We have been traveling abroad together for over a decade. Last year (2022), for the first time since the pandemic, we toured several European countries in the summer and fall. It was also a good opportunity to visit two of the biggest art festivals of the year, Documenta 15 in the summer and the Venice Biennale in the fall. This exhibition is a compilation of the records of the journey. As graphic/book/editorial designers, we incorporated what we edited into printed materials under the slogan of “editing a journey”. The fact that we were able to composite our job and hobby in this form further motivated us to continue traveling and learning about the world we have yet to see. We hope that visitors to the exhibition will be able to experience a little of the atmosphere of our travel.
This is a limited edition photo book in 200 copies with images by Peter Wiklund and texts from poems by the Swedish writer Willy Granqvist (b. 1948, d. 1985).
The Swedish word Ängelen means “the angel” (but with an elderly spelling).
Each book is numbered and signed, and has a small unique, handmade cyanotype on the cover.
Display ist kein objekt, keine skulptur. Architektur oder performance display ist objekt, skulptur. Architektur und performance. Display bewegt sich zwischen kunst. handwerk und design. Display ist modularer rahmen und container. Display ist immer eine zusammenarbeit. Display ist plattform und gegenüber für interaktionen. Display macht unsichtbare strukturen und prozesse greifbar und dokumentiert gleichzeitig diesen vorgang. display ermöglicht wechselseitiges betrachten. ohne zu beschreiben. display nutzt kurzfristige verhältnisse. Display ist ein archiv der gegenwart. display ist werkzeug und macht raum zur werkstatt. Display baut alternativen raum. Display ist mein verständnis von kunst. display bedeutet für mich freundschaft und netzwerk. supportstruktur und suche nach handlungspotenzial. Display ist reaktion auf ökonomische zwänge des kunstbetriebs und der kunstproduktion. display ist ein anti-monument.
DISPLAY 2022 – 2016 gibt Einblicke in Paula Gehrmanns bewusst offene und auf Kooperation angelegte künstlerische Praxis. Die darin vorgestellten Arbeiten und Texte thematisieren das Verhältnis zwischen Kunst und Design, Inklusion und Assistenz und dem Handlungsspielraum künstlerischer und kuratorischer Rahmung.
Rent increases In current tenancies the landlord can increase the rent to the local comparative rent. The rent increase must remain unchanged for 12 months. The rent can only be increased by 15% over a three year period. The landlord has to justify this rent increase. Following modernisation, the landlord can increase the rental on a apartment. This rent can increase by 8% annually, only from the cost of the modernisation, but maximum 2 or 3 Euros/sqm monthly, depending rentlevel before modernisation. Special ru- les apply to rent increases for social housing. Attention: On 15.4.2021, the Federal Constitutional Court declared the Berlin rent cap unconstitutional, which was getting into force since February 23rd of 2020.
Handmade numbered edition 03/10, including an original 10 х 15 cm C-print
Tupacproject consists of the construction of a monument dedicated to Tupac Amaru Shakur, the Black Panther rapper who died in 1996 in a drive-by shooting in Las Vegas Valley.
Since the opening exhibition at the Marta Herford Museum in 2005, it has stood imperturbably in front of the Gehry architecture: the life-size sculpture by Tupac Shakur.
Raised on a nearly 5 m high pedestal and with arms folded behind, shirtless and eyes lowered, the life-size monument by the Italian artist Paolo Chiasera (*1978, Bologna) is one of the first works of art that the visitors* even before entering look into Marta. And meanwhile it has become an integral part of the “museum skyline”.
For many, however, the presence of the gangsta rapper in Herford remains a mystery, as does the German rapper Marteria, who visited the Tupac statue together with rap colleague Casper last summer. Marteria lost a €50 bet because he doubted the existence of a Tupac statue in Herford.
With contributions from Lorenzo Benedetti, Hans Ulrich Obrist, Pier Luigi Tazzi.
please join us on August 2, 2023 at 7:00pm at Motto Books, Berlin for a conversation with Sandra Peters and Adam Feldmeth to present Peters’ new book Cut Cube.
The book Cut Cube, (2022) results from Sandra Peters’ interest in the graphic interplay between two- and three-dimensional structures. The 11 possible ways to unfold a cube are laid out on white paper, whereas the seven cuts that make it possible to unfold a cube are printed on transparent paper and related to each of the six sides of each flattened cube. Turning pages generates a flow of information to make the viewer aware of the complex interplay between both types of structures.
The book is published with Motto Books, Berlin/Lausanne. A book signing will follow the discussion.
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Sandra Peters is an artist, writer, and educator based in Abu Dhabi, UAE. In her work she focuses on architecture and urban space. She is working towards a reciprocal integration of sensual, structural, and conceptual factors.
Peters has widely presented her work in Europe, the US, and the United Arab Emirates, including Performing the City at the NYUAD Project Space in Abu Dhabi (2023); Un–folded Cube (landscape mode) at Foyer-LA, Los Angeles (2023); Bilateral, Diagonal, Cubical at the Gallery Aanant & Zoo, Berlin (2012) and participated in the group exhibition Erschaute Bauten. Architektur im Spiegel zeitgenössischer Kunstfotografie at the MAK—Österreichisches Museum für angewandte Kunst/Gegenwartskunst (2011). She is teaching at New York University Abu Dhabi since 2014 in the Art and Art History Program, where she is Co-program head since 2021.
Adam Feldmeth lives in Los Angeles and Berlin. His work engages the social elasticity of art through situational discourse with those involved in its materialization. Critical contributions have been included at the Luminary Projects, St. Louis, Missouri; Contemporary Art Daily; the MAK Center, Los Angeles; Kunstbibliothek Sitterwerk, St. Gallen, Switzerland; Overgaden Institute for Contemporary Art, Copenhagen; the Guggenheim Gallery at Chapman University; and the 53rd Venice Biennale of Art. In 2008, he co-authored, “Nomad Post School,” with Guan Rong and in 2020 “Some Pedagogies of the Southland Institute” with Joe Potts
He is co-director of the Southland Institute in Los Angeles, teaches Film/Media studies at Polytechnic School in Pasadena, California, and is a doctoral student at the European Graduate School where he is considering the cobblestone as a mediator of momentum at the confluence of urban space and cinematic montage.
Reflecting on discoveries and debates that have occurred in the two years since its publication, artist Alex Head will read from current works in progress to highlight specific aspects within his ambitious book Ricochet to discuss the architecture of power.
It is now well documented that cults have been used to disseminate disinformation. For example the extremist cults of MAGA, The Oath Keepers and Proud Boys who’s recruitment pipeline has been funded by Big Oil and crypto libertarians in an attempt to overthrow the United States and crash their and the world’s economy.
But what about the arts more widely, is there a form of culture that is transparent about its ideology, particularly in today’s hyper-accelerate media vortex? Are all cultural institutions not also in some way cultish? The cult of patriarchy being just one obvious example that transcends both religious and cultural institutions.
Focussing on specific evidence of how cults have been used to spread disinformation and other historical data the artist will discuss the central motif to his work Ricochet, – the Sacred Date Palm Tree – as a expression of the anti-rhizome. Are we, the unwitting public being continuously gaslit by Sacred Date Palm tree’s in the form of neoclassical architecture? And if so, what can we do to review and refocus personal and political objectives as users navigate the web architecture of the app?
Join us at Motto Berlin on Thursday, 13th of July for an insightful talk where we will explore the profound themes of Ricochet and run across topics like January 6th, Classical Architecture, White Supremacy, BND Building Berlin, Mental Health, Libertarianism, Bitcoin, Gold Standard, Going Offline, Art, Publishing, Design, Cultural Epigenetics, Memory, Witnessing and Social Media.
A ROOM WITH A VIEW takes place in and around the Pensione Seguso, a historic, family-run hotel in Venice. Guided by architecture professor Verena von Beckerath as part of the homonymous seminar at Bauhaus-Universität Weimar that she led in collaboration with art historian Sassa Trülzsch, the contributions to this edition range from the historical to the anecdotal to the artistic and beyond, resulting in a holistic and comprehensive analysis of not only the pensione, but what hospitality and tourism mean today, both in Venice and the world at large. The contributors to this publication come from varying backgrounds, and the rich variety in tone and format reflects that. A ROOM WITH A VIEW features a reflection and collage by urologist and art fanatic Albrecht Kastein, photos by architect and photographer Andrew Alberts, architect Oda Pälmke’s personal account of her time at the pensione, an insightful interview with the owners Yvonne Matijas Seguso and Lawrence Hoque, and architect, professor and editor Ludovico Centis’s historical account of Venice. Much like the pensione, the book eludes rigid categorisation; it alternates between written pieces and photographs, each adding nuance to the work and changing the narrative perspective. As you wander through the pensione during the course of this edition, meeting the owners and venturing into the history of Venice, one question continuously arises, how can we live together? This book is NOA 10 in the Notes on Architecture series, which is published by the Chair of Design and Housing at Bauhaus-Universität Weimar.
You see what I see? On the bed, we see the soft touch of the light filtered by the curtains that open to the morning’s gestures. Each day images appear, certain of new discoveries in a foreign land. In the silence of the journey towards creating a picture, feet scratch the sand and the body inscribes a shape in our gaze. Now, places are inhabited by languid, curious gestures and unspoken words. In Mircea’s images, bodies speak, movements express a time saturated with waiting. The echo emerges from the artist’s expression, through the unconscious perspective of lenses, mediators of a broader vision.
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Tu vês o que eu vejo? Sobre a cama, vemos o toque suave da luz coada pelas cortinas que se abrem aos gestos da manhã. A cada dia surge o registo, na certeza de uma nova descoberta no país dos outros. No silêncio do percurso para o desenho, os pés riscam a areia e o corpo inscreve uma forma no olhar. Agora, os lugares são habitados por gestos languidos, curiosos e pelas palavras não ditas. Nas imagens de Mircea, os corpos falam, os movimentos expressam um tempo saturado da espera. O eco surge na expressão do artista, através do inconsciente ótico das lentes mediadoras de uma visão maior.
Log 57 – Black is . . . an’ Black ain’t . . . Anyone Corporation,
USA, Architecture, Magazine, “Calls for more Blackness in architecture schools can be simplistic,” writes architect Darell Wayne Fields, guest editor of Log 57. Well-meaning equity and inclusion programs often simply “associate the mere presence of Black bodies with institutional change.” In Log 57, a 208-page thematic issue titled Black is . . . an’ Black ain’t . . ., 29 authors explore the complexities of Blackness as it relates to aesthetics and architectural pedagogy. As Fields notes, “In calling for more Blackness, I, for one, am calling for more Black methodology. An inherent characteristic of [which] is a measurement of difference.” To that end, Log 57 gathers essays and reflections on architectural pedagogies, both in academia and in practice, by Sean Canty, Michelle JaJa Chang, Ajay Manthripragada, and Mónica Ponce de León, among others. Projects by young designers for whom methodological concepts of Black Signification and bricolage are central are presented in a four-color section, and built works and a preservation effort channel difference as a generative force in real-world communities. “This work demonstrates what is possible when methodological change is real,” writes Fields. “Real change, like Blackness, makes us nervous. Black difference, however, is revolutionary.”
Contents
Chelsea Jno Baptiste, Savannah Cheung & Sahil Mohan, “VERSatile Method”
Tamara Birghoffer, “House for a House”
Kenneth Brabham Jr., “A Room for Jacob Lawrence”
Alex Cabana, “Fuller’s Spine”
Barrington Calvert, “Speakeasy for the Revolution”
Barrington Calvert & Nick Meehan, “Preservation Operations: A Guided Tour of American Legion Post 218”
Sean Canty, “All the Things You Are: Latency as an Aesthetic Practice”
Brian Cavanaugh & Darell Wayne Fields, “University of Oregon Black Cultural Center”
Michelle JaJa Chang, “Shadows and Other Things”
Eunice Chung, “Bigness and Blackness”
Matt Conway, “Drunk Datums”
Melinda Denn, “A House for Rosie Lee Tompkins”
Nitzan Farfel, “A House Is a Brothel”
Darell Wayne Fields, “Prologue to a Black Pedagogy”
Rachel Ghindea, “House for the Dead”
Mitzy González, “Nepantla: An Altar for Gloria E. Anzaldúa”
