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views from the group exhibition Pure Disclosure
seen at Marsèlleria permanent exhibition , Milano
on Saturday, April 10, 2015
image ©  wfw

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more about this exhibition soon on wfw

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KARI ALTMANN, Xomia (Return Home, Realflow, All Terrain)
installation view at Ellis King, Dublin, April 2015

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Stretch Fle and Xtend, 2015
inkjet on vinyl and aluminium hardware 91.5 x 66 x 7.5 cm (26 x 36 x 3 inches)

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Everything is a Virus, 2015
inkjet on vinyl and aluminium hardware 91.5 x 66 x 7.5 cm (26 x 36 x 3 inches)

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KARI ALTMANN, Xomia (Return Home, Realflow, All Terrain)
installation view at Ellis King, Dublin, April 2015

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Hyde A, 2015
inkjet on synthetic leather in plexi frame
106.68 x 132.08 x 5.72cm (42 x 52 x 2 1⁄4 inches)

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All Terrain, 2015
inkjet on vinyl, synthetic leather, air plants, and aluminium hardware
300 x 240 x 40 cm (118 x 94 1⁄2 x 15 3⁄4 inches)

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All Terrain (back), 2015
inkjet on vinyl, synthetic leather, air plants, and aluminium hardware
300 x 240 x 40 cm (118 x 94 1⁄2 x 15 3⁄4 inches)

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Hyde B, 2015
inkjet on synthetic leather in plexi frame,
106.68 x 132.08 x 5.72cm (42 x 52 x 2,25 in)

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KARI ALTMANN, Xomia (Return Home, Realflow, All Terrain)
installation view at Ellis King, Dublin, April 2015

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Make It More Ergonomic, 2015
plastic and moulding clay, 22 x 15 x 5 cm (8 1⁄2 x 6 x 2 inches)

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KARI ALTMANN, Xomia (Return Home, Realflow, All Terrain)
installation view at Ellis King, Dublin, April 2015

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The Site of Future Mergers, 2015
inkjet on vinyl, synthetic leather, air plants, and aluminium hardware
300 x 240 x 40 cm (118 x 94 1⁄2 x 15 3⁄4 inches)

all images courtesy the artist and Ellis King, Dublin

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In an interview that KARI ALTMANN gave for aqnb last year, she explained that she uses brands like formats, and that these ‘formats are fluid, that an artwork can now live as something beyond that’, and that eventually her main interest is to create ‘networks of cultural technology thanks to the internet and its options to what an artwork can be, what an image can be, and how it can move and display itself’. Xomia (Return Home, Realflow, All Terrain), her new solo exhibition currently presented at Ellis King in Dublin, is no exception to this concern.

Xomia (Return Home, Realflow, All Terrain) is undoubtedly diverse and lively, and challenges classic sculptural questions concerning representation and reception even if a large part of ALTMANN‘s work is composed of tumblrs, websites, soundcloud accounts or facebook pages among other materials.

Most of the works in the exhibition – comprising wall pieces, sculptures, videos and wallpapers – presented in the large and bright space of Ellis King seem to define her virtual and intangible world thanks to a precise display of pacing, color, sound, and mood. The press release (see below) is also a structuring element of the project:

How Do You Remain Elegant About Survival?

Reduce It Down To Skeletal Movements

Make It More Ergonomic

Customize, Decorate To Fit

Stretch, Flex, And Xtend

Show Up Fresh, Stay Fluid
It Works In Liquid Impressions

XEVIA AND AQUAHYDRATE COMBINE TO FORM AQUEVIA XHYDRATIA

Head Toward The Horizon Together

Grip The Ground With TalonFlux

The Best Of Soft-Shell And Hard-Shell

Orca Killer Compression Core

Second-Skin

Stimulastine

The Ability To Detach And Reattach

Your Friend Ssaleikha Just Posted A New Photo On Zorpia!

In A Closed But Very Powerful Ecosystem

Not Just A Network, It’s An Attitude

Also Comes In Clay, Clear, Blue, White, Iridescent

Until Everything Is A Mandala

Everything Is A Compass

Everything Is A Virus

Everything Is A Sun

It’s A Big World, Go Run It

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If you are in Dublin, make sure to view Xomia (Return Home, Realflow, All Terrain) at Ellis King before it closes on May 2, 2015.

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ps. FLEXIA XLE III (2015) one of the videos presented in the exhibition is on view on wfw, watch it here!

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all images courtesy the artists and Supplement, London

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Club Caligula, a group exhibition with STEFANIA BATOEVA, ILJA KARILAMPI, LESLIE KULESH and ISAAC LYTHGOE
on view at Supplement, London
until May 2, 2015

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chosen by curator and editor DOMENICO DE CHIRICO

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all images © WERONIKA ŁAWNICZAK

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WERONIKA ŁAWNICZAK is a Polish photographer who works within studio portraits, staged snapshots and diary/documentary photography. Most of her pictures are in black and white reducing them to the historical photographic aesthetic and thus making them timeless. When ŁAWNICZAK uses color, the resulting images offer muted tones and soft contrast. Her work seems to go after moods or feelings, rather than records or informations, as well as some degree of abstraction.

Graduated at the University of Fine Arts in Poznan, she has been collaborating with The Czułość Gallery based in Warsaw since 2010. Very recently WERONIKA ŁAWNICZAK shot the cover of the latest issue of Spike Magazine in which you can also find a selection of her work.

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Ivanpah, 2015
image © MICHAEL DAVID FRIBERG

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Earlier this year, American photographer MICHAEL DAVID FRIBERG paid a visit to Ivanpah, the worlds largest concentrated solar thermal power plant located in the California Mojave Desert. The result is a fascinating series that has been published in an editorial for the the german edition of WIRED Magazine and which shows the incredible size of the project but also of the clean technology market.

I have seen a lot of crazy stuff in my life but as I stood on a tower 600 feet up as hundreds of thousands of mirrors reflected sunlight back towards me, I felt a mixture of awe and terror that I’ve never experienced. The plant uses around 300,000 mirrors out in the desert to reflect sunlight back up towards a tower that then superheats steam which then spins a turbine and generates electricity. – MICHAEL DAVID FRIBERG

Make sure to view the whole series via http://www.michaelfriberg.com/ivanpah/

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found via

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two views from the solo exhibition of ISABEL NOLAN
seen at Kerlin Gallery, Dublin
on Thursday, April 2, 2015
image © wfw

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Bent Knees are a Give by ISABEL NOLAN is on view until May 16, 2015. Click here to view more Instagram photos, captured on my recent trip to Ireland.

 

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FLEXIA XLE III (2015) by KARI ALTMANN
as part of her solo exhibition Xomia (Return Home, Realflow, All Terrain)*
seen at Ellis King, Dublin
on Thursday, April 2, 2015
video courtesy the artist

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*this exhibition is on view till May 2, 2015. Two more details from the show are on view via the wfw instagram.

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all images courtesy the artist and Croy Nielsen, Berlin

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The Same Mistake, a solo exhibition by MITCHELL SYROP
on view at Croy Nielsen in Berlin
until April 18, 2015

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chosen by curator and editor DOMENICO DE CHIRICO

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Polished Performance, 2015

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Polished Performance, 2015

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Fit for Purpose (retail fantasy), 2014/2015

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Fit for Purpose (retail fantasy), 2014/2015

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VALENTINA STIEGER
at her studio, Zürich
March 2015

views from the exhibition Fit for Purpose at Kunsthaus Glarus, February 2015

all images © wfw

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VALENTINA STIEGER is a Swiss artist who opened the doors of her studio in Zürich to wfw in the beginning of March. Her atelier is situated a few minutes away from the city center, in the middle of a courtyard, on the first floor of a car garage. The space is bright, quiet and with a reasonable size for working there everyday. A few works in progress were also present at that time like the large-canvas works that have never been shown but that will be the subject of an upcoming book, a collection of clay casts of sneaker prints made for the exhibition at the Kunsthaus in Glarus as well as a series of brochure holders onto which she had applied transparent acrylic as a first attempt.

Working across sculpture, painting and ceramics, VALENTINA STIEGER explores the potentialities of high tech, industry and handicraft by using materials like construction products and everyday objects but also by playfully shifting the boundaries between formalism and functionality. Additionally VALENTINA STIEGER’s contemporary methodology of accumulating, and manipulating research material, as a source of both information and inspiration, is juxtaposed with materials and processes that are idiosyncratic and often homespun. For instance the fabrics that have been used for her canvas works are actually bed sheets from the nineties that she collects since a couple of years and which are now transformed into ornamental abstract wall works.

As an extension of the studio visit, a few images of her work presented in the group exhibition Fit for Purpose at the Kunsthaus Glarus are part of the feature. The pieces for the show combine geometric structures and more organic elements and refer to familiar forms such as domestic objects like tables or coat racks. By dismantling the borders between design, sculpture and installation art, these familiar forms are reinvented to reflect on the social, historical and psychological narratives embedded in everyday objects and situations.

Be sure to view Fit for Purpose at the Kunsthaus Glarus before it closes on May 3, 2015. VALENTINA STIEGER‘s doesn’t have a proper website yet but you can view some of her works here.

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On the occasion of his new solo exhibition entitled A Lil Taste of Cheeto in the Night, American artist PARKER ITO talked to CHRIS KRAUS for Artforum about how he constructed and came to this two-year project that is currently on view at Chateau Shatto in Los Angeles.

I also really recommend to read MAXWELL WILLIAMS’ article for the NY Times Magazine who explains ITO‘s process and attempts for this exhibition.

Be sure to catch in person the chapter 3 of A Lil Taste of Cheeto in the Night at Chateau Shatto before it closes on May 2, 2015.

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Wormhole, 2015
installation shot, digital interference

image courtesy the artist and Freedman Fitzpatrick, Los Angeles

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A few days ago, the exhibition entitled Clouds In The Cave – currently presented at Fri Art in Fribourg – has been featured on the wfw instagram as well as in the framework of the wfw weekend posts. As a complement, here is a piece by PHILLIP ZACH created especially for the show.

Entitled Wormhole (2015), this work consists of a series of installation shots infested by organic forms which look like worms. Everything is digital: the views, the worms and none images are displayed in the exhibition, but only exist online as an extension of the show.

➝ Clouds In The Cave is on view at Fri Art, Fribourg (Switzerland) until May 3, 2015. The whole series is on view via http://www.fri-art.ch/

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all images courtesy the artist and The Still House Group, New York

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Menswear, a solo exhibition by ERIKA CERUZZI
presented at The Still House Group in New York
on view till April 10, 2015

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chosen by curator and editor DOMENICO DE CHIRICO

ps. ERIKA CERUZZI’s work has been previously featured on wfw, have a look here!

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view from the installation Bermuda Triangle (2015) by SONIA KACEM
seen at Kunst Halle Sankt Gallen, St Gall
on Sunday, March 29, 2015
image © wfw

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detail from the installation Laguna by CHLOE DELARUE and SHANA MOULTON
seen at M J Gallery, Geneva
on Friday, March 27, 2015
image © wfw

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more about this exhibition soon on wfw, meanwhile two more views of the show are available on the wfw instagram

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video courtesy ZOOSCOPE

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exhibition views from Trap Me Like An Animal In The Zo
at St Martin, Lausanne, February 2015
images courtesy the artists

photos: CHARLOTTE KRIEGER

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Earlier this year, the swiss art collective RATS has been invited by another multidisciplinary swiss collective called ZOOSCOPE to present a one-day exhibition show titled Trap Me Like An Animal In The Zo in a given location in Lausanne after having spent a two weeks residency in the space.

Trap Me Like An Animal In The Zo was a cross between a party, a curated show and a performance where people came together for one day to participate in something surprisingly fresh. The event took place in St Martin, a performing arts venue in Lausanne, which looks like a dusty abandoned depot.

For this exhibition, artists from the RATS collective made used of found materials readily available to hand  — everything from wood frames to sound samples and pieces of old carpet — to create works that eventually projected the threat of impermanence, evoked a precarious, handmade quality and vibrated with anti-Minimalist energy. Perhaps the most imposing piece in the show was by MAZYAR ZARANDAR, who removed the carpet of the space and hung up the torn pieces on a chaotic and precarious tubular structure, while THOMAS KOENIG drew with bleach onto large black canvas. ANTOINE TILLE reinterpreted a piece by TERRY RILEY entitled In C (1968) by recording sounds in situ, then this impressive audio summary of the site filled the entire floor of St Martin thanks to the several hanging loudspeakers. As for CHARLOTTE STUBY, she placed several luminous spots in the space conveying a dramatic effect within the gloomy rooms and emphasizing her engraved mirrors . Finally ZOOSCOPE showed a video featuring the artists filmed during their residency.

This action seems to have given the RATS collective the permission to keep the works restless and unfinished, an “unfinished” state that was open and rough.

RATS collective was for this show AURÉLIEN BALLIF, MICHAEL JORDAN (LIVE), THOMAS KOENIG, BLACK SALAT (LIVE), CHARLOTTE STUBY, ANTOINE TILLE, VERMINO and MAZYAR ZARANDAR.

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