating fresh despair at the necessity of divining and meeting the next demand made upon us. – Joan Didion, On Self-Respect, Vogue Magazine, 1961

The Exhausted (1995), Gilles Deleuze

YEARS. I don’t want to live, I don’t want to die

A review of this exhibition is available via Mousse Magazine.


wfw weekend #463

seen at Galerie Chantal Crousel, Paris
on Saturday, February 09, 2019
image © we find wildness

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Jørgen Leth. Andy Warhol Eating a Hamburger

JØRGEN LETH about Andy Warhol eating a Hamburger from the film 66 Scenes from America (1982)

Courtesy the artist and Louisiana Museum of Modern Art

Danish filmmaker JØRGEN LETH speaks about the appearance of ANDY WARHOL into his movie 66 Scenes from America which was filmed in 1981.

Watch also The Perfect Human (1967) by JØRGEN LETH here on wfw.

laterpost 1999. Dominique Gonzalez-Foerster

installation at Mies van der Rohe Pavilion, Barcelona

image courtesy of the artist


Well, my first reaction was a very predictable leftist reaction which more and more I am questioning and finding very static and self-defeating. At this point I do not want to be outside the structure of power, I do not want to be the opposition, the alternative. Alternative to what: To power? No. I want to have power. It’s effective in terms of change. I want to be like a virus that belongs to the institution. All the ideological apparatuses are, in other words, replicating themselves; because that’s the way the culture works. So if I function as a virus, an imposter, an infiltrator, I will always replicate myself together with those institutions. And I think that maybe I’m embracing those institutions which before I would have rejected. Money and capitalism are powers that are here to stay, at least for the moment. It’s within those structures that change can and will take place. My embrace is a strategy related to my initial rejection. – Felix Gonzales-Torres in conversation with Joseph Kosuth, October 10, 1993

one pic tuesday. Karl Holmqvist

Untitled (ANNE COLLIER SCHORR), 2018
marker on linen
100 x 100 cm, 39.37 x 39.37 in

image courtesy of Dependance, Brussels

Untitled (ANNE COLLIER SCHORR) (2018) by KARL HOLMQVIST is part of his solo exhibition entitled One Child per Household on view at Dépendance in Brussels until December 15, 2018.

Five digital projectors have been programmed to light the canvases so that the original colors reappear. At four o’clock every day, the projectors are turned off one by one, and the colors revert to (mostly) muddy blacks and grays. You can still see the bones of the murals, the formal architecture—Rothko’s floating blocks, made to resemble portals in these pieces—but the glow is gone. As one observer put it, when the lights go off, comedy turns into tragedy. – Louis Menand, Watching them turn off the Rothkos, The New Yorker, April 1, 2015

Soundtracks For Painters (2018), Seth Price