1130 Fifth Avenue. Jacob Peter Kovner.

Posted in distribution, Wholesale, writing on August 26th, 2016
Tags:

 

1130 Fifth Avenue. Jacob Peter Kovner_Motto Books_11130 Fifth Avenue. Jacob Peter Kovner_Motto Books_21130 Fifth Avenue. Jacob Peter Kovner_Motto Books_31130 Fifth Avenue. Jacob Peter Kovner_Motto Books_41130 Fifth Avenue. Jacob Peter Kovner_Motto Books_51130 Fifth Avenue. Jacob Peter Kovner_Motto Books_6

 

 

“I walked up the marble staircase into the grandest space of the house, a large drawing room with double height ceilings and windows, which performed its role with great pomp and circumstance. It was a mixed metaphor of styles—Louis XIV, Beaux Arts, Georgian—all insisting upon resplendence. I sighed, thinking a thought I had many times before: that this house was what separated me from my father, who remained for me a perpetual arriviste. I conceded to myself that this had always been a house for new money. It would be designated as a mansion, distinct from the discreet brownstones preferred by the originary Dutch New York upper-crust. Only when the new money flushed in during the Gilded Age did mansions start getting built with ballrooms, vaulted ceilings, and glitzy stylistic affectations. This home was never meant for modesty; conspicuous consumption is part of its structural integrity.”

Framed by two academically-styled essays, the heart of 1130 Fifth Avenue is a narrative which traces Kovner’s cathartic process following the mysterious death of his billionaire father. Kovner meets a psychic who prescribes him a regimen of peculiar art therapy. This remedy brings Kovner to write a tell-all, which is met with public success. The writing of the book-in-book opens as many questions as it addresses.

1130 Fifth Avenue is a continuation of Kovner’s project, Classy. In a series of works, viewers use Kovner as an avatar to experience the problems of inherited privilege: complicity in the hegemony of the wealthy, the compromised subjectivity of not having earned what one has, and the ambivalence of inheriting a role in society.

 

€18.00

Buy it

The Incomplete Princess Book. Irina Popova.

Posted in Artist Book, distribution, photography, Wholesale on August 26th, 2016
Tags:

The Incomplete Princess Book. Irina Popova_Motto Books_1The Incomplete Princess Book. Irina Popova_Motto Books_2The Incomplete Princess Book. Irina Popova_Motto Books_3The Incomplete Princess Book. Irina Popova_Motto Books_4The Incomplete Princess Book. Irina Popova_Motto Books_5The Incomplete Princess Book. Irina Popova_Motto Books_6The Incomplete Princess Book. Irina Popova_Motto Books_7The Incomplete Princess Book. Irina Popova_Motto Books_8The Incomplete Princess Book. Irina Popova_Motto Books_9

Each copy of the “The Incomplete Princess Book” has a unique handmade frontcover.

Project “The Incomplete Princess Book” created by Russian-Dutch artist Irina Popova is a virtual journey to Russia: a new way of meeting people (through browsing their profiles), and a new way of photographing them (using the images found on the internet). For this project, the artist used the Russian version of Facebook — Vkontakte*.

Irina Popova has found over 8000 different profiles registered under the name Irina Popova. Indeed, both the surname Popov and first name Irina are very common in Russia. She browsed the profiles with a growing curiosity – because those Irina Popovas scattered over Russia, of different ages and social status, were likely to represent the full range of possibilities for a woman’s destiny given their different circumstances.

Social networks have not only become the substitutes for traditional family albums, but a major source of entertainment and a form of self-representation.

It seems that in such a patriarchal country as Russia women seriously struggle for male attention, and the most important factor for life success becomes a glamorous (and sometimes exaggerated) idea of beauty.

In it’s original edit the project contains about 36 000 images. Popova worked with 3 assistants for 3 months to download these images, one by one. The project was first presented in the Hermitage Museum, Amsterdam in November 2013, in a group exhibition “Russian Ateliers on Amstel”. Here Popova took two walls, filled with more than 1000 images.

It took her another two years to make the final selection and to shape it into book form.

 

€30.00

 Buy it

The Deconstruction of My Suntopia. Katsunobu Yaguchi. Keiko Ogane.

Posted in Artist Book, distribution, Japan, photography, Wholesale on August 24th, 2016
Tags: ,

The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_1The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_2The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_3The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_4The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_5The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_6The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_7The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_8The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_9The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_13The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_14The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_15The deconstruction of my suntopia, Katsunobu Yaguchi, Keiko Ogane_Motto Books_17

 

This book series brings documentation of the numerous activities carried out by Katsunobu Yaguchi over the past seven years at “Cafe Snack Washingtown” (2008-2013) and “The Site of Washingtown” (2013-2015).
In the autumn of 2008, Katsunobu Yaguchi encountered an empty house when strolling around the town of Mito. Hearing that it may be demolished soon, he decided to reinstall water and electricity to the ground floor of the house to celebrate the time that was still left to it. He named the place “Café Snack Washingtown” and embarked on his new calling. Although the atmosphere of the house was obviously shadowy, curious eccentrics stopped by cautiously and the house awoke from its deep sleep. This caused a small neighborhood movement to arise around the house. Consequently, the original demolition was postponed for another five years.

In 2013, The Washintown finally faced its demolition at the hands of Yaguchi himself. Two and half years have gone by since then. The ‘late’ Café snack Washingtown skeleton is still standing. With bamboo scaffolding and part of the outer wall remaining, the house gives off a murky aura. At the entrance, the travelers’ guardian deity of megalopenis stands inconspicuously. This bizarre atmosphere seems to have surrendered to its fate that at any moment the house will make way for a new building. Yet the “old Washingtown site” continues to ignite neighborhood movements. “Washingtown Documentaries 2008-2015” contains cutting-edge images that were lovingly taken over the past seven and “on-the-edgy” years.

 

€30.00

Buy it

M (Micronaut #8). Arthur Fouray. Micronaut.

Posted in Artist Book, distribution, Wholesale on August 19th, 2016
Tags: , , ,

M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_1M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_2M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_3M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_4M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_5M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_6M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_7M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_8M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_9M (Micronaut #8). Arthur Fouray. Micronaut_Motto Books_11

 

Text: Arthur Fouray

Concept: Pierre Girardin, Nastassia Montel
Conversation: Arthur Fouray and Julien Gremaud

Published by Julien Gremaud, 2015
Micronaut #8

This book is the printed version of a surprising notes system held by Arthur Fouray

« Micronaut » is an editorial project initiated in 2011 with a singular approach to publishing and artist book. In three years of activity, the book series took several different forms, engaging a dialogue between disciplines and blurring the boundaries between actors involved in a book process.

 

€15.00

Buy it

Harun Farocki: What Ought to be Done / Was getan werden soll. Harun Farocki Institut & Motto Books.

Posted in film, Motto Books, writing on August 16th, 2016
Tags: ,

Harun Farocki_Was Getan Werden soll_What ought to be done_9782940524501_Harun Farocki Institut_Elsa de Seynes_Motto Books_2016_1_DeutscheHarun Farocki_Was Getan Werden soll_What ought to be done_9782940524501_Harun Farocki Institut_Elsa de Seynes_Motto Books_2016_5_EnglishHarun Farocki_Was Getan Werden soll_What ought to be done_9782940524501_Harun Farocki Institut_Elsa de Seynes_Motto Books_2016_2_DeutscheHarun Farocki_Was Getan Werden soll_What ought to be done_9782940524501_Harun Farocki Institut_Elsa de Seynes_Motto Books_2016_6_EnglishHarun Farocki_Was Getan Werden soll_What ought to be done_9782940524501_Harun Farocki Institut_Elsa de Seynes_Motto Books_2016_3_DeutscheHarun Farocki_Was Getan Werden soll_What ought to be done_9782940524501_Harun Farocki Institut_Elsa de Seynes_Motto Books_2016_7_EnglishHarun Farocki_Was Getan Werden soll_What ought to be done_9782940524501_Harun Farocki Institut_Elsa de Seynes_Motto Books_2016_4_DeutscheHarun Farocki_Was Getan Werden soll_What ought to be done_9782940524501_Harun Farocki Institut_Elsa de Seynes_Motto Books_2016_8_English

In the mid-1970s, Harun Farocki wrote a two-page call programmatically entitled What Ought to Be Done, followed by a survey addressed to potential collaborators and supporters. He envisioned an institution to “organize a coalition of working people, not from an abstract understanding but from the contact points of their work.” The purpose of this institution, devoted to documentary practices, was twofold. It was “intended to collect, i.e. secure what is there,” but also “to produce, i.e. initiate what is not yet there.” In doing so, it was meant to facilitate social and collaborative processes, comprehensive and interdisciplinary studies without time pressure.

At the occasion of Farocki’s working paper, the Harun Farocki Institut, founded in 2015, historically situates Farocki’s initiative and reflects upon the proximities and differences between creating an institution in 1976 and forty years later.

The publication includes Farocki’s text, a commentary by Tom Holert, Doreen Mende and Volker Pantenburg, as well as a letter written in 1975 by documentary filmmaker Peter Nestler in response to Farocki’s circular.

Editorial responsibility: Elsa de Seynes.

€5.00

Buy it

ETOPS – Extended Operations II & ETOPS – Extended Operations III. Matthew Evans (ed.). Yngve Holen.

Posted in art, distribution, magazines, Wholesale on August 13th, 2016
Tags: , , ,

 

ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_1ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_1ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_2ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_2ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_3ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_4ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_4ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_5ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_5ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_3ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_6ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_6

 

ETOPS, or Extended Operations, is artist Yngve Holen’s magazine about specialized industries today. Edited with Matthew Evans and designed by Per Törnberg, ETOPS is a qualitative and interview-based research project. Previous issues of ETOPS explored the commercial airline industry, plastic surgery, and pornography. The third issue is a travelogue about food and political ecology in the Amazon rainforest and the Andes. The publication project is made possible by the Hessische Kulturstiftung.

 

€10.00

Buy the third issue

Buy the second issue

Forms of Formalism N.3. Louis De Belle (ed.). Lucia Verlag.

Posted in Artist magazine, distribution, photography, Wholesale on August 11th, 2016
Tags: , ,

Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _1Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _2Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _3Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _4Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _5Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _6Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _7Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _8Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _9Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _10Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _11Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _12Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _13Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _14Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _15Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _16Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _17Forms of Formalism N.3, 978-3-945301-29-6, 9783945301296, Bas Princen, Maxime Guyon, Mishka Henner, Parasite 2.0, Moritz Ahlert, Bethan Hughes, Bert Danckaert, Daniel Everett and Julian Faulhaber (Eds.), Lucia Verlag, Michael P. Romstöck (ed.) _18

PHOTOGRAPHS

Bas Princen
Maxime Guyon
Mishka Henner

TEXTS

Parasite 2.0
Moritz Ahlert
Bethan Hughes

Forms of Formalism is a series of books gathering photographic works together with written contributions around the notion of form. Designed and edited with Michael P. Romstöck, printed at the Bauhaus Universität Weimar, published by Lucia Verlag.

€8.00
Buy it

A-or-ist Issue No. 2. A-or-ist.

Posted in distribution, Journals, magazines, Wholesale on August 10th, 2016
Tags: , , , , , , , ,

A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_1A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_2A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_3A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_4A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_5A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_6A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_7A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_8A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_9A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_10

 

 

A-or-ist is a collective publication

The Thing – plasticité – Park McArthur – ubiquity – periods – Sophie Cundale – Pure Heroine – future girls – Paul B. Preciado – therapy – Dorine van Meel – disobedience – fans – not doing – Darren Banks – CK One – ritual – fridges – Tavi – Gena Rowlands – hypnosis – queer mysticism – Ilja Karilampi – Agnes Martin – swooning – Shulamith Firestone – adult babies

Extracts

Polysemous Synthetics (on Park McArthur’s ‘Poly’, Chisenhale Gallery, April 2016)
Jonathan P Watts

‘Poly’, from the Greek meaning ‘many’, already suggests the idea of multiplicity. Poly is the prefix of polymer; in various compound forms, synthetic polymers perform an omnipresent role in our daily lives. Is there a substance richer in meaning and metaphor? Plastic speaks of multiplicity and omnipresence. Plastics in textile blends wrap around our bodies, providing thresholds between the world and our skin. Gels – those weird polymer solids that flow – hold the form of the body. Although aware of Park’s political argument against metaphor, I couldn’t reconcile the literalness of material and the disavowal of its metaphorical resonances. Plastics are a fundamental ontological rug pull, so to speak. The widespread use of plastics following the second world war not only enabled new forms, but augured unforeseen possibilities of mimesis. In other words, plastic helps us to think about identity.

Mutational Media & DeepTime Thrombosis: On Darren Banks’s Object Cinema
Jamie Sutcliffe

Get the feeling we’ve been here before? The remote northerly location, the arrogant frontierism of a bunch of bearded scientists, the excavation of some ancient intelligence? Despite being a fantastically pointed, topical and originally scary in its own right, The Last Winter draws heavily on John Carpenter’s 1982 alien-infection classic The Thing, from its pacing, through its paranoia, to the perilous uncertainty of its final scene. The setting and situation may have changed, but we’re still involved in the same grievous plight of cosmological vulnerability. Casting a little grit onto the cultural tundra, letting the strata reveal itself, it turns out there’s a visible lineage that recedes from Carpenter’s own movie back through a hundred years of texts, comic book adaptations and films that replay the same story in which a group of scientists excavate a primordial life form that seeks its own survival by infecting human subjects. One could even go so far as to suggest that the story itself is a parasitic entity, employing human media as the impotent host of its own regenerative self-purpose.

Notes on Disobedient Children (Dorine van Meel, 2015)
Naomi Pearce

(Dorine) creates a cracked and empty landscape, a handful of pylons sparsely scattered, barely perceptible in the red fog. There’s no sun, or sky or horizon. Another image: a meshwork of untethered electricity cables, slack, inoperative. Cut to a heavenly futuristic landscape where the remnants of human institutions – a white wedding veil – float serenely free. There are no bodies here, just structures on a sliding scale of functionality. We look up from inside a rhizomatic cage or out at a far-reaching line of fences. These are monuments to construction, they mark boundaries but in all this emptiness it’s not clear what they separate, what orders they impose.

All the while crumbling, glitching audio mutates. The sound of movement, of things breaking, both digitally and physically, tectonic plates shifting, buildings falling, rubbish heaps accumulating.

According to Alice 2:The Scent of Ubiquity
Alice Hattrick

Nothing much changes in the minutes and hours after atomization. It is ‘green’ and citrus – lemon and bergamot – and then slightly floral. An hour later it becomes woodier before it is basically nothing. L’Eau d’Issey (1992) was just as ubiquitous in the 1990s and much more interesting: a whole flower – stem and bloom – and way dirtier than its name suggests. The only decent descriptor I can think of for CK One is ‘CK One’. It sits on top of your skin and refuses to have anything to do with you. No part of it sticks, stays, or really changes. And then I realize: it’s not supposed to. CK One is no one’s signature scent. It is pure ubiquity. It is the definition of blending in. Wearing CK One, I have the thought that this is in fact the opposite of perfume.

Period Piece
Hannah Gregory

Looking back to the bloody patterns of Instagram and Tumblr, it seems that the elsewhere rehearsed prescription of social media as contemporary ritual (inglorious ritual) fits. These rhythmic performances are linked to the public-private life of the selfie generation, sure, but they are more than a narcissistic gesture or appeal for attention. Sociologist Karen Gregory has suggested that social media helps elaborate ‘an improvised narrative arc of personal spiritual development [which] can mitigate the dislocation and desperation of precarity.’ In this reading, online expressions are immediately reified as ‘one’s [provisional] life story’ is converted into social or actual capital for the users or the platforms. While the period posts do act as an outlet for an alienating experience, they resist becoming just another instantiation of self-branding.Their gridded repetitions try to put disorder in order, and their shared hashtags of #menstrala and #periodart represent what it might mean to bleed collectively. Un-pretty and undesirable, the images make visible what society prefers to censor.

A Woman Under the Influence (on Sophie Cundale’s After Picasso, God, 2016)
Amy Budd

The iconoclastic title After Picasso, God betrays the simple narrative structure and prosaic content of a film following a day in the life of a woman undergoing hypnosis to quit smoking. Whereas in previous works the artist mostly remained behind the camera, only occasionally making her presence felt in Prologue by interrupting improvised scenes with one line quips and directions, After Picasso, God sees Cundale perform the role of non-verbal protagonist, smoking her way through South London’s public and private spaces.

Queer Mysticism, Feral Communism and [the Body of Text]
Caspar Heinemann

A grounding statement is: Your body is literally hollow; another is: You literally do not have a body but rather millions.This gets more intense when you disregard Cartesian dualism and remember you don’t have but rather are bodies. ‘Your’ ‘body’ is constituted by organisms of many different genders and none. Literally literally literally literally and a few metaphorically.

Swooning
Lizzie Homersham

To my recovered self and to ideas about the obligation to care, Firestone’s ‘Swooning’ is like (Agnes) Martin’s Homage to Life: remarkable for making imperative the need to visualize a problem in order to put it to rest. Remarkable for being the blanket you might wrap around yourself when, echoing Claudia Rankine, ‘you are alone and too tired even to turn on any of your devices, you let yourself linger in a past stacked among your pillows.’ The black blanket you might share? By posting ‘Swooning’ to Twitter, and writing about it here, I wanted to put Firestone’s edges and the tempting prospect of disappearance into dialogue with some questions I have about social media. If that’s not too much of a flight of mind.

 

€10.00

Buy it

Good boy 0372. Giovanna Silva. Motto Books.

Posted in distribution, Motto Books, photography, Wholesale on August 5th, 2016
Tags: ,

Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_1Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_2Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_4Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_5Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_6Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_7Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_8Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_9Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_10Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_11Good Boy 0372, Giovanna Silva, Motto Books, 978-2-940524-49-5, 9782940524495, Ol Pejeta Conservancy, Kenya_12

Sudan, the only remaining male northern white rhinoceros.
Ol Pejeta Conservancy, Kenya.

€25.00

Buy it

V.BLOCC Argent. Frayser. Maximage.

Posted in graphic design, photography, Wholesale on August 2nd, 2016
Tags: ,

V.BLOCC Argent, Maximage, Frayser, Colorlibrary,  Colorlibrary.ch, Musumeci S.p.A., 9782960110415_1V.BLOCC Argent, Maximage, Frayser, Colorlibrary,  Colorlibrary.ch, Musumeci S.p.A., 9782960110415_2V.BLOCC Argent, Maximage, Frayser, Colorlibrary,  Colorlibrary.ch, Musumeci S.p.A., 9782960110415_3V.BLOCC Argent, Maximage, Frayser, Colorlibrary,  Colorlibrary.ch, Musumeci S.p.A., 9782960110415_4V.BLOCC Argent, Maximage, Frayser, Colorlibrary,  Colorlibrary.ch, Musumeci S.p.A., 9782960110415_5V.BLOCC Argent, Maximage, Frayser, Colorlibrary,  Colorlibrary.ch, Musumeci S.p.A., 9782960110415_6V.BLOCC Argent, Maximage, Frayser, Colorlibrary,  Colorlibrary.ch, Musumeci S.p.A., 9782960110415_7V.BLOCC Argent, Maximage, Frayser, Colorlibrary,  Colorlibrary.ch, Musumeci S.p.A., 9782960110415_8V.BLOCC Argent, Maximage, Frayser, Colorlibrary,  Colorlibrary.ch, Musumeci S.p.A., 9782960110415_9

Color separation: Colorlibrary.ch
Print: Musumeci S.p.A.

Published on the occasion of the exhibition GAMUT at Am[ ]bit London
10 June —16July 2016

Edition of 350

€7.00
Buy it