“First the air is blue and then / it is bluer and then green and then / black I am blacking out and yet / my mask is powerful / It pumps my blood with power”

And Yet My Mask is Powerful emerges from an exhibition by multimedia artists Basel Abbas and Ruanne Abou-Rahme, held at Carroll / Fletcher in London in 2016. Carrying on from their earlier project The Incidental Insurgents (2012-2015), the artists address the apocalyptic logic of perpetual crisis that characterizes the contemporary moment. The project takes its title from Adrienne Rich’s poem “Diving Into the Wreck,” and like that of the poem, its mise-en-scène is a field of wreckage. Here, the artists visit destroyed villages in occupied Palestine, documenting groups of Palestinian youths wearing copies of Neolithic masks. These masks, some of the oldest in the world, were originally found in the West Bank and are now stored in private Israeli collections; they have been copied and 3D-printed by the artists from online exhibition photographs.

The book uses computer screenshots of images framed in software windows, layering them across the pages along with scans and typographic interventions. The work suggests a sense of collapse and return, but one oriented toward futurity, reworking the Arab world’s apocalyptic imaginary into another, parallel, unrealized time.

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“… This book is a testament against the immaculately quaffed cunts who live their lives on social media networks hoping to score big points because they manipulated the perfect lie via filters and apps, that ape artifice and exaggeration. It is a much needed example of the down and dirty, the all to real, the in your face – fuck you – to false standards of an unattainable beauty that is based on bullshit and deceit that dominates Western culture and acts as just another consumer con, preaching conformity and product placement as it tries desperately to erase the individual.” — Lydia Lunch

Risograph + slipcase silk-screen printed
500 copies (Numbered)

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With a text by Olaf Nicolai

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Parker Ito’s multi-media work often suggests the movement between the real and the virtual, and between photography and painting. Along with operating a prolific studio, Ito also focuses on the way images and artworks circulate online. In 2016, he created a series of works in which he repaints photographs of flowers, a classic subject in the history of painting. Some are based on found images, others on photographs Ito took himself; all combine materials that give it a tactile quality—at once rough and polished—that may, or may not, translate in documentation.

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A queer travelogue of a boating voyage on Belgium’s inland waterways with merman and singer Steev Lemercier in the company of Chanel and Dolce, who are a cat and a dog, during the first months of their friendship with the author.

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Supplement 2 – Exclusion Zones

Susanne Kriemann & Eva Wilson

Published by Fillip

From 7pm

In conjunction with the release of Exclusion Zones, join artist Susanne Kriemann and writer Eva Wilson at Motto Berlin on Tuesday, July 18 at 7 pm for drinks and an informal discussion in the courtyard.

Exclusion Zones, the second issue in Fillip’s Supplement series, unpacks Susanne Kriemann’s photographic investigation of uraninite (or pitchblende), a radioactive, uranium-rich mineral found in the Democratic Republic of the Congo (where it was mined for the Manhattan Project), Canada (in the Athabasca Basin and Great Bear Lake), and throughout Europe. Kriemann’s work focuses on the impact on the land surrounding uraninite mines operated by the now defunct mining company SDAG Wismut in the Ore Mountains of the former GDR. In Kriemann’s work, radioactive pigments drawn from wild plants growing near the vast sludge ponds at the decommissioned mine become raw photographic material: toxic, volatile, and beautiful.

Documented through Kriemann’s photographs, archival images, and a new text by Eva Wilson, Exclusion Zones charts an economic-geologic-cosmic nexus that speaks to the diverse impacts of industrial resource extraction and environmental remediation.

4.00€

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An artist book by Rune Andersson that explores potential strategies of escaping civilization,oppressors and/or reality.

Print: Offset and Risograph
Edition of 400

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€22.00

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Mashid Mohadjerin is an award-winning photojournalist and visual artist whose work has taken her all over the world. Her photo essays focus primarily on identity issues and the human condition, with subjects such as migration, minority groups, and the socially displaced. In this book, she portrays the women who played an important role in the recent uprisings that began in Tunisia, spread to Egypt, and then swept through other parts of the Middle East. Coming from different ideological and social backgrounds, these women defy stereotypes. Collected images (both historical and current) and articles that circulated on social media at the time offer visual context for the portraits.

€16.00

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The book documents the design work of author’s grandmother Kirsti Metusala at the Tallinn Experimental Plant Estoplast where she worked as a designer for 28 years (1964–1992). Estoplast was a factory mainly producing plastic lamps which were highly popular during the Soviet era and even nowadays almost every Estonian family has a lamp or two in their home or country house.

The book consists of a collection of photographs from the archive of Estonian Museum of Applied Art and Design showing a selection of lamps designed by Kirsti Metusala. It is accompanied by an interview with her by Ott Metusala which is loosely based on comments of different lamp designs, and sheds light on the specifics of working as a designer in Soviet Estonia. The book also includes a short essay by Kai Lobjakas (director of Estonian Museum of Applied Art and Design) discussing Soviet-Estonian design in a broader context.

€15.00

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