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

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
image © we find wildness

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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