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2022-05-16 13:01:05

Blog About | Contact Distribution Online Store Product Search Motto Berlin Motto Books Motto Editions Fivehundred Places 2ncbooks Motto Disco Events Exhibitions Programme Archive Newsletter Links _ _ _ _ _ Share testTewaaraton. La crosse / Lacrosse. Various Authors. Salon für KunstbuchPosted in books, politics, sports on May 15th, 2022Tags: Canada Games, Jason Stefanik / Jay Stafinak, Marjorie Kaniehtonkie Skidders, Paul Savoie, Salon für Kunstbuch, Tewaaraton. La crosse / Lacrosse, Toronto Experimental Translation Collective (TETC)In 2022 the Niagara Region welcomes the Canada Games; 2022 also marks the reintroduction of the Indigenous game of lacrosse. By thematizing lacrosse, this book celebrates the role sport plays in promoting cultural diversity. It features work by poet Jason Stefanik / Jay Stafinak, who grew up and lives in a Métis / mixed environment; photographer Marjorie Kaniehtonkie Skidders of the Mohawk Nation at Akwesasne; Franco-Ontarian author Paul Savoie; and the Toronto Experimental Translation Collective (TETC). They invite us to discover lacrosse from a creative perspective. Their talent and their enthusiastic participation to this volume in French and English are a poignant demonstration of kindness and mutual appreciation. The book reflects our diversity.–En 2022, la Région du Niagara accueille les Jeux du Canada ; 2022 marque aussi la réintroduction du jeu autochtone de la crosse. Par cette thématique, le présent ouvrage veut célébrer le rôle du sport dans la promotion d’une plus grande diversité culturelle. Il inclut des contributions du poète Jason Stefanik (Jay Stafinak), qui a grandi et vit dans un environnement mixte et métis ; de la photographe Marjorie Kaniehtonkie Skidders de la Nation Mohawk à Akwesasne ; de l’auteur franco-ontarien Paul Savoie ; et du Collectif torontois de traduction expérimentale. Ielles nous invitent à découvrir le jeu de la crosse d’une perspective créative. Leur talent et leur participation enthousiaste à ce volume en français et en anglais nous proposent généreuse expérience d’appréciation mutuelle. Ce livre reflète notre diversité.Order hereEmergence Magazine Volume III. Emmanuel Vaughan-Lee, Seanna Quinn, Bethany Ritz (Eds.). Emergence MagazinePosted in ecology, magazines, politics on May 14th, 2022Tags: Bethany Ritz, Emergence Magazine, Emergence Magazine Volume III, Emmanuel Vaughan-Lee, Living with the Unknown, Seanna QuinnVolume 3: Living with the UnknownAfter more than two years of instability triggered by the pandemic, apocalyptic visions are becoming a lived reality, as the effects of climate breakdown rapidly increase and failing societal and economic structures reveal the fragility of our modern industrial way of life. Cracks in the system are becoming chasms. So much has been revealed, both the light and the dark, that we have no true sense of what has been set into motion.What does living in an unfolding apocalyptic reality look like? The stories in Volume 3: Living with the Unknown explore this question through four themes—Initiation, Ashes, Roots, and Futures—moving from the raw unknowing of transformation to a place of rooted possibility. We commissioned new work from writers, artists, photographers, and poets, inviting them to respond to these themes. Within these pages you’ll experience fallen leaves, emerging cicadas, changing Arctic landscapes, reflections on motherhood and beauty, the kinship among trees, inward migrations, and imagined post-apocalyptic realities.Contributors: Anna Badkhen, Juan Bernabeu, Sheila Pree Bright, Sydney Cain, Camille T. Dungy, Azadeh Elmizadeh, Anisa George, Amitav Ghosh, Rebecca Giggs, Ann Hamilton, Daisy Hildyard, Linda Hogan, Daehyun Kim (“moonassi”), Robin Wall Kimmerer, J. Drew Lanham, Andri Snær Magnason, Ben Okri, Martin Shaw, Suzanne Simard, Jake Skeets, Chelsea Steinauer-Scudder, Llewellyn Vaughan-Lee, Terry Tempest Williams, Alexis Wright, and Kiliii Yüyan.Order hereVertige profonde. Vava Dudu. Editions Salon du SalonPosted in art, Artist Book on May 13th, 2022Tags: Editions Salon du Salon, Philippe Munda, Vava Dudu, Vertige profondeThis fanzine is entitled “Vertige Profonde”, Vava Dudu, an exhibition that took place at the Salon du Salon in Marseille in 2017.Vava Dudu’s solo exhibition “Vertige Profonde,” at Philippe Munda’s Marseille gallery, Salon du Salon, is visually balanced to the point of stillness. Carefully laid out grids of pen and ink drawings on notebook paper and scrawled across the thin cotton sheets that line the walls can do nothing to disturb this equilibrium. Small mounds stand out invitingly, sketched with slim lines inside abstract folds. Holes weep as the silhouettes of fingers slide into them. Disembodied breasts drip, cupped lightly in large hands. What kind of soft volume is that finger spreading beneath and around it with its insistence on the vertical axis? ‘Does it matter?’ Dudu’s drawings seem to say. There is nothing balanced about desire, and yet here it is, stilled, caught on rectangles of paper and cloth, so that one can focus on the implications just of that one mouth and the hand that is tangled around whatever it is sucking on.“Vertige Profonde” is French for intense vertigo, but in the word profonde there is also the suggestion of a phenomenon that is underlying, as though vertigo were at the foundation of sexual play. The spinning, de-centering center of human experience. As Dudu’s iconographic drawings spill down a rosé sheet meticulously pinned to the wall, its surface tension breaking only to accommodate a wrought-iron radiator, it is easy to see her graphic accumulation as the dizziness of the body caught in time with another body. The fact that the exhibition as a whole is still, nevertheless, results from the fact that there is nothing abject about desire as Dudu envisions it. There is violence, a lack of orientation and of any ultimate climax in her work, but it does not speak to what happens to the body before or after vertigo; there is no motive and no collapse.Dudu has a reputation for being uncategorizable, an intense iconoclast with a vision governed by irreverence and intuitive play. As a fashion stylist, she made corsets for Jean-Paul Gautier, and then started her own line of accessories using ancient beads. With Fabrice Lorrain, she won the prestigious ANDAM prize for fashion in 2001 on the basis of a series of fashion performances in the late 1990s and early 2000s. Dudu and Lorrain’s innovation was to repurpose used clothing and other material, amalgamating existing garments rather than producing clean or freshly coherent clothing. Together they made pieces for Lady Gaga, Björk, and Cat Power. In 2003, Dudu founded La Chatte, French for pussy, an electro-rock-punk-queer-pop band, for which she creates elaborate costumes like the one she wore for an interview at La Gaîté Lyrique in Paris when their album “Crash Ocean” was released in 2014. Her psychedelic stockings are reminiscent of Dr. Seuss’s early color palette. These are topped by a giant, bright yellow puffer jacket out of which two plastic, wilted, white women’s heads are spilling out of the jacket’s collar on either side of Dudu’s own.Salon du Salon occupies two adjoining rooms on the third floor of a spacious old bourgeois apartment on l’Avenue du Prado, a wide boulevard radiating out of the center of Marseille towards the South and into the city’s richer neighborhoods. Philippe Munda has run the gallery for four years at its current location, which is also his residence. He is interested in what it means to live with others adjacent to this kind of space.French bourgeois apartments have an internalized separation of public and private. With its cavernous ceilings, its French windows giving onto a shallow city balcony that lines the entire building, Salon du Salon is intimate without succumbing to informality. This space was designed to encompass social masquerade at the scale of the body, and so it breathes, unlike its massive post-industrial cousin.The two rooms also separate two very distinct moods in Dudu’s work: one rosé and the other red and black. On either side of the arched doorway that opens between these spaces, Dudu and Munda installed a pair of jackets that are among the few works Dudu did not create in situ as part of her short residency leading up to the exhibition. A red jacket and a black jacket were halved and then sown together with the opposite half of its twin, so that each is red and black. The word “security” is thus split, as is a black star against a red ground. Across both is stitched the phrase, “vous n’avez pas répondu à mon regard,” which translates to “you did not respond to my gaze,” but the address is formal. I read the security jacket as the uniform of mercenary authority and the starred jacket as the representative of some mixture of punk and old-school communism, another kind of order, and only slightly less authoritarian than its twin.If there is no collapse in “Vertige Profonde,” there is nevertheless an admission of the failure of systems to suture all subjects equally within the fabric of society, into order or counter-order. This failure on the part of the uniformed to respond to the gaze of an Other is the violent pair to desire, it is the other center-less center of society. The refusal to be ethical, the refusal to look, is ultimately the refusal to be undone by the possibility of another’s desire.Order hereMichaël Sellam – Science, fiction, culture, capital. Various Authors. BlackJack ÉditionsPosted in art, books, exhibition catalogue on May 13th, 2022Tags: Benoît Durandin, BlackJack Éditions, Christian Gaussen, Gérard Berréby, Lætitia Paviani, Michaël Sellam – Science fiction culture capital, monograph, Timothée ChaillouThe first monograph dedicated to the work of Michaël Sellam, which is at the crossroads of sculpture, photography, video and music. Here, it brings together, among other things, fruits, flowers, parallel universes, smoke, microscopic hieroglyphs, an Italian grandmother, traces of lipstick, masters of darkness, some robots, aliens, the making of Egyptian ropes, the inhalation of parasitic odors from the solar system, the intensive programming of an extremely slow machine and the 180° head turn.«Notre civilisation se développe dans une logique de la contingence, de la possibilité pour chaque chose d’être tout autre. Comment la notion de matière s’est ouverte à une économie et à une pensée de la forme à un moment où tout devient programmable? Expérimenter à travers l’art les relations de tensions entre science, fiction, culture et capital développe, de fait, un certain artifice. Il est peut-être nécessaire de produire une nouvelle esthétique qui ne soit ni représentative, ni abstraite, ni conditionnelle, mais constitutive d’une époque où, plus qu’à toute autre, nous construisons un monde qui inclut comme possible notre disparition et ou coexistent les formes chaotiques et ordonnées de la circulation: des idées, des formes, des atomes, des énergies, des gènes, de l’information.»–Michaël SellamTexts by Gérard Berréby, Benoît Durandin, Christian Gaussen, Lætitia Paviani; interview with Timothée Chaillou. Published on the occasion of Michaël Sellam’s exhibition at the École Supérieure des Beaux-Arts de Montpellier Agglomération, from January to February 2014.The work of Michaël Sellam (born in 1975 in Paris) multiplies the references to the world of popular leisure with a particular interest in amateur practices and forms of sub and counter-culture. Belonging to a generation that has integrated the use of computers and new technologies, he relies on these technical instruments and questions, through a complex and varied approach, forms that unfold from installation to video, from sculpture to performance.Order here12.05: MICHAËL SELLAM / EVERYTHING LOOKS BETTER WITH LOVE / THE BERLIN BIRTHDAY / SALON DU SALON MARSEILLE @ Motto BerlinPosted in Artist Book, events, Motto Berlin event, Motto Berlin store on May 10th, 2022Tags: artist's book, Book presentation, Contemporary art, Editions Salon du Salon, event, EVERYTHING LOOKS BETTER WITH LOVE, Michaël SellamDear friends,Please join us for the release ofEVERYTHING LOOK BETTER WITH LOVE, artist book byMICHAËL SELLAMpublished bySALON DU SALON.THURSDAY MAY 12th, at 7pmIn the presence of the publisher and friends.MOTTO BERLINSkalitzer Str. 68, im Hinterhof10997 BerlinEVERYTHING LOOKS BETTER WITH LOVEThe protocol for the production of the bookEVERYTHING LOOKS BETTER WITH LOVE published at Editions Salon du Salon is simple.There is a certain nonchalance, few gestures. These gestures directly question how a work is produced.The forms produced would have what Tristan Garcia calls an equal ontological dignity.“We live in this world of things, where a cutting of acacia, a gene, a computer-generated image, a transplantable hand, a musical sample, a trademarked name, or a sexual service are comparable things”. (Tristan Garcia,Form and Object: A Treatise on Things, Edinburgh University Press, 2014, p. 1.)It is a question of experimenting with a whole system of possible operations carried out with an unfailing form of love for things, gestures and beings.—Michaël Sellam, ParisSALON DU SALON is a project dedicated to contemporary art and a publishing house based in Marseille, France.Since December 2013, SALON DU SALON work with artists, authors and curators invited to develop proposals. Forms and development of collaboration are based upon the projects themselves, and have included, residencies, research, performance art, exhibition, publishing, and more.Order the book hereWater, Kinship, Belief. Candice Hopkins, Katie Lawson, Tairone Bastien (Eds.). Toronto Biennial of Art; Art MetropolePosted in books, exhibition catalogue on May 9th, 2022Tags: Art Metropole, Candice Hopkins, Katie Lawson, Tairone Bastien, The Shoreline Dilemma, Toronto Biennial of Art, Water Kinship BeliefThe inaugural Toronto Biennial of Art in 2019, titled The Shoreline Dilemma, was the first edition of a two-part biennial that traced interconnected narratives around the city’s ever-changing shoreline. These connections sought to reveal strategies of resistance against industrial-colonial systems, uncover polyphonic histories sedimented around the shoreline, and open up relations between the human and more-than-human. To extend this artistic thinking and expand notions of relationality, in 2022, the second edition, titled What Water Knows, The Land Remembers, moves inland to follow tributaries and ravines, both above ground and hidden, that shape this place.In relation to the two Biennial exhibitions, this publication Water, Kinship, Belief is a “third” site, a place where the continuities, resonances, and dissonances between Biennial editions are extended. Its pages become a means to bring together the artists, artworks, collaborators, and ideas that have together informed the exhibitions, irrespective of chronology, dispensing with categories, and part of a greater whole. Through its content and unique design, it is both a generative guide to the exhibitions and a Biennial site of its own, presenting new artistic relations that course through the book like tributaries.Artists: AA Bronson, Abbas Akhavan, Abel Rodríguez, Adrian Blackwell, Adrian Stimson, Aki Onda, Althea Thauberger, Kite, Amy Malbeuf, Andrea Carlson, Ange Loft, Arin Rungjang, Augustas Serapinas, Aycoobo, Bárbara Wagner, Benjamin de Burca, Brian Jungen, Caecilia Tripp, Camille Turner, Caroline Monnet, Curtis Talwst Santiago, Dana Claxton, Dana Prieto, Denyse Thomasos, Eduardo Navarro, Elder Duke Redbird, Embassy of Imagination, PA System, Eric-Paul Riege, Fernando Palma Rodríguez, Ghazaleh Avarzamani, Hajra Waheed, Hera Büyüktaşcıyan, ᐃᓱᒪ / Isuma, Jae Jarrell, ᔭᓇ ᑭᒍᓯᐊ / Janet Kigusiuq, Jeffrey Gibson, ᔨᐊᓯ ᐅᓈᖅ / Jessie Oonark, Joar Nango, Judy Chicago, Jumana Manna, Kapwani Kiwanga, Laurent Grasso, Lawrence Abu Hamdan, Lisa Reihana, Lisa Steele, Kim Tomczak, Lou Sheppard, Luis Jacob, Mata Aho Collective, Marguerite Humeau, Maria Thereza Alves, Moyra Davey, Nadia Belerique, ᓇᐸᓯ ᐳᑐᒍᖅ / Napachie Pootoogook, Naufus Ramirez-Figueroa, New Mineral Collective, New Red Order, Nick Sikkuark, Paul Pfeiffer, Qavavau Manumie, Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian, ReMatriate Collective, Shezad Dawood, Susan Schuppli, Syrus Marcus Ware, Tanya Lukin Linklater, Tsēmā Igharas, Erin Siddall, ᕕᐃᑎᕋᐊ ᒪᒍᓯᐊᓗ / Victoria Mamnguqsualuk, and Waqas Khan.Contributions by Adrian Blackwell, Ange Loft, Camille Georgeson-Usher, Camille Turner, Candice Hopkins, Charles Stankievech, Chiedza Pasipanodya, Ilana Shamoon, Katie Lawson, Melony Ward, Patrizia Libralato, Sebastian De Line, Susannah Rosenstock, Tairone Bastien, and Yaniya Lee.Order hereLOVOTIC (vinyl). Soundwalk Collective w/ Charlotte Gainsbourg feat Atom™, Lyra Pramuk, Paul B. Preciado, Willem Dafoe. Soundwalk CollectivePosted in art, music, Vinyl on May 8th, 2022Tags: Atom™, Charlotte Gainsbourg, concept album, double LP, LOVOTIC, Lyra Pramuk, Paul B. Preciado, Soundwalk Collective, Stephan Crasneanscki, vinyl, Willem DafoeWritten and conceived by Stephan Crasneanscki, ‘LOVOTIC’ is a concept album by Soundwalk Collective, composed in collaboration with lauded actress and singer/songwriter Charlotte Gainsbourg, Featuring veteran techno stalwart Atom™, rising singer/composer/performance artist Lyra Pramuk, celebrated actor Willem Dafoe, and writer/philosopher Paul B. Preciado, the album will be available from April 1st via the new Berlin-based Analogue Foundation.Inspired by a relatively new field of research that seeks to explore and develop the possibilities of sexual and emotional relationships – and even love – between humans and robots, ‘LOVOTIC’ interrogates the impulses, ideas, and needs underlying this phenomenon. The project ventures into a future where sex, intimacy and desire are reformulated through the connection of humans, robotics, and artificial intelligence.In an age of such hybrid entanglement with the machine, human identity requires the construction of new forms of intimacy, gender, and sexuality. At present, however, such technologies are primarily used to produce programs of limited sexual iterations that do not question the preformatted categories of gender and sexual orientation. In contrast, on ‘LOVOTIC’, Soundwalk Collective ask whether the future of sex and sexuality could instead be an exponentially expanding kaleidoscope. Where does the impulse of preference come from? What sets of words from our vocabulary can be communicated to the AI mind to generate a new identity for desire? Could the machine be another technology that brings us closer together?Sonically ‘LOVOTIC’ is unidentifiable, artificial, and genuinely futuristic, occupying an amorphous androgynous netherworld at the borderlands between biotic and android. Traditional musical signposts are virtually non-existent, instead offering a mercurial, formless sound which mirrors the flourishing of gender fluidity it suggests could be on the horizon.‘LOVOTIC’ is available as an artist edition double LP pressed on transparent vinyl, featuring a hand engraving on each side. It includes a 16-page booklet containing lyrics and painted artwork, both by Stephan Crasneanscki.Order hereMemoirs of a Child Plot Hole: How to Escape Yourself Without Even Trying. Evelyn Wh-ell. Sticky Fingers PublishingPosted in books, writing on May 8th, 2022Tags: Evelyn Wh-ell, Memoirs of a Child Plot Hole: How to Escape Yourself Without Even Trying, Sticky Fingers Publishing, writingsWho’s this shadowy figure? An appendage in a trench coat, cat’s eye lenses, a hat atop a strangely curling wig… in this two-faced publication, Evelyn Wh-ell presents Memoirs of a Child Plot Hole: How to Escape Yourself Without Even Trying, a science fiction dick tip diptych.A diptych is any object with two flat plates which form a pair, often attached by a hinge. The diptych hinges on an image, or, maybe more accurately, becomes unhinged through an image, and in its unhinging cleaves open a wormhole; a fall between two surfaces; the surface of the pages of a magazine; of sunglasses; of a glistening dildo that is pointing right at you.An ontological gender-fuck of comedies, Memoirs of a Child Plot Hole calls on the queer feminist possibility of science fiction with camp audacity. With an absurdist style which speaks to the punk brutality of the likes of Kathy Acker and John Waters, Wh-ell twists mundane activities such as going to a greasy spoon or watching television into sites for dismembering gender, penetration, iconography and worship.As readers, we are led through the church, the image-as-hole, down the high street and to confession, where we sit in hallowed pews resplendent in fake tan. Our Narrator plays games with us, we paint ourselves in Her image, which is only ever a hole to fall through – and again, flipped over.With two stories horizontally placed, neither takes precedence over the other but skews an image and replicates it. Circulating the penetrator and the penetrated, Wh-ell shows us how to escape yourself without even trying, resulting in a convergence. We follow Wh-ell’s paranoiac dioramas like the upward curve of our pinkish rod, to the centrefold wormhole.–Evelyn Wh-ell is a writer, artist and critical theorist interested in queer/trans aesthetics. Their writing has been published by Another Gaze, Cambridge Literary Review, permeable barrier, b l u s h lit, and Sticky Fingers Publishing’s Dead Lovers series. They are also a 2021-2023 Research Associate at CCA Derry~Londonderry.–Sticky Fingers is an intra-dependant feminist publisher based in London. It consists of designers and writers Kaiya Waerea (she/her) & Sophie Paul (she/her).Order hereHunting & Collecting. Sammy Baloji. Mu.ZEE; Galerie Imane FarèsPosted in art, books, exhibition catalogue on May 7th, 2022Tags: Anouck Clissen, Chrispin Mvano, exhibition catalogue, Galerie Imane Farès, Hunting & Collecting, Mu.ZEE, Philip Van den Bossche, Sammy BalojiPublished for the exhibition Hunting & Collecting, Mu.ZEE, Ostend, Belgium, cur. Sammy Baloji, Philip Van den Bossche and Anouck Clissen (3 August 2014 – 21 September 2014).Whatever can hunting wild animals in colonial Congo and the exploitation of Congolese mines in the present have in common with a collection of modern and contemporary art in a museum in the Belgian coastal city of Ostend? In 2014 Sammy Baloji initiated an ambitious research exhibition bringing together historical documents, pictures by Congolese photographer Chrispin Mvano, works of Belgian artists from the 19th and 20th century included in the collection , contributions by contemporary artists dealing with the exploitation of Congo and finally his own acrimonious collages. This book transforms the numerous layers of the exhibition into a experimental visual essay. The seemingly distant realities f art history and global economies appears as closely intermingled.Order hereBorrowing Positions: Role-playing Design & Architecture. Ott Kagovere, Kaisa Karvinen, Tommi Vasko (Eds.). LugemikPosted in architecture, Artist Book, books, design on May 6th, 2022Tags: Borrowing Positions: Role-playing Design & Architecture, Kaisa Karvinen, Lugemik, Ott Kagovere, Tommi Vasko2nd EditionA speculative book reflecting on design and architecture centred LARPs (Live Action Role-Play) organised by the Trojan Horse collective. The book is an exploration of Live Action Role-Play as a design and architecture research tool. By inviting the reader to try on different characters, switch roles and reconsider their everyday practices, the book aims to approach issues such as identity, performativity, gender, colonialism, care and fear in the context of architecture, design and urban planning.Order here« Previous EntriesNext Page » Motto Books SA