Jean-Max Colard – Die Ausstellung meiner Träume (The exhibition of my dreams). Book launch @ Motto Berlin on July 5th at 7:30 pm

Posted in 2016, events, Motto Berlin event, Motto Berlin store on June 20th, 2016
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Ausschnitt Schinwald Kurt_2008_Motto Berlin_Launch_2016

Image by Markus Schinwald, Kurt (2008)

Book Launch: Jean-Max Colard – Die Ausstellung meiner Träume (The
exhibition of my dreams)

Jean-Max Colard is an art critic, exhibition curator and literary scholar.
On July 5th Wolff Verlag will present the german translation of his book
L’exposition de mes rêves, MAMCO, 2013, a collection of dreams linked to
contemporary art exhibitions, either probable, imaginary or real. A set of
texts which propose through dreams another form of art exploration and
writing.

Book presentation in the presence of the author Jean-Max Colard and the
translator Christian Hartwig Steinau.

Reading of selected dreams by the actress Stefanie Tiedtke.

JEAN-MAX COLARD: art critic for Les Inrockuptibles, France Musique, France
Culture, curator of numerous exhibitions, including the Exhibition for the
100th anniversary of the writer Marguerite Duras “Duras Song” (October 15,
2014 – Jan 12, 2015) at the Centre Pompidou and the parallel to the
European Football Championships in France presented exhibition “La Grande
Galerie du Foot “(5. Jun. – July 10, 2016.) in La Villette, Paris.
JeanMaxColard.com

Free admission, In German

Jean-Max Colard: Die Ausstellung meiner Träume. Edited and translated from
French by Steinau, 118 pages, paperback, Wolff
Verlag Berlin, ISBN 978-3-941461-34-5, 14,90 Euro

 

SIGNS FICTION. RUTH WOLF-REHFELDT. Chert Galerie & Motto Books

Posted in Artist Book, Chert, exhibition catalogue, Motto Berlin store, Motto Books on June 15th, 2016
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SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_1SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_2SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_3SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_5SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_6SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_7SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_8SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_9SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_10SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_11SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_12SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_13SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_14SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_15SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_16SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_17SIGNS FICTION_RUTH WOLF-REHFELDT_Chert_Motto Books_2016_19

SIGNS FICTION

This book aims to collect and present a comprehensive overview of the work of Ruth Wolf-Rehfeldt. It is the result of a long and intense immersion into her archive, and intends to establish the importance of this unique artist – who did not have much recognition in the past – not only to the present day, but also to the precise political context and time to which she and her work belong.

The book presents her typewritings series, all produced between the early 1970s (some of the earliest works are dated 1972) and 1989.
Mail Art was her way to be in contact with the world outside the GDR, otherwise impossible to reach. After the fall of the Berlin Wall and the Reunification, the artist stopped producing any art: She felt her involvement was no longer “needed”.

At the beginning of 2015 we started to archive Ruth Wolf- Rehfeldt’s work, discovering little by little an enormous and fascinating body of work, composed by more classic poetry, simple typewriting texts, visual poetry, concrete poetry, and abstraction.
————————————————–
Ruth Wolf-Rehfeldt was born in Wurzen, saxony, in 1932.
In 1950 she moved to Berlin, where she still lives today. In 1954 she met the artist Robert Rehfeldt, who she married a year later. She was employed by the exhibitions department at the Academy of Arts, and spent her spare time making drawings. A few years later she started to develop what would become her typical typewriter graphics, and became an active participant in the international Mail art movement. She stopped making art after the fall of the Berlin Wall.

 

65€
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Four variations on nothing or talking about that which has no name. Nicolás Paris. Filipa Oliveira, Motto, Museu Coleção Berardo.

Posted in art, Artist Book, Motto Berlin store, Motto Books on June 14th, 2016
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Nicolás Paris. Four variations on nothing or talking about that which has no nameNicolás Paris, Four variations on nothing or talking about that which has no name(ed.). Filipa Oliveira, Motto, Museu Coleção Berardo. 18Nicolás Paris, Four variations on nothing or talking about that which has no name(ed.). Filipa Oliveira, Motto, Museu Coleção Berardo. 15Nicolás Paris, Four variations on nothing or talking about that which has no name(ed.). Filipa Oliveira, Motto, Museu Coleção Berardo. 19Nicolás Paris, Four variations on nothing or talking about that which has no name(ed.). Filipa Oliveira, Motto, Museu Coleção Berardo. 11Nicolás Paris, Four variations on nothing or talking about that which has no name(ed.). Filipa Oliveira, Motto, Museu Coleção Berardo. 9Nicolás Paris, Four variations on nothing or talking about that which has no name(ed.). Filipa Oliveira, Motto, Museu Coleção Berardo. 12Nicolás Paris, Four variations on nothing or talking about that which has no name(ed.). Filipa Oliveira, Motto, Museu Coleção Berardo. 2Nicolás Paris, Four variations on nothing or talking about that which has no name(ed.). Filipa Oliveira, Motto, Museu Coleção Berardo. 5Nicolás Paris, Four variations on nothing or talking about that which has no name(ed.). Filipa Oliveira, Motto, Museu Coleção Berardo. 111

Four variations on nothing or talking about that which has no name is conceived as a process of examination in which art is seen as a series of encounters and situations that happen in time. Four variations, four rooms, four concepts: tool, method, idea and system – these are the underpinnings of the thought and work of Paris.
The “tools” are drawings, educational exercises, utensils, games, prototypes. Here, thought is seen as an exercise, while the tools are there to help with setting out ideas. They are not mere techniques of representation, but rather comprise a system of thought that allows us to exchange views.
The “methods” are traditionally taught in a school-style learning environment. By rethinking and playing with the concept of the classroom, the architecture is devised by Paris in such a way that it is transformed into a working process itself, as well as a set of routines that give rise to spaces of exchange in which social skills and learning habits are developed. Each classroom, where the viewer decides what he or she wants to learn or unlearn, is a structure in which the artist’s interests cross with the visitors’ experiences. Every model offers a space to discover relationships, an architecture that serves as a trigger for thinking about different ways of socializing, in a process of learning and failure combined.
The exhibition shifts scale in order to tackle the “idea”. In a small architectural installation, an object suggests that an idea is something that is always being constructed and developed. It is something transformative that we cannot fully access; something that can grow in a number of possible ways, that emerges in time, and that lies in the hands of each viewer.
Under normal circumstances, education would be the system and architecture the method, but in this exhibition this state of affairs is reversed. Education is now seen as a conceptual, logical institution that allows us to learn by association. It is a process that provides room for thought and generates ideas, sparking one or more experiences. A set of short films that are at once demonstrations of the use of the tools and brief poetic essays, and which activate ideas and processes that have already been presented in the exhibition.

19 €
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Foreign Places. Grégory Castéra and Caroline Dumalin (ed.). WIELS, Brussels and Motto Books, Lausanne/Berlin.

Posted in art, books, Motto @ Wiels, Motto Berlin store, Motto Books on June 10th, 2016
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Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 111Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 15 Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 19Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 3 Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 5Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto BooksForeign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 11Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books, Lausanne:Berlin 122Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 8

Foreign Places

Foreign Places is conceived as an alternative travel guide, which accompanies the eponymous exhibition. The eight contributing artists were invited by Stefano Faoro, designer of this publication and also a former WIELS resident, to imagine a place for the book page in which their work is invested – whether it is a building, city or series of locations. The final text chapter features ‘A Glossary of Place Names’ by WIELS curator Caroline Dumalin, which emphatically locates the artists’ image sequences, as well as the essay ‘From Beirut to Brussels: Notes on Curating as an Exercise in Attachment’ by guest curator Grégory Castéra, who delivers a personal account of the challenges involved in working abroad and attaching oneself temporarily to a place or a practice.

Edition: 750
2016

20.00 €
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CURA. NO. 22. Ilaria Marotta. Andrea Baccin (ed.).

Posted in art, Artist magazine, Motto Berlin store on June 10th, 2016
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CURA. NO.22, cura magazine, Ilaria Marotta, Andrea Baccin, CURA. 22,  Elad Lassry 18CURA. NO.22, cura magazine, Ilaria Marotta, Andrea Baccin 3 CURA. NO.22, cura magazine, Ilaria Marotta, Andrea Baccin, CURA. 22,  Elad Lassry 19CURA. NO.22, cura magazine, Ilaria Marotta, Andrea Baccin, CURA. 22,  Elad Lassry 5 CURA. NO.22, cura magazine, Ilaria Marotta, Andrea Baccin, CURA. 22,  Elad Lassry 11CURA. NO.22, cura magazine, Ilaria Marotta, Andrea Baccin 1

CURA. NO.22

COVER BY SOL CALERO
INSIDE THE COVER
Sol Calero
text by Adam Carr
PORTRAITS IN THE EXHIBITION SPACE
Johannes Cladders’ anti-museum
by Lorenzo Benedetti
EXHIBITION LITERATURE
Expanded Literature.
Dominique Gonzalez-Foerster
by Jean-Max Colard

SPOTLIGHT
James Bridle.
 Seeing Like a Network
in conversation with Ben Vickers
Self-Portrait as a City.
Alex Israel in conversation
with Gigiotto Del Vecchio

ABOUT
Anicka Yi’s Allegorical Bouquets
by Chris Sharp

ABOUT
Kevin Beasley.
Energy Accumulates
by Rose Bouthillier

ARTIST’S PROJECT
by Amy Yao

SPOTLIGHT
Philipp Timischl
in conversation with
Pierre-Alexandre Mateos
and Charles Teyssou

A VISIT TO
Rodrigo Hernández
in conversation with
Joao Mourao & Luis Silva

SPOTLIGHT
ÅYR
in conversation with Philipp Ekardt

SPOTLIGHT
Caroline Mesquita
in conversation with
Martha Kirszenbaum

HOT!
Debora Delmar Corp.
by Judith Vrancken
Juliana Huxtable
by Whitney Mallett
Sophie Jung
by Frances Loeffler
Nancy Lupo
by Sarah Lehrer-Graiwer

9.00 €

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Nouvelles Richesses / New Riches. Fourre-Tout Editions.

Posted in 2016, architecture, distribution, Motto Berlin store on June 6th, 2016
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Les Editions Fourre-Tout ont remporté, en association avec le collectif AJAP14 et OBRAS, la réalisation du catalogue du Pavillon Français de la 15e Biennale d’Architecture de Venise 2016.

Il s’agit d’abord et avant tout de la formalisation éditoriale d’un propos plus large que le projet scénographique – à savoir, un état des lieux de la France péri-urbaine, et de la transformation de son quotidien. Cet état des lieux se manifeste surtout par une campagne de recension de projets d’architecture auprès d’acteurs locaux, et notamment des Ecoles nationales d’Architecture, qui permettent au livre d’approcher de cette masse critique: au total, près de 150 projets sont documentés dans le livre, qui déploie par ailleurs un discours crtique lié aux thématiques générales de l’exposition.

french / english
30€
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mono.kultur #40 : EDMUND DE WAAL : W IS FOR WHITE. mono.kultur.

Posted in art, Artist magazine, magazines, Motto Berlin store, writing on June 1st, 2016
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Edmund de Waal is a potter. His pots, plates, and vessels are the result of craft and mastership, but they are also so much more than that: they are experiments in form and function, abstractions of thoughts on silence and space, on repetition and failure, on substance and fragility, on memory contained.

Edmund de Waal is an artist. He arranges his objects in complex choreographies that are as mysterious as they are mesmerizing. Displayed in galleries and institutions worldwide, his considered installations play with architectural concerns, integrating ideas of space, light and obscurity.

Edmund de Waal is a writer. In 2010, his intimate memoir of a kind, ‘The Hare With Amber Eyes,’ intertwined the biography of a collection of netsuke figures with the biography of his family and became a surprise bestseller, winning several awards. His latest book, ‘The White Road,’ presents a highly personal and engaging research into the history of porcelain.

Whether he sculpts with words or with clay, what Edmund de Waal works with are concepts, ideas, and desires. In a body of work that is at odds with our times and yet oddly successful, his writings and objects overlap and integrate each other in an attempt to understand and transcend our complex relationship with objects and our surroundings.

In an interview with mono.kultur structured like an A-Z of notes and ideas, Edmund de Waal talked about his rules of attachment, the impossibility of repetition, and why ‘doubt’ is the most beautiful word.

Visually, the issue takes inspiration from that most perfect of materials: porcelain. Printed entirely in double-sided splendour, the two finishings of the paper – shiny gloss and smooth matt – evoke the texture of ceramics before and after glazing.

Interview by Mareike Dittmer / Artwork by Edmund de Waal / Design by Designbolaget

5€
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Welcome Hand. Mette Winckelmann. BOM DIA BOA TARDE BOA NOITE.

Posted in art, Artist Book, Motto Berlin store on June 1st, 2016
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200 x 295 mm, 200 pages, 100 photographs, unbound collected in a plastic foil bag, ISBN 978-3-943514-61-2, Designed by Mette Winckelmann and Anni’s
Tools on magazines. Tools which can be handled by one person, by one hand, photographed on magazines. Magazines for women, men, transgender, cisgender, hetero, lesbian gay and queer. The tools appear in different situations and contexts. Assemblages in motion. The tools are going through different stages, sometimes in focus sometimes blured, moving into new positions. Different dates and months appears. Hands, and fragments of body, skin, texts, words, iron, silver, wood, plastic, paint, leather etc. Iris print, black and red on white paper, midtones show up, variations of colors and contexts. Different agendas meet. Different printed materials reprinted, moiré appears.

This publication is made in conjunction with the 100th anniversary of the amendment of the Danish constitution. The 1915-constitution gave Danish women the right to vote and stand for election. But also a another group of people got the right to vote in 1915, men and women who did not own household for example people in agriculture, servants or apprentices and journeymen in the trade and craft. People who are classified as legally incapacitated still do not have the vote, and Danish citizenship is still a condition for voting or being a candidate in general elections.

25€
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Harvard Design Magazine #42. Jennifer Sigler, Leah Whitman-Salkin (eds.). Harvard

Posted in Artist magazine, magazines, Motto Berlin store, Motto Books, Uncategorized on May 30th, 2016
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Harvard Design Magazine #42. Jennifer Sigler, Leah Whitman-Salkin (eds.). HarvardHarvard Design Magazine #42. Jennifer Sigler, Leah Whitman-Salkin (eds.). Harvard 2Harvard Design Magazine #42. Jennifer Sigler, Leah Whitman-Salkin (eds.). Harvard 3Harvard Design Magazine #42. Jennifer Sigler, Leah Whitman-Salkin (eds.). Harvard 1Harvard Design Magazine #42. Jennifer Sigler, Leah Whitman-Salkin (eds.). Harvard 9Harvard Design Magazine #42. Jennifer Sigler, Leah Whitman-Salkin (eds.). Harvard 8

Editors: Jennifer Sigler, Leah Whitman Salkin
Publisher: Harvard University Graduate School of Design
Pages: 208

“Run for Cover!”
No. 42
S/S 2016

Table of Contents:
Editor’s note: Dreadful Design
Jennifer Sigler
Wide Open
Nancy Etcoff
Fortress London: The New US Embassy and the Rise of Counter-Terror Urbanism
Oliver Wainwright
Feeling Invaded
John Kuo Wei Tchen
Gimme Shelter: Refugee Architecture in Germany
Niklas Maak
Phobia and the City: Rome
Lars Lerup
Holding Fear
Sonja Dümpelmann
Unsettling Unsettlements
Marianne F. Potvin
Anthropocenophobia: The Stone Falls on the City
Renata Tyszczuk
Solitary in Solidarity
Daniel D’Oca
Fear Ebbs on the Skyline but Rises on the Ground
Blair Kamin
Get Me Out of Here: The Solemn Geography of Women in Horror Film
Caryn Coleman
Reading Jane Jabobs in the Era of #BlackLivesMatter
Stuart Schrader
Un-War
Krzysztof Wodiczko
Animal Eyes & Invisible Hunters
Eugénie Shinkle
Fearful Asymmetry: Insurgency and the Architectures of Terror
Joshua Comaroff
Die Noctuque
Enrique Ramirez
A Certain Darkness
Demdike Stare & Robert Gerard Pietrusko
Who’s Afraid of the Covered Face?
Maryam Monalisa Gharavi
Artifacts of Exclusion
Interboro Partners
Fear Is in the Detail
Francesca Hughes & Gergely Kovács
The Iconic Ghetto and the Stigma of Blackness
Elijah Anderson
A Toxic Patrimony
Dan Borelli
The Green Zone: Architectures of Precarious Politics
Amin Alsaden
How to Draw Medellín
Alejandro Echeverri & Alejandro Valdivieso
Mortal Cities
Arna Mačkić
Bringing Back the Front: Relieving the Great War
Justin Fowler
Home Safe
Geoff Manaugh
The Fall of Postmodernism and the New Empowerment
Michael Murphy
Building for the Total Breakdown
Jacob Lillemose
A State of Emergency
Léopold Lambert
Conflict Urbanism, Aleppo
Laura Kurgan
Nuclear Pillowcases
Andrew Wasserman
The Real Move
Elizabeth Streb & Chelsea Spencer
Fear, Faith, and Disaster Preparedness
Arif Khan
The House of One: Facing Fear
Lara Schrijver
Pastiche of Ghosts
Metahaven
Second Nature
Ralph Ghoche
Suspunk: Thinking with Suspicious Packages
Javier Arbona, Bryan Finocki, Nick Sowers
The Horror, the Horror
Bart Lootsma
Robert Smithson, Evel Knievel, and the Landscape of Reclamation
Edward Eigen
Kites
Reginald Dwayne Betts
Feared Spaces, Feared Bodies
Toni L. Griffin
Fear, Fire, and Forty-One Snakes: Notes on the Burning Theater
Thomas A. P. Van Leeuwen
Ambiguous Thresholds
Nuttinee Karnchanaporn

15 €
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Landscape in Modern Architecture. Tamami Iinuma(ed.)

Posted in architecture, art, Artist Book, books, events, Japan, Motto Berlin store on May 30th, 2016
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Landscape in Modern Architecture.  Tamami Iinuma(ed.)

Landscape in Modern Architecture.  Tamami Iinuma(ed.). self-published 3Landscape in Modern Architecture.  Tamami Iinuma(ed.). self-published 2Landscape in Modern Architecture.  Tamami Iinuma(ed.). self-published 1Landscape in Modern Architecture.  Tamami Iinuma(ed.) 1

Landscape in Modern Architecture

The color palette-like geometric patterns in the images of the “Landscape in Modern Architecture” series were shot in the Dessau Master’s Houses, where Bauhaus masters such as Wassily Kandinsky and Paul Klee lived, and the Bauhaus Building, where the same masters taught courses on color theory in the early 20th Century. In this series Iinuma takes “corners of a room” as the smallest compositional unit of an urban landscape and combines snapshots with images of corners of rooms, which she shot at Bauhaus. To produce her first artist book “schwarzschild” in 2012, she confronted the approximately 100,000 photographs she had shot in the past eight years and hypothesized that the collection of room corners constitutes a building, and the street running between buildings constitute urban space, the stage of everyday events. She explains that she was concious of Japanese poetry when she selected the images based on the concept explained above. In Hyakuninisshu (100 Poems by 100 Poets), poem that share keywords such as “mountain”, “river”, or “cherry” are juxtaposed to create a grid 10 cards wide and 10 cards high. “Landscape in Modern Architecture”, which takes framed world as “keywords” and connects them to produce an expansive space in nothing less than an attempt to redefine landscape photography.

30 x 21 cm
Signed
Edition of 100
Self Published

40 €
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