week 48: three exhibitions to see

Bojan Šarčević. Sentimentality is the core

all images:

Sentimentality is the core, exhibition views
at Modern Art, London, 2018

courtesy Modern Art London

ŠARČEVIĆ’s exhibition at Modern Art consists of a series of new works made from commercial freezers, farmed ice crystals, and an audio component. In the exhibition, various readymade freezers – powered on and at work – occupy the otherwise empty ground floor of the gallery. The humidity in the air inside the gallery space affects the ever-growing frost within them. Eerie monoliths, they formally evoke both Minimalism and an abandoned supermarket. Over the humming of their motors, audio tracks, punctuated by distortion, can be heard periodically. Transducer speakers installed within the freezers emit vibrations that rely on solid or liquid particles to generate sound. As such, the thick layer of frozen condensation that has formed within each of them becomes the physical device for sound wave transmission. The audio component of each work is composed of a different Pop song from the 1980s (from GEORGE MICHAEL and CHAKA KHAN to SPANDAU BALLET, BILLY IDOL and SADE) that was significant to the artist during his teenage years in Yugoslavia.*

Sentimentality is the core by BOJAN ŠARČEVIĆ is on view at Modern Art in London until December 21, 2018.

*excerpt from the Modern Art press release

Towards a Metalanguage of Evil, Cady Noland, Balcon No. 4, 1989

one pic monday. Nina Beier

Plug, 2018
ceramic sink, hand-rolled cigar
31.1 x 45.4 x 31 4 cm
image courtesy of Metro Pictures, New York

Plug (2018) is part of the exhibition Baby by NINA BEIER that is running at Metro Pictures in NYC through December 21, 2018.

wfw weekend #462

Public Sculpture (2018), GHISLAINE LEUNG
seen at Fri Art, Fribourg
on Saturday, October 27, 2018
image © we find wildness

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wfw weekend #461

Les Guérillères (2016), MAI-THU PERRET
seen at Mamco, Geneva
on Saturday, October 20, 2018
image © we find wildness

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wfw weekend #460

The Big Shift (1989), CADY NOLAND
seen at MMK, Frankfurt am Main
on Friday, November 9, 2018
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week 45: three exhibitions to see

Barbara Kruger. Job Description

Job Description (1984)

scan from The Production Line of Happiness, CHRISTOPHER WILLIAMS, Green Edition, Yale University Press, 2014

courtesy of the artist

Job Description (1984) by BARBARA KRUGER has been originally published in Remote Control: Power, Cultures and the World of Appearances (MIT Press, 1983), pp. 233-34.



Why Does Fred Sandback’s Work Make Me Cry?, Andrea Fraser, Grey Room NO. 22 / Winter 2006 p.30-47

Cindy Sherman. Nobody’s Here But Me

Nobody’s Here But Me, 1994
55 min., Cinecontact for BBC and Arts Council of England

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

Dominique Gonzalez-Foerster & Eva Marisaldi. Film


images © wfw

The text above comes from Film which seems to be the catalogue of an exhibition by DOMINIQUE GONZALEZ-FOERSTER and EVA MARISALDI that took place at the Geneva based gallery Espace Analix in 1994.



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