Speech!. Rita McBride. Verlag der Buchhandlung Franz und Walther König

Posted in Artist Book, critique, writing on November 23rd, 2021
Tags: , ,
speech-rita-mcbride-buchhandlung-walther-konig-9783753300016-1 speech-rita-mcbride-buchhandlung-walther-konig-9783753300016-2 speech-rita-mcbride-buchhandlung-walther-konig-9783753300016-3 speech-rita-mcbride-buchhandlung-walther-konig-9783753300016-4 speech-rita-mcbride-buchhandlung-walther-konig-9783753300016-5 speech-rita-mcbride-buchhandlung-walther-konig-9783753300016-6 speech-rita-mcbride-buchhandlung-walther-konig-9783753300016-7 speech-rita-mcbride-buchhandlung-walther-konig-9783753300016-8

The artist Rita McBride was Director of the Düsseldorf Art Academy from 2013 to 2017. During this time she gave ten groundbreaking speeches connecting contemporary artistic production with art education, processing the classic lecture format with passion and humor. Manifestos and performative elements found their way into the speeches, illuminating the artistic and educational aims of these public events. Speech! brings these lectures together for the first time. This book is a guide for artistic activity, a critical reaction on the present, and an invitation to look at our society from new perspectives.

Order here

Screening 12.11.2021 @ Motto Berlin – Giselle’s Books presents a selection of Inventory’s films

Posted in art, critique, film, Motto Berlin event, video on November 8th, 2021
Tags: , , , , ,

Beton Insel Inventory_Giselle's Books_Motto Books_2021

Beton Insel, Inventory, 2004, Courtesy of the artists

Giselle’s Books and Motto invite you to the screening of Inventory’s film. For the occasion, we will be showing the following videos: Ostalgia (2004), Beton Insel (2004), Sleepwalkers (2003) and Flesh and Stone, a geology of an Urban Existence (2003).
Friday, 12 November 2021 at 7pm

First Screening at 7:15
Second Screening at 8:15

Motto Berlin
Skalitzer Str. 68, im Hinterhof
10997 Berlin

British art collective Inventory was founded in London in 1995 by Damian Abbott, Paul Claydon and Adam Scrivener. Since 2004, they are based in Kent (UK) and Toulouse (France).
Inventory’s previous solo exhibitions were at the Rob Tufnell gallery, London (2014 and 2016) White Columns, New York (2005); The Approach, London (2004, 2002 and 1999) and at The Modern Institute, Glasgow (1999). Recent collective exhibitions include: Condo London, Rob Tufnell (2018); The Revolutionary Suicide Mechanised Regiment Band, Rob Tufnell, Cologne (2016); Corruption Feeds, Bergen Kunsthall (2014); Make the Living Look Dead, 2nd Cannons Project Space, Los Angeles (2014); Ruin Lust, Tate Britain (2014); Keywords, INIVA (2013); A journey through London’s subculture, the ICA at Old Selfridges Hotel, London (2013), De Appel, Amsterdam (2008); Kunstverein Hamburg (2007); Museum of Contemporary Art, Belgrade (2007); Kunsthaus Dresden (2006); Aspen Art Museum (2006); Portikus, Frankfurt (2004); ICA, London (2003); Whitechapel Gallery, London (2003); Lenbachhaus, Munich (2002); the Courtauld Institute of Art, London (2001); their work is held in the collections of the Centre Pompidou, Paris and the Tate Gallery, London. Their work is represented by Rob Tufnell.

Giselle is conceived as a system for enabling interactions that focuses on the dissemination and gathering of artistic practices. It was conceived by Lucas Jacques-Witz and Ryder Morey-Weale as an experimental exhibition space and currently operates as Giselle’s Books, an independent Archive Library of foreign Artist’s Books, editions, and printed material in Marseille. The space is dedicated to researchers and amateurs with an interest in contemporary art books.

Les Cahiers: Écrire, traduire, peindre / Write, translate, paint – Véronique Tadjo. Sarah Davies Cordova, Desiré Kabwe-Segatti (Eds.). Presénce Africaine

Posted in art, critique, politics on October 30th, 2021
Tags: , , , ,

les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-1 les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-2 les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-3 les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-4 les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-5 les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-6 les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-7 les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-8 les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-9 les-cahiers-ecrire-traduire-peindre-write-translate-paint-veronique-tadjo-sarah-davies-cordova-desire-kabwe-segatti-presence-africaine-9782708708921-10

Between the unpublished poem “Déclinaison du temps premier I” and a translation of “Nelson Mandela “Non à l’apartheid””, this collective work brings together a series of 19 articles which present for the first time Véronique Tadjo’s oeuvre from critical perspectives. The articles examine how Tadjo, poet, storyteller and writer who situated herself as a Pan-Africanist, questions the political drifts of African current affairs and the “univocity” of history, and rethinks the plurality and complexity of European and African rituals, traditions and more in a contemporary bygone world.

Introduction
Sarah Davies Cordova & Désiré Wa Kabwe-Segatti – Véronique Tadjo, unpublished poem

Speaking (out) to Tell
Micheline Rice-Maximin – Anna-Marie De Beer
Pamela Nichols – Pierre-Louis Fort – Catherine Mazauric

Literature and Politics
Romuald Fonkoua – Dina Ligaga – Abdoulaye Imorou – Marzia Caporale

Words and Images
Odile Cazenave – Walter Putnam

Cahier d’Images / Gallery of Images

Poetics of the Imaginary
Obed Nkunzimana – Antoinette Sol – Doris L. Obieje – Charles Yaovi Mensah Kouma

Tadjo and the Art of Translation
Elisabeth Mudimbe-Boyi – Amy Baram Reid

Round table: Amy Baram Reid, Peter Thompson, Christopher Fotheringham & Nataša Raschi

Conclusion
Chantal Wright, translation (excerpt)

Order here

Institutions by Artists: Volume 2. Jeff Khonsary, Antonia Pinter (Eds.). Fillip Editions

Posted in art, critique, politics on October 30th, 2021
Tags: , , , , , , , , , , , , , , , , ,

institutions-by-artists-volume-two-fillip-editions-jeff-khonsary-antonia-pinter-9781927354339-1 institutions-by-artists-volume-two-fillip-editions-jeff-khonsary-antonia-pinter-9781927354339-2 institutions-by-artists-volume-two-fillip-editions-jeff-khonsary-antonia-pinter-9781927354339-3 institutions-by-artists-volume-two-fillip-editions-jeff-khonsary-antonia-pinter-9781927354339-4 institutions-by-artists-volume-two-fillip-editions-jeff-khonsary-antonia-pinter-9781927354339-5

Fillip Editions – Folio Series

Following Institutions by Artists: Volume One and the eponymous convention from which both volumes take their name, this second anthology of texts continues the work of unpacking artists’ relationships to—and creation of—a larger set of structures that increasingly regulate, demarcate, and codify contemporary artistic practice: centers of economic and cultural capital; state and private apparatus; and sites of display, storage and production.

This volume’s contributing authors present a series of historical and contemporary case studies, investigating artists’ connections to various manifestations of institutionalized practice. These case studies describe practices that developed in places as disparate as Vancouver, London (Ontario), East Los Angeles, Scotland, and Trinidad and Tobago. Also included are transcripts of two debates held during the 2012 Institutions by Artists Convention, which asked: “Is there space for art outside the market and the state?” and “Should Artists Professionalize?”

With contributions by Tania Bruguera, Julia Bryan-Wilson, Dana Claxton, Christopher Cozier, Jeff Derksen, Sean Dockray, Candice Hopkins, Jesi Khadivi, Jaleh Mansoor, Philip Monk, Christopher Régimbal, Slavs and Tatars, Claire Tancons, Tania Willard and others

Order here

Terremoto 12 – Independencias. Dorothée Dupuis (Ed.) Terremoto, Motto Books

Posted in art, critique, curating, curatorial studies, Journals, magazines, Motto Books on July 18th, 2018
Tags: , ,

Terremoto_12_Independencias_Mottobooks5

Terremoto_12_Independencias_Mottobooks Terremoto_12_Independencias_Mottobooks2 Terremoto_12_Independencias_Mottobooks3 Terremoto_12_Independencias_Mottobooks8

Terremoto_12_Independencias_Mottobooks6 Terremoto_12_Independencias_Mottobooks4

 

Terremoto 12

Independencias
Independences

Dorothée Dupuis (Ed.)
Terremoto, Motto Books

Language: Spanish / English
Pages: 97
Size: 22.5 x 33.5 cm
Weight: 428 g
Binding: Softcover
ISBN: 9782940524761
Buy it

Harvard Design Magazine #45. Jennifer Sigler, Leah Whitman-Salkin (Eds.). Harvard University Graduate School of Design.

Posted in architecture, art, critique, design, distribution, magazines, Motto Berlin store, Theory, Wholesale, writing on April 26th, 2018

harvard_design_magazine_2018_into_the_woods_motto_1harvard_design_magazine_2018_into_the_woods_motto_2
harvard_design_magazine_2018_into_the_woods_motto_3harvard_design_magazine_2018_into_the_woods_motto_4harvard_design_magazine_2018_into_the_woods_motto_5 harvard_design_magazine_2018_into_the_woods_motto_6harvard_design_magazine_2018_into_the_woods_motto_7harvard_design_magazine_2018_into_the_woods_motto_9 harvard_design_magazine_2018_into_the_woods_motto_8harvard_design_magazine_2018_into_the_woods_motto_10 harvard_design_magazine_2018_into_the_woods_motto_11Harvard Design Magazine 45 – Into the Woods | Spring/summer 2018

To go “into the woods” is to enter both nightmare and wonderment, chaos and serenity. The woods are the threatening realm of wolves and witches, yet also a space of peace and introspection. They confound and illuminate, disorient and clarify, endanger and protect. The woods are where we “come to our senses,” and where we embrace our wilder selves. They are a space of complex life forms and ecological destruction; of growth and decay; of fantasy and ritual; of secrets and control; of hiding and? the hidden.

The woods are often framed as a nonurban place; an entity separate from, and opposed to, the city—even the world; an eternal refuge that can smoothly be entered and exited, gone into and back out of. But how much of our woods still remains to go into—and on what terms?

As designers, we encounter the woods as building site, as obstacle, and as resource—territory to be cleared, but also to be preserved, cultivated, tamed, or simulated. Wood itself—along with its products like lumber, wood pulp, silvichemicals, and charcoal—fuel the building industry and feed architecture. In a period of accelerated climate change, the planet’s woods are disappearing, burning up, threatening and threatened by human existence. How can we holistically address the woods and its ecosystems, and the life and life-giving power they contain?

This issue of Harvard Design Magazine treks into the woods to come to terms with its precarious status as habitat and resource, and to challenge assumptions about wood as material. We won’t be “out of the woods”—this looping conundrum—any time soon, even if the woods as we once knew it, and might still imagine it, has ceased to exist. At the intersection of wilderness, urbanization, and myth, “Into the Woods” embraces contradiction, challenges destruction, and revisits our roots, biological and architectural alike.

“Into the Woods” combines contributions by noted critics and theorists including Milica Topalovic, Lawrence Buell, T. J. Demos, Rosetta Elkin, Jack Halberstam, and Maria Tatar; practitioners Dogma, Alexander Brodsky, Dilip Da Cunha, Eelco Hooftman, and Paulo Tavares; as well as artists Tang Chang, Maria Thereza Alves, Janet Cardiff, and Bas Princen; anthropologists Anna Tsing and Eduardo Kohn; and philosopher Giorgio Agamben.

Harvard Design Magazine 45 is edited by Jennifer Sigler and Leah Whitman-Salkin, and published by the Harvard University Graduate School of Design (GSD).

Language: English
Pages: 248
Size: 30.5 x 22 cm
Weight: 810 g
Binding: Softcover
ISBN: 725274577118

Distributed. David Blamey & Brad Haylock (Eds.). Open Editions.

Posted in art, books, critique, Motto Berlin store, writing on April 25th, 2018
Tags: , ,

distribution_open_editions_motto_1 distribution_open_editions_motto_2 distribution_open_editions_motto_3 distribution_open_editions_motto_4 distribution_open_editions_motto_5 distribution_open_editions_motto_6 distribution_open_editions_motto_7 distribution_open_editions_motto_10 distribution_open_editions_motto_11 distribution_open_editions_motto_13

For those who would seek to influence others, the dissemination of ideas is
paramount. Similarly, for those holding ambition to secrete knowledge for reasons of
authority, or to protect the fruits of intellectual labour for reasons of profit or ethical
concern, distribution is key. Certainly before, but more importantly since the
Gutenberg Bible, the predicament of the power of knowledge has lain not with its
generation but with the control of its dispersion.

This new volume in the critically acclaimed Occasional Table series of books
published by Open Editions focuses attention on the act of distribution as a subject
for serious creative consideration and one of great social and economic importance.
Contributors from a variety of backgrounds paint a big picture that embraces the
actions of the individual alongside the workings of global markets. From the
attention-seeking impulse of the poseur, to the democratisation of art and knowledge
in the form of books, pop music, digital networks, self-organised libraries, and the
question of what can be known, and by whom, the urge to disseminate is explored
here as an elemental phenomenon of our time.

Language: English
Pages: 264
Size: 21.5 x 16 cm
Weight: 430 g
Binding: Softcover
ISBN: 9790949004093
Buy It

The Serving Library Annual 2017/18. Francesca Bertolotti-Bailey, Stuart Bertolotti-Bailey, Angie Keefer, Lauren Mackler, David Reinfurt (eds). Roma Publication 305

Posted in art, critique, Motto Berlin store, politics, writing on December 14th, 2017
Tags: , , , , ,

serving_library_roma_motto_2 serving_library_roma_motto_3 serving_library_roma_motto_4 serving_library_roma_motto_5 serving_library_roma_motto_6 serving_library_roma_motto_9 serving_library_roma_motto_8 serving_library_roma_motto_10 serving_library_roma_motto_11 serving_library_roma_motto_12 serving_library_roma_motto_13 serving_library_roma_motto_14

The Serving Library Annual comprises a number of individual “Bulletins” organized around a theme for an international audience of designers, artists, writers, and researchers. Newly published by ROMA Publications in a yearly format, this inaugural issue is realised in collaboration with Public Fiction, a journal and exhibition-maker based in Los Angeles. It deals with acts of civil disobedience and other forms of resistance, particularly in view of the relationship between entertainment and power. Contributors include Hilton Als, Tauba Auerbach, Anne Carson, Mark Leckey, Adrian Piper, Frances Stark, and Martine Syms.

Public Fiction’s next project, which runs broadly concurrent to this new Annual’s lifespan, is named The Conscientious Objector — a multifaceted endeavour commissioned by West Hollywood City Council that unfurls in parts from September 2017 to April 2018. Curated by Public Fiction founder Lauren Mackler and Serving Library editor Francesca Bertolotti-Bailey, The Conscientious Objector comprises a series of “commercials” produced by artists for public access TV, an exhibition of artworks and performances at the MAK Center for Art and Architecture’s Schindler House in West Hollywood, and the present publication.

 

Buy it

In Darkness. A Collaboration by Brothers Kevin & Kristian Henson. Hardworking, Goodlooking. The Office of Culture & Design

Posted in art, critique, graphic design, history, illustration, lifestyle, newsprint, photography, printmaking, writing on December 23rd, 2015
Tags: , , ,

In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_1In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_3In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_4In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_5In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_6In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_7In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_8In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_2In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_9In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_10In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_11In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_12In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_13In Darkness_Kevin and Kristian Henson_Hardworking, Goodlooking°The Office of culture and Design_Motto Books_14

 

An Archive of International crust punk music, Filipino anarchist zines, Black and white punk aesthetics, anti-system philosophies, A descent into illness, a discourse on recovery

Published by Hardworking, Goodlooking

€78.00

Buy it

 

The Exhibitionist #11. Jens Hoffman (Ed.). The Exhibitionist

Posted in art, critique, distribution, magazines, writing on October 23rd, 2015
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , ,

the_exhibitionist_#11_jens_hoffmann_motto_distribution_1the_exhibitionist_#11_jens_hoffmann_motto_distribution_2 the_exhibitionist_#11_jens_hoffmann_motto_distribution_9 the_exhibitionist_#11_jens_hoffmann_motto_distribution_8 the_exhibitionist_#11_jens_hoffmann_motto_distribution_7 the_exhibitionist_#11_jens_hoffmann_motto_distribution_6 the_exhibitionist_#11_jens_hoffmann_motto_distribution_5 the_exhibitionist_#11_jens_hoffmann_motto_distribution_4 the_exhibitionist_#11_jens_hoffmann_motto_distribution_3the_exhibitionist_#11_jens_hoffmann_motto_distribution_10

Overture
Jens Hoffmann, Julian Myers-Szupinska, and Liz Glass
A peculiarity of the current field of curating is an ongoing contestation over the very meaning of “to curate.” As Alice said in Lewis Carroll’s Through the Looking-Glass, “The question is whether you can make words mean so many different things.” Humpty Dumpty answers, “The question is which [meaning] is to be master—that’s all.”

On the cover of this issue is Thomas Ruff’s 1989 portrait of a young Hans Ulrich Obrist. If this fresh-faced guy has done more than most to consolidate the identity of the curator—as a ubiquitous, cosmopolitan character, tirelessly promoting him- or herself, an exhibitionist of the global age—he has also presided over that identity’s confusion and multiplication. Is the curator, as Obrist often describes the role, a catalyst? Or is she, to quote Obrist’s frequent collaborator Suzanne Pagé, a modest commis de l’artiste, an “artist’s clerk”?

Curating has become a global concern, yet many languages still even lack a steady term for it. Meanwhile, in some circles, “curation” has a gained a buzzword-ish currency, signaling taste and discrimination across a dizzying array of cultural activities, from so-called “data curation” to creating playlists and dinner menus. The hope, it seems, is that a renewed connoisseurship might discern value amid the profusions of a global market—separate the wheat from the cultural chaff—even if it means, too, that Kanye West now has as much claim on the term “curator” as Carolyn Christov-Bakargiev or Okwui Enwezor. The more we stretch the word, it seems, the easier it becomes to hijack. It is time for some clarity.

In Attitude, João Ribas meditates on this semantic drift of the word “curating” into marketing, where it is proposed as a cure-all for digital excess and consumer glut. Following John Searle, who warns that the terms we use control the field of meaning, Ribas argues that contemporary curators must battle to retain the understanding that “curating” has held historically in the field of art, beyond connoisseurship and mere selection. He emphasizes in particular the spatial and temporal character of exhibitions, which may still offer the possibility of resisting the behavioral paradigms inflicted by capitalist urbanism and digital technology.

Geopolitical space is a central concern for several essays in this issue. In Back in the Day, Clémentine Deliss contends with the Museum of Modern Art’s notorious 1984 exhibition “Primitivism” in 20th Century Art: Affinities of the Tribal and the Modern, which “remains bedeviled by criticisms and emotional refutations that are hard to dissolve.” Comparing that exhibition’s model of “formal affinity” to a recent exhibition by the Senegalese artist and curator El Hadji Sy, she argues for exhibitionary methods that might “effect a remediating affirmation” of ethnographic objects in order to recover something of their “conceptual code.” Missing in Action republishes passages from Rasheed Araeen’s introduction to his 1989 exhibition of British Afro-Asian artists, The Other Story. By assembling the fragments of their collective story, Araeen dismantles the chauvinism of a “master art history” that had excluded non-Western contemporary artists.

In Assessments, Claire Bishop, Cristina Freire, Tobi Maier, and Octavio Zaya address the exhibition Histórias Mestiças (Mestizo Histories), a trenchant critique of Brazil’s racial democracy curated by Adriano Pedrosa and Lilia Moritz Schwarcz at the Instituto Tomie Ohtake in São Paulo. The writers find consonance around one remarkable installation that juxtaposed photographs of indigenous people by Claudia Andujar, 18th-century watercolors of the “discovery” of Brazil by Joaquim José de Miranda, and drawings from the 1970s by Taniki Manippi-theri, a Yanomami shaman. Says Bishop, “Such an anthropological gaze can diminish the present-ism of contemporary art and allow it to become a method or system of thinking. Would that more curators, in more countries, had the nerve to investigate so unflinchingly cherished national myths.” Curators’ Favorites asks contributors to elaborate on an exhibition that has inspired their thinking. Guy Brett describes a 1979 installation by the Brazilian conceptual artist Cildo Meireles, an allegory aimed at the military dictatorship in power at the time. Natasha Ginwala contends with The One Year Drawing Project, an experimental exchange of artworks across Sri Lanka meditating on the traumas of that nation’s civil war. And Vincent Honoré considers the Musée d’art moderne et contemporain in Geneva, claiming the museum itself as a “constant, ever-changing exhibition.”

Six x Six challenges curators to name the exhibitions that have mattered most to them. In this issue, Ionit Behar, Astria Suparak, Inti Guerrero, Gianni Jetzer, Sarah Demeuse, and Nikola Dietrich assemble their miniature pantheons. In Rigorous Research, the scholar Vittoria Martini deliberates the little-discussed 1970 Venice Biennale, a turning point for that venerable institution. In the gap opened by a political stalemate, the staff assumed control, and embraced experimentation and research. Research and reflection also connect the two essays in Rear Mirror. Ruba Katrib details the thinking behind her exhibition Puddle, pothole, portal, co-curated with the artist Camille Henrot at SculptureCenter, New York, describing their attempt to capture something of the weird, rambunctious spatiality of early Disney animations. Scott Rothkopf evinces, in turn, the extraordinary spatial and conceptual deliberation behind his recent Jeff Koons retrospective at the Whitney Museum of American Art.

Across this issue, then, the specificity of curatorial labor emerges—the thought needed to build aggregate meaning from disparate things in space. The word “curating” is not infinitely plastic. This, for us, is what it means. We all know how Humpy Dumpty ended up.

€10.00

Buy it