Join us with your kids for Noise and Trolls in the Mountains, a puppet performance in a suitcase based on an Icelandic fairy tale. This dark story unfolds in a white landscape filled with lakes, glaciers, and mysterious creatures, accompanied by a soundtrack of electronic music. We start at 3 PM.
Duration: 16 minutes
About the Puppeteer:
Ana Nikolskaia is a puppeteer who collects random items from around the world to create her puppets and performances.
Motto Paris – 38 rue du Vertbois, 75003 Paris
This event is organized within the framework of the cinema club and the Film Association K1NO1.
НЕСКОЛЬКО ПРОСТЫХ ПРАВИЛ ДЛЯ ПРИЕЗЖИХ ИНОПЛАНЕТЯН Регина
Картофель фри Таро Муратов
Камень Арсений Агеев (См. ШИРЕ) Вероника
Непозма Мария фокусия
Кавабанга Анна Бородина
Табличка Лиза Петрова
Rodina – самиздат свободной литературы. Мы хотим использовать свободу слова как инструмент под- держки благотворительных инициатив. Через актуальную ху- дожественную литературу мы осмысляем контекст Войны и рос- сийской цензуры, исследуем этические вопросы сложившейся реальности. Мы верим, что нам поможет деятельное знание. Rodina издается в Берлине и является независимой, част- ной инициативой, не принадлежащей никакому политическому течению или общественному объединению. Мы не преследуем коммерческие цели, все вырученные средства распределяются между благотворительными фондами. В первом выпуске мы собрали двенадцать текстов, затраги- вающих тему войны, прав человека, ЛГБТК+, феминизма, свобо- ды слова. Мы публикуем тексты в авторской редакции. Издание выходит в трёх обложках. Спасибо всем авторам, фотографам, друзьям и читателям за участие и поддержку. Rodina – наша мечта о родине без насилия.
Art and life are directly connected, and yes, they complement each other. From observations of the quotidian, especially those in the public space, I extract insights through experimenting and researching which I then transform into artistic shape. What takes form in art does not only stimulate but significantly shape public discourse. I deliberately chose situations that appear uncomfortable at first. Dark corners, draughty gaps, and yes, discuss- ing the ‘in-between-ness’ of place and non- place is one of my concerns. Often through site-specific interventions, through performa- tive actions I detect the ‘lostness’ in such places. I always look for what’s present, there- fore work from the construction to display the inherent potential of such a place and also readily activate it in participative moments. To make as much as possible with as little as necessary – make visible, make perceptible – is the aim of my artistic practise.
Pictures of the moon, the ultimate topos in photography, have been given a new twist in Erik
In March 2022, here at Monday Press, we began receiving long emails from an anonymous account belonging to someone we barely knew. These letters were sent from deep underground—so deep that we weren’t even sure if it was safe to reply. They told an insider’s story of a world in the process of being erased: the anxiety, the fear, and the longing for something that was vanishing right before the author’s eyes. Over the course of a year, we received four letters and a series of photographs (taken by someone else). The author of the letters is now in a safe place but prefers to remain anonymous.
The book describes the Russian noise underground in the first year of the war. It’s a devastating read, raw, excessive, hyper-existential, intimate, edge of the world, anti-war, written from the inside.
with photographs by Wassily Bosch Published in 2025
@ Motto Paris Saturday 01.03.2025, from 6pm / 2021 Stefanie Klingemann and travel and work together on and besides the road, in public space and in temporary arrangements. On their ways they develop site- and context-specific interventions in existing structures and found situations. The compositions they create are often poetic, silent, and usually of ephemeral duration. At Motto Paris they present a set of postcards of this practice.
presents his recently realised oral publication “Erzählungen (1982– )” along with a set of posters “Outlines & Scenarios” – an ongoing collection of scenarios and sketches being rolled out and talked about in various conversations.
Motto Paris 38 rue du Vertbois 75003 Paris
(image: Stefanie Klingemann & at Villa Romana, Florence. 2021)ce )
Join us this Saturday, February 8th at 7 PM as we delve into ontological narratives with Anya Tsirlina, Sid Yandovka, and their films.
Sid Iandovka and Anya Tsyrlina (both born in Novosibirsk, USSR) are an artist-duo whose practice extends across many different media, predominantly moving images. Though only selected works of theirs are co-authored in a traditional sense, as both have distinct interests and aesthetics, they have collaborated (on and off) for over twenty years – ultimately creating a joint, entirely independent, “homemade” production approach for their films. Their working methods are not products of any educational/professional institutions and their practice is not rooted in any state; it is immaterial and doesn’t benefit from any national/international funding, resources or structures. The artists prefer for their own histories and words to remain in the background – but it’s not essential to know the whys and hows of these works, since there’s an almost alchemical and mystical quality to them that supersedes their construction.
February 8 Motto 38 rue du Vertbois 75003 Paris
This post is related the upcoming film screening within the framework of the cinema club and Film Association K1NO1.
Scacchiere e Scacchisti is the new editorial project of Studio Tonnato, the collective composed of Federico Leoni and Giordano Magnani. The duo is present on the scene of recent contemporary art, particularly linked to art experienced and interpreted through the filter of digital, and operates through installations, performances, events, prints and the internet. The magazine is described by its creators as “pages of pure enjoyment, lots of friends, lots of piles, lots of (mad) chess”.
Scacchiere e Scacchisti is the sexiest chess magazine around, don’t you believe it? Spread pages, the eye that falls and the mouths that dry. A hot program. Are you ready to enter its soft belly? A cultural product that reflects on the scabrous and often censored theme of “chessboards”. A hidden world to get lost in. Thanks to the cultural raid of Natasha Ottavi, strong muse and refined chess player, and to many collaborations, we are ready to present you a paper golem that moves in an “L” and loses blood. Chess as you’ve never seen it.
Pictures of the moon, the ultimate topos in photography, have been given a new twist in Erik Steinbrecher’s MONDFOTOGRAFIE. The Swiss artist collects pictures of the moon and rephotographs
The project THE SOUND OF NORMALISATION is a collection of audio recordings that documents the sound culture of the Ultras group BRESCIA 1911 in relation to modern football and the wave of repressive measures targeted at organized supporters groups. The recordings were taken over a period of 15 years and cover: 1) creation, uses and meanings of the chants 2) group principles and collective identity 3) audience participation and the process of social exclusion from the stadium 4) police repression and the political implications of the chants 5) the evolution of the drumming in relation to the drums ban-order of 2007. Each recording comes with a short introductory text and is presented as a video with subtitles. The work has been published in 2018 by SARU, Oxford Brookes University.
Since early 2000 Tidoni has been researching football supporter subculture, audience participation and crowd regulation. The overall research concerns the nexus of public space, social performance and surveillance in contemporary Italian football.
The aim of the research is to trace mechanisms of social interaction and aesthetic creation in football supporters’ subculture via an examination of the sound practices shared by the group Brescia 1911. Relations between sound production and space construction are investigated especially in the light of dynamics of social control adopted in football grounds in the last years.
The research contributes to a better understanding of sound’s function in group formation and collective identity as well as how sound performance and social repertoire evolve in relation to public security measures and space control.
In 2015, a first concrete materialization of the project has been exhibited at ARGOS, centre for art and media, Brussels. In 2018, the final version of the project has been presented at GET SOME CHALK ON YOUR BOOTS! an exhibition and conference organized by SARU at Oxford Brookes University.
