We are currently in a situation in which displacement. This permanent displacement provides a location for refusal and collective ennui. The projection of the critical moment is the political potential of the discursive. It is not a location for action, but instead provides an infinite suspension of critical moments—the opposite of performance. This is its “just-around-the-corner-ness”—a permanent interplay of micro-critical expressions within the context of a “setting.” Projects arch suspension and repression are the dominant models. There is anxiety about who controls the reshaping of the stories of the recent past. The discursive framework has been predicated upon the rejection of the idea of a dominant authored voice. Clear-cut, authored content is considered to be politically, socially, and ideologically suspect. However, there is still the feeling that stories get told, that the past is being reconfigured, and that the near future gets shaped. There is a constant anxiety within the discursive frame about who is doing this, who is marking time. The discursive is the only structure that allows you to project a problem just out of reach and to work with that permanent displacement. Every other mode merely reflects a problem, generates a problem, denies a problem, and so on. The discursive framework projects a problem just out of reach, and this is why it can also confront a socio-economic system that bases its growth upon “projections.” In the discursive art process we are constantly projecting. We are projecting that something will lead to something else “at some point.” True work, true activity, true significance will happen in a constant, perpetue realized that expose a power relationship with the culture. They achieve this through an adherence to parasitical techniques: destroying relations of production through a constant layering of profoundly differing and contradictory aims. Somehow it might be possible to bring together small groupings and create temporary, suspended, semi-autonomous frameworks. It is possible that we have seen a rise in the idea of parasitical relationships to the point where they have reached a fluid state of acceptance. We may have reached a moment of constant reoccupation, recuperation, and aimless renovation. Maybe the discursive makes possible a parasite without a host—feeding off copies of itself, speaking to itself, regenerating among its own kind. – Liam Gillick, Maybe it would be better if we worked in groups of three? Part 1 of 2: The Discursive, e-flux, January 2009

one pic thursday. Jenny Holzer

Tallahassee #2 (from the series Anti-Gun Truck), 2018
image courtesy of the artist

Made in 2018, Anti-Gun Truck is an installation series in which a truck bearing poignant slogans on its side pulls up by specific locations: Trump Tower, the White House, a cemetery. Tallahassee #2, for me, was particularly disheartening. The dismally dark truck – which was like an automotive Grim Reaper, and brandished the words ‘TOO LATE NOW’ in white – was positioned in front of a Florida graveyard. The graveyard in question, however, wasn’t an ordinary graveyard: it was one of the burial places for students killed in the 2018 Marjory Stoneman Douglas High School massacre.THOM JAMES, Jenny Holzer In Conversation with Francis Morris , The White Review, July 2018

Artist Rooms by JENNY HOLZER is on view at the Tate Modern, London until July 31, 2019.



Birmingham Museums Trust has decided to go for “open access”, the first major British museum to do so. In a pioneering move, the trust will make images of copyright-expired works of art freely available to use under a CCO Creative Commons licence. This is the most open form of licence, and essentially means that the images are now in the public domain. The trust has over 800,000 objects, spread across nine sites (…). There is a catch, but I think it’s potentially quite a clever one. The free images will be limited to 3MB in size, at a resolution of 300 dpi. Birmingham will still charge for its highest resolution images, allowing the trust to retain the possibility of raising income from more overtly commercial use of images. Far better, then, to follow Birmingham’s new model, which at a stroke ends all the costly bureaucracy behind image fees. A limit on file size is far more efficient than trying to limit usage or print runs. For most educational publishing purposes, 3MB is a high enough resolution. But if Louis Vuitton want to make more of their Old Master themed handbags, then they’ll need a higher resolution file, and will have to pay for it. – Bendor Grosvenor, Diary of an art historian: at last, some common sense for the abolition of image fees

wfw weekend #453

exhibition view, DAVID CLAERBOUT
seen at Kunsthaus Bregenz
on Saturday, July 29, 2018
image © we find wildness

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Dominique Gonzalez-Foerster & Perez. Cerveau

Cerveau, PEREZ
cinematography: JEAN-LOUIS VIALARD

DOMINIQUE GONZALEZ-FOERSTER signed the last video clip for PEREZ, a french singer, with whom she collaborated for her EP called Exotourisme (2018).

Called Cerveau, the video clip has been released in April 2018.

More recently, DOMINIQUE GONZALEZ-FOERSTER gave a Masterclass via the french radio France Culture: https://www.franceculture.fr/emissions/les-masterclasses/dominique-gonzalez-foerster-jai-toujours-eu-une-fascination-pour-les-personnalites-multiples


one pic tuesday. Lucia Elena Průša

Cycle, 2018
aluminium, steel, rubber, plastic, UV-print, 14 x 85 x 60 cm

image courtesy of the artist and Pina, Vienna

Cycle (2018) is part of the solo exhibition entitled ZAHN–AUGE–FUSS–Kindheit–Teenager–Baby–Senior–Junior–Dame–Herr–KNIE–BRUST–ARSCH–ARSCHLOCH–DARM–UTERUS–Mutter–Vater–Haare by LUCIA ELENA PRŮŠA. The exhibition is on view at Pina in Vienna until July 20, 2018.

Once published, a Script, as a social form, is resolved only by reacting toward reactions toward it. It is an algorithmic social construction that seek to shift or create Objects, Object-relations, and social-relations within the material world in a manner that necessitates the unexpected. To embrace the unexpected is: a) to desire to see, despite knowing that there is a brutality to see (realism), b) to desire to keep moving, despite knowing that pain is certain (optimism), and c) to desire a future, despite knowing it will get worse (hope). Scripts are blueprints for unknowableness: hopeful gestures of realist optimism or optimistic realism. A Spectator engaged in Script-forming and/or Script-enacting engages with the present in order to suspend the future by imagining its alternatives. The Future is also not an Object. – The Function of a Script (in relation to a Spectactor), In Relation to a Spectator: Studio for Propositional Cinema, October 2017

wfw weekend #452

exhibition view, JOHN BALDESSARI
seen at Mai 36, Zürich
on Friday, June 29. 2018
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wfw weekend #451

exhibition view, PHILIPPE PARRENO
seen at Gropius Bau, Berlin
on Saturday, July 7, 2018
image © we find wildness

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Jutta Koether. Trinity: Present (Phase II)

all images:

Trinity: Present (Phase II), 2018
installation views, Bortolami Artist / City, Philadelphia
Images courtesy of Bortolami, New York

Trinity: Present (Phase II) by JUTTA KOETHER is taking place in a three-story house also called ‘Trinity’ in Philadelphia. This location is currently hosting one of the experimental exhibition initiatives created by Bortolami Gallery in New York.

Using the idea of the Trinity as its organizing principle, the exhibition develops in three parts: Past, Present, and Future. The previous phase, Trinity: Past, focused on the paintings KOETHER made from 1995 onward, evincing her identity as a German artist who moved frequently between her homeland and the U.S., specifically the distinct Cologne and New York City art scenes.

Trinity: Present comprises a succinct survey of JUTTA KOETHERs black paintings from 2001 to present. KOETHER’s Volume paintings, a series of works she made in 2001, some of her earliest experimentations with black paint, are dispersed throughout the house.*

Trinity: Present (Phase II) by JUTTA KOETHER is on view at Bortolami Artist / City in Philadelphia until September 9, 2018.

*excerpt press release Bortolami Gallery, April 2018

I believe that the emotional makeup of people is a system not unlike the circulatory system or the muscular system. And if you can make a film that not only lays bare that system but is itself constructed out of those things, it would be an incredible thing to witness and to feel. – Francis Ford Coppola in conversation with Brian de Palma, Filmmakers Newsletters, May 1974

John Giorno. Suicide Sutra (1973)

Suicide Sutra, 1973

Suicide Sutra (1973) was written by JOHN GIORNO (born 1936) and appeared as a piece on his Dial-A-Poem phoneline which he founded in the late Sixties. People could ring in and hear poems by many writers, among them WILLIAM BURROUGHS, PATTI SMITH, ED SANDERS, ALLEN GINSBERG, JOHN CAGE, JIM CARROLL and LAURIE ANDERSON. Over a million calls were logged in the five months it ran in New York.

You can still hear some of the readings here.

The Italian sculptor Medardo Rosso (1858-1928), one of the few artists recognised by the Futurists as models, began in the late nineteenth century to devote his attention increasingly to photography. He photographed the reproductions of his sculptures over and over again, experimented with photographic paper, photo-plates and enlargements, until only the traces of the original image were left. When he exhibited some of his photographic experiments in Paris shortly before the turn of the century, Degas is said to have cried out: ça c’est de la peinture ! – Michaela Chiriac, The Image from the Image: The Disappearance and Appearance of Images in the Works of Marieta Chirulescu, Kunsthalle Basel, 2010

laterpost 2018. Jay Chung & Q Takeki Maeda at House of Gaga, Mexico City

exhibition views at House of Gaga, Mexico City
from March 27 to April 28, 2018
all images courtesy of House of Gaga, Mexico City

From March 27 through April 28, 2018 House of Gaga in Mexico City presented a solo exhibition by JAY CHUNG and Q TAKEKI MAEDA entitled New Images.

The exhibition was accompanied by a short essay that is available to download here. The following words are an edit from the press release provided by the gallery.

(…) Millenarian sects are religious, social, or political groups and movements formed in the expectation of a major transformation in society. In addition to early Christianity, doomsday cults, and Bolshevism, the art movements known as the historic avant-garde (e.g. Dada, Surrealism, and Constructivism) exhibit properties of millenarianism insofar as the artists associated with these movements worked in anticipation of a radical upheaval of bourgeois aesthetic norms and values. As is true for all millenarian sects, the predicted avant-garde revolutions never came to pass. Nonetheless, the artistic formats and principles developed by the avant-garde were taken up by later artists, being recycled in the works of the Neo-Avantgarde during the postwar era and again in today’s globalized contemporary art world.

There are many ways millenarian sects cope with the failure of their predictions. Display System: Suicide, Affirmation, Mediation (2018) divides the gallery’s exhibition space according to designations for three of these: suicide, affirmation, and mediation. The first, suicide, is usually associated with doomsday cults such as the Peoples Temple and Heaven’s Gate, and is the most violent of the three responses. But not all millenarian sects resort to such extreme ends. Others will instead proclaim their prophecy has in fact been fulfilled and simply affirm the existing state of affairs. In this second case, the failure of their prophecy paradoxically becomes the main evidence that the promise has arrived. Mediation, the third and most complex of the responses, involves a set of special texts, rituals, and institutions whose purpose is to manage the disparity between the prophecy and the reality of its nonappearance. Concrete predictions become metaphors, actions become rituals, and the sect becomes institutionalized, perpetually deferring expectations to some distant horizon.

Of the three sections comprising Display System, only one is used in the exhibition, with suicide and affirmation remaining empty. On the wall of the third section, mediation, the artists present a series of photographs of sharks, all ‘Untitled’ (2018). In the sphere of contemporary art, the most well-known use of the image of the shark is ‘The Physical Impossibility of Death in the Mind of Someone Living’, a purportedly “shocking” sculpture by the artist DAMIEN HIRST, who rose to prominence in the early 1990s as part of a highly publicized group known as the Young British Artists. It could be said that HIRST’s sculpture, having been so widely disseminated in the media, is so notorious that even today any work of contemporary art featuring a shark or sharks would inevitably be linked to HIRST’s, regardless of the fact of any actual or intended connection. In the photographs on display here, sharks are depicted, alive and swimming, in a tank at a public aquarium, for city-dwellers the most mundane of environments in which to view the animal.



I don’t want my work to feel all sweat-soaked and tortured. I’d like to be like a crooner, effortless seeming, smooth. That doesn’t mean it actually is easy. And it doesn’t mean you don’t have backbone, or even aggression. Like Frank Sinatra. Or Miles Davis, maybe. It’s like magic. I want my things to just appear. Not be painted. Just appear. – from “What I Would Say If I Were Christopher Wool” by Richard Hell, Whitewall, Nr. 3 (Autumn 2006)