Die Dornevögel
Hendrik Hegray @ Motto Berlin
Opening 15.9.2024 from 6pm
+
Z.B. Aids a.k.a. Valerie Smith a.k.a H.H. = sounds from the incense burner, active since 1999, solo electronic angina from Paris, France.
Performance at 7pm sharp.
kunstenaar
ANN VERONICA JANSSENS
titel werk
VOORSTELLING VAN EEN RONDE VORM – REPRESENTATION D’UN CORPS ROND
tijdsduur
27 APRIL – 3 JUNI 1996
opening
26 APRIL 1996
FOTOGRAFIE KUNSTWERKEN: Leo van Kampen, D. Bedel,
PH. de Gobert
TEKST: Dirk Pültau
ONTWERP: gebr de Jong ontwerpen, Amsterdam (René Put, Pjotr de Jong)
DRUKWERK: Drukkerij Van den Eynde, Beerse, Belgie UITGAVE: © de Vleeshal Middelburg
OPLAGE: 500 ex.
ISBN: 90-72310-17-9
ARTMargins Vol. 13.1 ; Socialism In Contemporary African Art
This introductory essay and accompanying special issue of ARTMargins explore the role of African socialisms in contemporary art. Artists looking at Africa’s radical history face the challenge of responding to a generalized amnesia about the continent’s protagonism on intellectual and political radicalism after 1945. Working with under-researched themes, scarce historical records, and apprehensive oral sources, these artists are often tasked to amplify forgotten pasts while simultaneously critiquing the political contingency of historical investigation in global contemporary art. Global contemporary art—largely shaped by the neoliberal transition that followed the very histories explored by these artists—is often shown in its limitation to engage with socialist history critically. Through the authors’ analyses, many artworks nuance discussion of the erasures, fixed narratives, and nostalgia for Africa’s socialist past. Looking to this past, artists attempt to reorganize contemporaneity and its typical disregard for history beyond romanticization. Talho (2014), a work by Mozambican photographer Filipe Branquinho, is analyzed as a case study raising central questions on contemporary artists’ engagement with Africa’s socialist past.
by Álvaro Luís Lima.
February 2024.
Introduction
Socialism in Contemporary African Art: Butchering the End of Time
Álvaro Luís Lima
Articles
“We Need a Lighthouse Philosopher”: Filipa César and Louis Henderson’s Sunstone (2018) and the Portuguese Genealogy of Lens-Based Media
Delinda Collier
Make Me a Picture of the Future: Massinissa Selmani’s 1000 Socialist Villages (2015)
Natasha Marie Llorens
The Mythography of Socialism in Contemporary Angolan Art
Nadine Siegert
The Politics and Aesthetics of Liberation: Revolution and Its Aftermath in Contemporary Artistic Practice from and about Lusophone Africa
Ana Balona de Oliveira
Abstract States: Modernism in Lebanon, Syria, and Turkey
Gemma Sharpe
Artist Project
As the Nile Flows or the Camel Walks
Dawit L. Petros, Black Athena Collective
Document
Introduction to “Cultural Offensive of the Working Classes”
Polly Savage
Cultural Offensive of the Working Classes
Tempo, Polly Savage
WARREN NEIDICH BOOK PRESENTATION @ MOTTO BERLIN, SUNDAY AUGUST 25th 2024
We have the pleasure to invite you to an improvisational performative reading event in which the audience chooses what is read and discussed.
Please join us from 4 to 7pm, food and drinks will be served.
(This is a kids friendly event)
—
GLOSSARY OF COGNITIVE ACTIVISM (For a Not So-Distant Future)
By Warren Neidich
Eris Press; Columbia University Press (4th revised edition, February 2024)
A repository of vital knowledge and conceptual therapeutics, a toolbox
for the willing and the needy
—Anders Dunker, Los Angeles Review of Books
We are at one of those turning points that divide history into a ‘before’ and an ‘after.’ The ongoing transition from an information economy to an economy based in the workings of the brain and the mind has radical implications for human freedom and creativity, both of which are under threat from a rapacious, neurologically-oriented form of capitalism. Such moments require new languages in order for the unnamed, the unsayable, and the misunderstood to become known.
This is the task taken on by Warren Neidich’s Glossary of Cognitive Activism, now appearing in an expanded and fully revised fourth edition. Each of its entries—which range in topic from the central nervous system and brain-computer interfaces to ChatGPT and conceptual art—explicates a key term in contemporary culture. The cumulative effect is astonishing: while every entry can profitably be read in isolation, the Glossary as a whole amounts to a brilliant account of the material brain’s entanglement with its surrounding environment.
For Neidich the human brain is far more than grey matter encased in a skull: it is profoundly integrated with the social, political, and cultural phenomena that constitute the world in which we live. For this reason, human cognition is profoundly vulnerable to the new despotism that is seeking in various ways to reshape it, but it also has the capacity to serve as the site of potent acts of resistance.
Forging connections between such apparently disparate domains as neuroscience, ecology, political economy, and aesthetics, Neidich’s Glossary restores human cognition to its rightful status: not as the passive object of technological interventions or reductive theorizing, but as the starting point for any viable form of egalitarian and liberatory politics.
—
ABOUT THE AUTHOR
Warren Neidich Artist/Writer BIO (2022)
Trained in art, architecture, neuroscience, and medicine, Warren Neidich uses written texts and neon-light sculptures, written texts, photography and video to create cross-pollinating conceptual works that reflect upon situations at the border zones of art, critical neuroscience, and cognitive justice. He is founder and director of the Saas Fee Summer Institute of Art (2015-2024). Awards include Getty Research Institute award (2023), Stiftung Kunstfonds NEUSTART KULTUR (2020 and 2021), Hauptstadtkulturfonds (2021), and Katalogförderung des Berliner Senats (2017), Vilém Flusser Theory Award, Transmediale (2010), and a AHRB/ACE Arts and Science Research Fellowship (2004). Selected one-person and group exhibitions include the Venice Biennial, Whitney Museum of American Art, P.S.1 MOMA, Walker Art Center, MIT, Museum Ludwig (Köln, Germany), Haus Der Kunst (Munich), Zentrum für Kunst and Media (Karlsruhe, Germany), Haus der Kulturen der Welt (Berlin, Germany), Kunstmuseum Wolfsburg,( Wolfsburg Germany) KAI10 (Dusseldorf) and Kunsthalle Nuremburg, (Nuremberg, Germany). He was a tutor in the Departments of Visual Art, Computer Science, and Cultural Studies at Goldsmiths College, University of London (2004–2008), Research Fellow and PhD candidate at the Delft School of Design, TU Delft School of Architecture, 2006-2010 and Professor of Art at Weißensee Kunsthochschule, Berlin (2016–2018). He has been a visiting lecturer in the Departments of Art at Brown University, GSD Harvard University, Columbia University, Princeton University, the Sorbonne in Paris, France; and the University of Oxford and Cambridge University in the UK. His work has been the subject of over 150 magazine and newspaper articles, including The New York Times, Time Magazine, Artforum, Art in America, Brooklyn Rail, Bomb Magazine, Kunstforum International, Berlin Art Link, Der Tagesspiegel, 032C, The Art Newspaper, Hyperallergic, Artnet, GQ, Forbes, Vogue IT, Monopol, Performance Art Journal, and Frieze. Selected published books include American History Reinvented, 1989 (Aperture, NYC) Blow-Up: Photography, Cinema and the Brain, 2002,(DAP, NYC, NY and the University of California, Riverside, CA.) Cognitive Architecture: From Biopolitics to Noo-Politics, 2012, (001 Publishers, Rotterdam) Neuromacht,2015 ( Merve, Leipzig), The Psychopathologies of Cognitive Capitalism, Parts 1, 2, and 3 (Archive Books, Berlin), 2013, 2015, 2017 and An Activist Neuroaesthetic Reader,2022, (Archive Books, Berlin).
ISOLATED PARTS
Agnieszka Grodzińska
Opening 10th August
from 6pm
Motto Berlin
Skalitzerstr. 68
U1 Schlesisches Tor
Before you were forever
Mika Hayashi Ebbesen, Marianne Heier (Eds.)
Motto Books
Contributions by Bracha Lichtenberg Ettinger, Mika Hayashi Ebbesen, Marianne Heier, Mercedes Mühleisen, and Maxi Wallenhorst
A discreet, yet unapologetic, feminist reading of the past and present with a particular focus on deconstructing inherited notions of identity and gender. It seeks to examine the impact these have had on contemporary relational modalities in order to find new capacities to dissect the resulting interpersonal dynamics. There is a wish to pause automatisms that suffocate the mind.
« From the dusty shafts of an ancient quarry to the transgressive reattunement in metramorphosis, this book is a revolt against false separation. Mika says: Will you stick around long enough for us to hum together? Marianne says: Like a gasp in slow motion. Swoosh. Falling into modernity. Maxi says: You stand for how I, crucially, do not even know who I am talking to. Mercedes says: An endless string of mouths has shaped the story again and again. Wash off those goosebumps and listen. Bracha says: The artist in the matrixial dimension is wit(h)ness in com-passionate hospitality. »
2024
Edition of 500
Edited by Mika Hayashi Ebbesen and Marianne Heier
Graphic design by Rafaela Dražić
Printed in Italy by Musumeci S.p.A.
English, Norwegian
Pages: 152
Size: 16 x 12 cm
Binding: Hardcover
ISBN: 9782940672493
20€
André Vida (live performance) @ Motto Berlin Saturday 22 June
At 6pm and 8pm
Plus drinks and snacks
BIG ARCHIVE SALE
SATURDAY 22 JUNE12-8pm
Revisiting a 15 years old storage and displaying items sll day long, with discounts from 50 to 90% off.
(Items are added all day long, no need to show up too early)
Selected titles are also discounted on our website when you type ‘discount’ in the search on our online shop.
Listening session with Anne Gillis
Thursday 9 may, from 6-8pm
Anne Gillis
Aha (1984)
La scie dorée (repress 2024)
“For more than 40 years, Anne Gillis has discreetly unfolded her proper singular universe without any compromise. She playfully moves with determined restrictions, excavating contrasting forces; sensual and visceral, mechanical and organical, black and white. She extends this personal expression in her visuals using self-portrait photos, handwritten text and her theatrical performances are equally aligned. Her music can be considered as musique concrète using the tape machine as compositional tool, manipulating her recorded sources, mainly consisting of extended voice and different (instrumental) sounds with addition of electronics and treatments. In both her photography and her music, Anne Gillis works fully analog.”
In collaboration with NEITHER
The work of Lee Lozano (1930-1999) is one of the best-kept secrets in today’s contemporary art world. She was a woman artist who established herself and her work in New York in the 1960s in a world dominated by men and then decided to give it all up in the early 1970s and moved to Dallas. Lozano’s work, even in the short period she was active in New York, encompassed, and in many ways mastered, a wide range of styles from text works to abstract paintings, drawings to everyday activities declared art. She knew and collaborated with some of the most famous names of minimalism and conceptualism, but she always held herself a little apart. She fought for her own idealisms, matched it with her disillusionment and questioned feminism even as she made drawings of the absurdities of a patriarchal world where tools, machines, weapons and money dominate the imagination. Her later Language Pieces can now be understood as some of the most radical expressions of the conceptual movement at that time.
This publication assembles images from her work and archives to gether with a series of texts that outline her development as an artist from the 1950s and focus on particular activities or reminiscences. There is also the partial transcript of a unique recording of a lecture Lee Lozano gave at the Nova Scotia College of Art and Design in 1971 shortly before she left the art world.
In total, this book sheds light on a fascinating individual artist and also adds another point of view to the rich, complex story of the NewYork art scene in the 1960s and its continued resonance in our culture today.
Author: Adam Szymczyk (Ed.)
Publisher: Schawbe AG / Kunsthalle Basel
Order here