Jaakko Pallasvuo. Picasso

Picasso, 2014
HD Video, 5min55

video courtesy the artist

Finnish artist JAAKKO PALLASVUO is showing the video featured above entitled Picasso (2014) as well as other wall works in the Zombie Routine exhibition at New Galerie in Paris. The show is based around the routine daily life, the repeated actions and reactions we all, to some degree, accomplish and which generate a certain wasteland of exhausted domesticity.

Picasso (2014) is a new iteration of PALLASVUO‘s video works that explore the idea of video art and the methods of essay film. If you’ve seen the video, the piece asserts the sheer proliferation and interchangeability of images in the physical and virtual realms while the voiceover takes us on a personal journey in which ideas of identities, power as well as processes of individualization are questioned thanks to the character of Picasso.

I don’t really see my work as documentary, although I do understand how that connection could be made. The videos definitely have to do with awkwardly imposing dramatic structures onto reality, the relative impossibility of that. – JAAKKO PALLASVUO in conversation with LOUIS DOULAS, Rhizome March 2012

Zombie Routine (a project by Exo Exo) is on view at New Galerie in Paris till March 28, 2015.

Domenico de Chirico for We Find Wildness #6

all images courtesy the artist and Office Baroque, Brussels

Badly Primed Canvas, a solo exhibition by Scottish artist KEITH FARQUHAR
presented at Office Baroque in Brussels, Belgium
on view till April 11, 2015


chosen by curator and editor DOMENICO DE CHIRICO

one pic monday. Darja Bajagić


ExAxes – Sword (detail), 2015
print on axe, 33,02 x 12,70 x 2,54 cm

image courtesy the artist

The image above is a detail from a piece by DARJA BAJAGIĆ that is currently part of the group exhibition Debris presented at James Fuentes Gallery in New York. Entitled ExAxes – Sword (2015), the work consists of an axe on which an image depicting two women posing with a sword has been printed. It’s odd, provocative and fascinating, additionally the art object, itself cold and cruel, amplifies the malaise of the combination of the girls and the tool.

DARJA BAJAGIĆ, born in Montenegro in 1990 and based in New York, seems to arouse the art world since a few months thanks to her work that uses imagery from Eastern European porn and niche fetish sites as well as serial killer memorabilia that she bought online. BAJAGIĆ’s work engages in a very direct confrontation with the viewer and investigated themes such as violence, existing power structures, consumerism, as well as pornography.

Debris, featuring work by DARJA BAJAGIĆ, DAVID WOJNAROWICZ, HAIM STEINBACH, LIZZI BOUGATSOS, NEVINE MAHMOUD and RENAUD JEREZ, is on view at at James Fuentes in New York until April 26, 2015.

Earlier this year Paramount Ranch presented a whole series of axes (on view here) by BAJAGIĆ. I also really recommend to read the article entitled Why Darja Bajagić Appropriates Porn and Serial Killer Art written by CHRISTIE CHU for artnet.


wfw weekend #190


Magic Box VI (acrylic monkey box, 2015) by GINA FOLLY
seen at Plattform 15, Zürich (ewz-Unterwerk Selnau)
on Friday, March 13, 2015
image © wfw

wfw weekend #189


a glimpse into NO; NO; H E Pthe first monograph of TOBIAS MADISON‘s work
published by JRP Ringier
on February 2015
image © wfw

please note also that TOBIAS MADISON’ solo exhibition at Galerie Francesca Pia in Zürich is running through April 11, 2015.

wfw weekend #188


view from the group exhibition Clouds in the Cave
presented at Fri Art, Fribourg
image © wfw

Clouds in the Cave is on view till May 3, 2015

Austin Lee. No Fair














all images:
AUSTIN LEE, No Fair, exhibition views at Isbrytaren, Stockholm
courtesy the artist and Carl Kostyál, Stockholm

No Fair is the new solo exhibition of American artist AUSTIN LEE that opened last weekend at the artist-run space called Isbrytaren in Stockholm.

There is little information about the exhibition but it seems that the show clearly follows LEE‘s grotesque and bold approach to painting. No Fair consists of a series of 3D printed portraits as well as new paintings including large works applied directly on the gallery walls.

LEE often begins his process by using an iPad to make digital drawings. Drawing, perhaps one of the quickest ways for an artist to translate a thought into something visual, is made almost immediate by sketching with the iPad. Drawing and erasing become swiping and undoing, enabling the ability to endlessly render and alter images. This method of working is inherently more visceral than analog drawing techniques, in that the hand is actually freer, unrestrained, and spontaneous, yielding entirely expressive results from what seem to be the simplest of lines. Mistakes, chance, and the accidental thus become central to Lee’s playful and curious explorations on and through the screen, and subsequently on canvas.  – KERRY DORAN, January 2014

Like for his previous works and exhibitions, he combined different painting styles and techniques on the same pictorial medium, lush and liberal application of color as well as different sizes of formats, which thus undermine traditional positions in painting with a tongue in cheek attitude.

No Fair by AUSTIN LEE is on view at Isbrytaren in Stockholm until April 3, 2015.

Oscar Tuazon at Le Consortium


Goodbye, 2008
dome, tents, nylon, duct, tape 396.24 x 231.14 x 152.4 cm


installation view at Le Consortium Dijon, February 2015


installation view at Le Consortium Dijon, February 2015


installation view at Le Consortium Dijon, February 2015


Stand In, 2013
plaster, grey paint, fiber glass, steel 165,5 x 165,5 x 5 cm, 150 kg


Steel, oak post, office chair, 2011
steel, wood, chair 154 x 142 x 83 cm


It is it, 2015
marble tiles


Numbers, 2012
steel, screws, 240 x 360 x 240 cm


WORK NOW, 2011- 2012
styrofoam, wood, concrete, mirror, 228 x 90 x 50 cm


installation view at Le Consortium Dijon, February 2015


4 frames / What’s a wall, 2015
wood, steel section, 4 plaster panels, approx. 350 x 322 x 21,5 cm


Real Effects, 2015
concrete 171,5 x 1,133 x 10,5 cm


Real Effects, 2015 (detail)
concrete 171,5 x 1,133 x 10,5 cm


installation view at Le Consortium Dijon, February 2015


Scott Burton (version 1), 2012
concrete 106 x 50 x 86 cm


Scott Burton (version 2), 2012
concrete 106 x 50 x 86 cm


installation view at Le Consortium Dijon, February 2015

all images © wfw

This feature is part of the ongoing collaboration with Novembre Magazine who presents more view of the exhibitions on http://novembremagazine.com/oscar-tuazon-studio-at-le-consortium-dijon

For his first survey in an institution in France, American artist OSCAR TUAZON (b.1975) presents new and previous sculptural interventions that revolve around his investigations on the fields of architecture, sculpture, and performance.

The exhibition, titled Studio, fills the two-thirds of the Centre d’Art in Dijon with works that might be best described as sculptures in an abandoned construction site after dark. On both levels of the art center, visitors encounter a series of objects and structures that he mainly constructed on the exhibition site with materials that were available there because TUAZON is a doer or at least he is truly interested in the physical process of constructing something rather that in design as he explained*. Just like a scientist, he likes using the properties of these fund materials and let them dictate the resulting work.  Often in wood, metal, stone, and concrete, the results which look very contemporary nevertheless straddle the fashionable and divide between outsider and insider, self-taught and educated, trash and assemblage, and among art, craft and design.

What’s even more striking than the works which cover the spectrum between found and made in a fresh way, is how the pieces discuss together and engage ingeniously with the existing architecture of the Consortium. Each room appears to have the perfect portion of art properly placed in the proper amount of space enabling the works to not be contemporary art cliches but to offer a multitude of lessons in looking.

Studio by OSCAR TUAZON is on view at Le Consortium in Dijon till May 17, 2015


Domenico de Chirico for We Find Wildness #5

all images courtesy the artist and Ginerva Gambino, Cologne

Crawler, a solo exhibition by French artist AUDE PARISET
presented at Ginerva Gambino in Cologne, Germany
on view till March 28, 2015


chosen by curator and editor DOMENICO DE CHIRICO

Benjamin Bratton. Machine Vision


Sociological, media, and design theorist BENJAMIN BRATTON talks to MIKE PEPI and MARVIN JORDAN from DIS Magazine about his recent researches revolving around what he calls the ‘planetary-scale computation’ (basically a new geopolitical architecture on how we divide up the world into sovereign space), but also more generally about ‘the digital’, and contemporary art.

A really interesting discussion, may be not so easy to grasp but that I really recommend to read via http://dismagazine.com/issues/73272/benjamin-bratton-machine-vision/

one pic monday. Stephanie Cherpin


C’est déjà un abri, 2015
exhibition view from Foreign Parts at l’Assaut de la la menuiserie, St Etienne

image courtesy the artist

‘C’est déjà un abri’ or ‘it’s already a shelter’ is a work by French artist STEPHANIE CHERPIN which is probably the central piece of her new solo exhibition entitled Foreign Parts currently presented at the art space L’Assaut de la Menuiserie on the occasion of the Biennale Internationale Design of Saint-Etienne in France.

For this exhibition, but like much of her previous works, STEPHANIE CHERPIN constructed a series of sculptures out of industrial and common materials, that she did not hesitate to put together in such a way as to endow them with a completely different dimension. More specifically Foreign Parts consists of camping materials such as tents, tarps as well as metallic structures, tools, or even tar that she took to pieces, dismembered, ripped up to eventually patched, glued and resewn them back together.

Bringing to mind ruins of sculptures, the works featured in Foreign Parts seem to deal with decay, decline and post-apocalyptic feelings, but at the same time it expresses an incredible sense of beauty, an exceptional attention to materials, colour and an undoubtedly fragility.

Foreign Parts by STEPHANIE CHERPIN is on view at L’Assaut de la Menuiserie in St Etienne until April 11, 2015. More infos about the Biennale Internationale Design of St Etienne here.

found via


wfw weekend #187


Christiane (2015, oyster, glue, plastic eyes) by FABIAN BOSCHUNG
seen in the group exhibition Swamp Thing*
presented at Schwarzwaldallee, Basel
on Saturday, March 7, 2015
image © wfw

follow We Find Wildness on instagram to see more photos from the exhibitions I see

* this exhibition is on view till April 18, 2015


wfw weekend #186


a glimpse into the studio of Swiss artist VALENTINA STIEGER
visited on Friday, March 13, 2015
image © wfw

the entire visit will be on view in a few days on wfw, stay tuned!

Domenico de Chirico for We Find Wildness #4

all images courtesy the artist and the Oldenburger Kunstverein, Oldenburg
photo credit: NICK ASH

Think Thank, a solo exhibition by HENNING STRASSBURGER
on view at Oldenburger Kunstverein, Oldenburg (Germany)
until Sunday, April 12, 2015
more infos via http://www.oldenburger-kunstverein.de/

Additionally HENNING STRASSBURGER wrote a novel for this exhibition. You can view a video of him reading a short part at the opening and a second one that shows an excerpt of his video installation.

chosen by curator and editor DOMENICO DE CHIRICO

AIRBNB Pavilion. Schöner Wohnen









all images:
Schöner Wohnen, installation views at Armada, Milan
Courtesy of armada, Milan. Photo by BEPPE RASO

AIRBNB Pavilion is a London-based collective founded by architects FABRIZIO BALLABIO, ALESSANDRO BAVA, LUIS ORTEGA GOVELA and OCTAVE PERRAULT and which is best known for having interfered the Architecture Biennale in Venice in 2014 by creating a series of unofficial exhibitions held in rented Airbnb apartments across Venice.

Like this previous project, Schöner Wohnen, currently presented at Armada, examines displays of domesticity as constructed through spaces, things as well as through media platforms. More specifically this single installation investigates ‘on the status of domestic objects as (biographical) signifiers of our dwelling selves in an age of savage mediatic reproduction‘ according to the press release.

Schöner Wohnen consists basically of filling the Milan’s art space with furniture and decoration borrowed from members of Armada. The title of the exhibition refers to publications or department stores instructing consumers on how to make the best dinners, living rooms, or lifestyles, and eventually leads the whole exhibition into the critical perspective on how the notion of domestic space, and all it encapsulates, has been redefined in contemporary culture.

Schöner Wohnen by AIRBNB Pavilion is on view at Armada in Milano till March 29, 2015