Raw Material Company. On Art History in Africa. Crowdfunding Campaign. (until June 1st, 2020)

Posted in art, history on May 7th, 2020

RAW_Kickstarter

Please support our presale campaign for our upcoming publication with Raw Material Company.

De l’histoire de l’art en Afrique / On Art History in Africa

https://www.kickstarter.com/projects/mottobooks/de-lhistoire-de-lart-en-afrique-on-art-history-in-africa

“Reality Companions” @ Motto Berlin

Posted in events, exhibitions on April 14th, 2020

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Bertrand Flanet: Pale Habits, 2017, installation view, Reality Companions, Motto Berlin

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Gina Folly: Don’t worry about your Future, 2020, installation view, Reality Companions, Motto Berlin

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Becket MWN: Seven-Oh-Six, 2015, installation view, Reality Companions, Motto Berlin

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Inga Danysz & Becket MWN: +4915215142816, 2020, installation view, Reality Companions, Motto Berlin

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Inga Danysz: The End is always at the Beginning, 2019, installation view, Reality Companions, Motto Berlin

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Inga Danysz: Untitled, 2019, installation view, Reality Companions, Motto Berlin

Photos: Yudith Heinemann

 

Reality Companions
Feb 21 – April 30, 2020
Motto Books Berlin

with works by Inga Danysz, Bertrand Flanet, Gina Folly, Becket MWN

curated by Dennis Brzek

In 2002, German car manufacturer VW opened their so called “Gläserne Manufaktur” (meaning both glassy and transparent factory) as a simulacrum for granting an undisturbed view into its production processes. The glass factory’s promise of full transparency is enmeshed in an array of showcases devoid of human activity, in which tasks are performed for an audience solely by an interplay of automatic gestures. Leading the viewer’s eye from the assembly of individual parts towards the wholeness of the finished product, their performance is—next to government apologias of stability, craft, and expertise—a testament to its belief in a scratch-free experience by way of steering the mechanical arms in safe distance from the glass surface. The luminous airspace lying in between the machinic extremities and their transparent cube is a border of the mind being kept firmly monosemantic.

Fast forward a few years and we are at Elon Musk’s presentation for the Cybertruck, a bulky desert buggy clad in a retro-futuristic shell including dramatically blacked out windows made from the company’s certified armor glass. This product showcase is made out to become the prime denominator for innovation, all the while being drenched in an upside-down baroque aesthetic of all things black and shiny. About half way into the spectacle, lead designer-cum-stage assistant Franz von Holzhausen hurls a metal ball into the truck’s hushed glass outlooks for demonstration of their promised permanence in the face of force. The ball hits and makes the glass crack. A dull thud serenades this banal action, framed underneath bright spotlights and the audience’s chuckled gasps and awkward laughters. In the moment of collision, the ball created a suspended drawing mapping its own meteoritic field of impact located somewhere within the thick outer sheet of the transparent metal. The lines of destruction that were drawn by the unfortunate performer create a spiderweb that becomes a gothic prop in this story’s haunted narrative. The signature left by the metal ball is both concrete and abstract, sketching a caricature of the visual organization of our present where what cracks is never the glass but only its very before. Famously, the only things that ever hits the view of those hyper valued subjects hidden behind bulletproof glass are the raw eggs thrown by protestors trying to make a pointed take, mostly in vain.

SUPERBEE SPIX COLA 139 KOOL GUY CRAZY CROSS 136 DUKE SPRIT SUPERKOOL KOOLKILLER ACE VIPERE SPIDER EDDIE KOLA are only some of the protagonists mentioned in Jean Baudrillard’s vision of New York of the 1970s in his essay “Kool killer ou l’insurrection par les signes” published in 1976. Here, the neurotically semiotic French philosopher describes the city as a vessel for signs and graffiti, abundant signifiers and empty words. The plane of production of these symbols is not just walls of buildings and underground stations but also the more irreducible surface of windows. Today, these scratchings seem to hover in between layers of glass, making them appear suspended in time and place like intractable and incomprehensible signs of another age. Workers who will travel to Grünheide in Brandenburg via S-Bahn for their shifts at Tesla’s Gigafactory 4 will see those engravings and believe them to be hieroglyphs of a time in which semantics were something created instead of endured.

Special Offers. Spring 2020.

Posted in Uncategorized on March 21st, 2020

Motto_Books_Promo

For the next weeks, we’ll try to send online orders as efficiently as possible. (some information here)

Order 2 books and get 1 surprise book for free.

Order 5 books, and get 2 surprise books for free.

Every order above 50€ gets a free Erik Steinbrecher ephemera or poster.

We offer free delivery in Berlin, within reasonable distance, until we can’t do it.

Write us with any requests to: support (at) mottodistribution.com

Bader Motor + Zabo Chabiland (+Nicolas Moulin) @ Motto Berlin. 07 March 2020

Posted in events on March 2nd, 2020

bader_motor

Bader Motor. (live)
7pm (sharp)
+
Zabo Chabiland. Sleeping Odyssey. (live)
(Grautag record release)
8pm
+
And Nicolas Moulin will also play records with friends and ghosts
+
Drinks

Reality Companions. Motto Berlin. 20.02.2020

Posted in events on February 12th, 2020

Reality Companions

Reality Companions
opening: Feb 20, 7-10pm
Feb 21 – Mar 17, 2020
Motto Books Berlin

with works by
Inga Danysz
Bertrand Flanet
Gina Folly
Becket MWN

curated by Dennis Brzek

In 2002, German car manufacturer VW opened their so called “Gläserne Manufaktur” (meaning both glassy and transparent factory) as a simulacrum for granting an undisturbed view into its production processes. The glass factory’s promise of full transparency is enmeshed in an array of showcases devoid of human activity, in which tasks are performed for an audience solely by an interplay of automatic gestures. Leading the viewer’s eye from the assembly of individual parts towards the wholeness of the finished product, their performance is—next to government apologias of stability, craft, and expertise—a testament to its belief in a scratch-free experience by way of steering the mechanical arms in safe distance from the glass surface. The luminous airspace lying in between the machinic extremities and their transparent cube is a border of the mind being kept firmly monosemantic.
Fast forward a few years and we are at Elon Musk’s presentation for the Cybertruck, a bulky desert buggy clad in a retro-futuristic shell including dramatically blacked out windows made from the company’s certified armor glass. This product showcase is made out to become the prime denominator for innovation, all the while being drenched in an upside-down baroque aesthetic of all things black and shiny. About half way into the spectacle, lead designer-cum-stage assistant Franz von Holzhausen hurls a metal ball into the truck’s hushed glass outlooks for demonstration of their promised permanence in the face of force. The ball hits and makes the glass crack. A dull thud serenades this banal action, framed underneath bright spotlights and the audience’s chuckled gasps and awkward laughters. In the moment of collision, the ball created a suspended drawing mapping its own meteoritic field of impact located somewhere within the thick outer sheet of the transparent metal. The lines of destruction that were drawn by the unfortunate performer create a spiderweb that becomes a gothic prop in this story’s haunted narrative. The signature left by the metal ball is both concrete and abstract, sketching a caricature of the visual organization of our present where what cracks is never the glass but only its very before. Famously, the only things that ever hits the view of those hyper valued subjects hidden behind bulletproof glass are the raw eggs thrown by protestors trying to make a pointed take, mostly in vain.
SUPERBEE SPIX COLA 139 KOOL GUY CRAZY CROSS 136 DUKE SPRIT SUPERKOOL KOOLKILLER ACE VIPERE SPIDER EDDIE KOLA are only some of the protagonists mentioned in Jean Baudrillard’s vision of New York of the 1970s in his essay “Kool killer ou l’insurrection par les signes” published in 1976. Here, the neurotically semiotic French philosopher describes the city as a vessel for signs and graffiti, abundant signifiers and empty words. The plane of production of these symbols is not just walls of buildings and underground stations but also the more irreducible surface of windows. Today, these scratchings seem to hover in between layers of glass, making them appear suspended in time and place like intractable and incomprehensible signs of another age. Workers who will travel to Grünheide in Brandenburg via S-Bahn for their shifts at Tesla’s Gigafactory 4 will see those engravings and belief them to be hieroglyphs of a time in which semantics were something created instead of endured.

Reading Material. CDMX. Feb 7-9 2020

Posted in events on February 6th, 2020

MATERIAL7_RM-00

https://material-fair.com/

Booked. Hong Art Book Fair at Tai Kwun. Jan 16-19. 2020

Posted in events on January 9th, 2020

booked

https://www.taikwun.hk/en/programme/detail/booked-hong-kong-art-book-fair-at-tai-kwun-contemporary/454

Martijn in’t Veld @ Motto Berlin

Posted in art, drawing, illustration on December 20th, 2019

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Martijnintveld_motto_2

Martijn in’t Veld
Happy Potatoes and Sad Silkscreens at Motto Books
On display until January 4th, 2020

Browse publications and prints here.

And Their Spirits Live On, Marianne Heier

Posted in Uncategorized on December 12th, 2019

and-their-spirits-live-on-9782940524648-marianne-heier-motto-1 and-their-spirits-live-on-9782940524648-marianne-heier-motto-2 and-their-spirits-live-on-9782940524648-marianne-heier-motto-3

Published by osloBIENNALEN FIRST EDITION 2019-2024 and  Motto Books

 

This book is published as part of Marianne Heier’s project or osloBIENNALEN FIRST EDITION 2019-2024.

Marianne Heier performed her project And Their Spirits Live On, first at the Accademia di Belle Arti di Brera in Milan and then at Oslo’s former Museum of Contemporary Art.
How can a centuries-old plaster cast of a twothousand-year-old sculpture speak to us today?Plaster copies of ancient Greek and Roman sculptures have formed the basis for much of the history of art. Right up until modern times artists in the western tradition learned to draw and shape works from such models. When the National Gallery was built, the central building housed a collection of these classical plaster casts. Marianne Heier has chosen to make a performance among the plaster copies at the Academy of Art in Milan where she herself studied, and later in the empty bank premises which until recently housed the Museum of Contemporary Art – drawing attention to the potential power in these figures. They are archetypes that we still refer to, although we are often unaware of this. Heier’s performance takes the form of a museum guided tour in which she takes the role of guide, situating the plaster sculptures in wider histories. Using texts taken from classical mythology and political resistance movements, she shows the potentially radical possibilities of the sculptures. The mythology from which these classical figures are taken is full of critiques of power, gender issues and identity politics that perhaps suggest a need for civil courage in the political climate of our own times.

The performance was co-curated by osloBIENNALEN curators and Alessandra Pioselli and was produced in collaboration with students and employees at the Project School in Oslo.

Buy it here

Happy Potato Press, Martijn in’t Veld @ Motto Berlin 11.12.2019

Posted in art, events on December 7th, 2019

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Happy Potatoes and Sad Silkscreens at Motto Books

As the Happy Potato Press, Martijn in’t Veld has been publishing books, prints and other printed matter since 2019. Please join us for a wintery-xmas-drink and the presentation of various potatoes on December 11th, 18:00h. Among the things on display will be a severed arm, the weather report from the day Richard Brautigan died, a young girl stealing fishes and the ever expanding city of New York.

www.happypotatopress.com