THE LINE – Atlas of Remoteness documents the exploration of contemporary landscapes by walking along a straight line around the Earth. The present volume focuses on a series of walks in the American Midwest, from Wisconsin to Nebraska and across the Mississippi River.

Authors: Mary Dahlman Begley, Gabriel Cuéllar, Sophie Durbin, Meg Lundquist, Jakob Mahla, Athar Mufreh, Derek Ronding, Drew Smith

Series design by: Studio Krispin Heé (Krispin Heé, Tim Wetter)

Realization by: Luis Hilti & Matilde Igual Capdevila

Atlas of Remoteness is a project by the Institute for Linear Research published by the Infinite Publication Series.

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HaFI 018 reprints a document containing the script of Skip Norman’s film On Africa (1970). Norman, born in Baltimore in 1933, had left the U.S. in the early 1960s to study German, theater, and medicine in Göttingen. In 1966 he moved to Berlin to join the newly founded German Film and Television Academy (DFFB). By 1969, he had made the films Riffi (1966), Blues People (1968), Cultural Nationalism (1969) and the graduation film Strange Fruit (1969). He shot On Africa together with Joey Gibbs after graduating from the school. The filmmaker about his film: “The starting point is the relationship between Europe’s prosperity and Africa’s poverty; Europe’s destruction of societies and cultures, and the simultaneous use of Christianity and racial theories as justification for a massive exploitation of the colonized.” On Africa was first shown at the Festival in Mannheim in 1970 and then broadcast on television by WDR in 1972.
The script is accompanied by images from the film, and followed by five short commentaries by Sónia Vaz Borges, Madeleine Bernstorff, Marie-Hélène Gutberlet, Tom Holert, and Volker Pantenburg.

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Das Heft enthält das Skript für Skip Normans Film On Africa (1970). Norman, 1933 in Baltimore geboren, hatte die USA zu Beginn der 1960er Jahre verlassen, um in Göttingen Deutsch, Theaterwissenschaft und Medizin zu studieren. 1966 zog er nach Berlin, um an die neugegründete Deutsche Film- und Fernsehakademie Berlin (DFFB) zu wechseln. Bis 1969 entstanden die Filme Riffi (1966), Blues People (1968), Cultural Nationalism (1969) und der Abschlussfilm Strange Fruit (1969).
On Africa entstand gemeinsam mit Joey Gibbs nach Normans DFFB-Abschluss. In Normans Worten: „Der Ausgangspunkt dieses Films ist das Verhältnis zwischen Europas Wohlstand und Afrikas Armut; Europas Zerstörung von Gesellschaften und Kulturen, und gleichzeitiger Einsatz von Christentum und Rassentheorien als Rechtfertigung einer gewaltigen Ausbeutung der Kolonialisierten.“ On Africa wurde am 7. Oktober 1970 bei der XIX. Internationalen Filmwoche Mannheim in der „Informationsschau“ aufgeführt; 1972 lief der Film im WDR.
Das Skript wird begleitet von zahlreichen Bildern aus dem Film und kontextualisiert durch fünf Kurzessays von Sónia Vaz Borges, Madeleine Bernstorff, Marie-Hélène Gutberlet, Tom Holert und Volker Pantenburg.

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This issue was made in Almaty, the largest city in Kazakhstan and a burgeoning centre of LGBTQ culture in Central Asia. This is the sort of place that we expect the bulk of our readership to know little about, and before coming here we were also rather in the dark. 

‘Elska Almaty’ features ten chapters, dedicated to the following local participants: Zhassulan S, Nicholas S, Aski K, Roman P, Nurzhan T, Denis Z, Sanzhar A, Samgat A, Edward S, and Nan N.

Ten ordinary local boys from this city’s LGBTQ community, shot both in the city streets and at home, dressed in their own style and often not dressed at all. Each also contributed a personal story, written themselves in either Kazakh or Russian (and followed by English translations) on any subject of their choosing, enabling an even closer connection. These texts touch upon a variety of topics, from stories of falling in love with a closeted celebrity, to chronicles of learning to not just live but flourish as an HIV-positive person, to tales of being a dedicated cat dad who can’t stop growing his feline family. 

Extra special thanks this issue goes to: Josiah Blackmore, Frank Dalton, Joe Pinto.

elskamagazine.com

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Planet A versammelt Werkserien der letzten fünfzehn Jahre zu Bewegungen der Erde und der Elemente, die sich in äußerst unterschiedlichen Zeiträumen und Ausmaßen vollziehen und so in jeweils anderer Relation zum menschlichen Maß in Raum und Zeit stehen. Das Buch gibt einen sinnlichen Einblick in die künstlerischen Prozesse Kati Gausmanns, die natur- und geisteswissenschaftliche Studien, Atelierarbeit und in Fieldwork vor Ort eingesetzte künstlerische Mittel verbinden. Auf poetische Weise vermitteln sich die unterschiedlichen Landschaften, in denen die Werke entstanden sind, und die ihnen zugrunde liegenden natürlichen Prozesse. Ein Essay von Hanne Loreck entfaltet die Komplexität dieser künstlerischen Praxis, ordnet sie in den aktuellen Diskurs ein und zeigt Bezüge zu aktuellen Fragen des Planetaren und des Anthropozäns auf. 

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Planet A presents work series from the last fifteen years that focus on the movements of the earth and of the elements which occur across vastly different scales of age and scope, thus establishing a distinct relationship with our human measure of time and space. The book provides a sensual insight into Kati Gausmann’s artistic practice, which combines studies in natural science and the humanities, studio work, and artistic methods deployed in on-site fieldwork. The various landscapes in which the works were created and the natural processes underlying them are poetically conveyed. Hanne Loreck’s essay unfolds the complexity of this artistic practice, situates it within the current discourse, and highlights topical questions related to the planet and to the Anthropocene. Fotografie: Miranda Blennerhassett, Angela von Brill, Astrid Busch, Carsten Eisfeld, Barbora Gallová, Kati Gausmann, Michael Jezierny, Katharina Pöhlmann, Eric Tschernow, Martin Zellerhoff

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Coming from the fire-lit warmth of OR2 Weapons & Self Protection, Odious Rot retreat to the coolness of underground caves, tidal pools and reservoir tanks. OR3 Troubled Waters is a tribute to the damp, the dank and the wet—a titanium trove dredged up from the deep.

Odious Rot is a community-focused magazine fossilising independent creatives in print. Heavily informed by world-building, each yearly issue exists as a self-contained system, within which contributors share commentary on their own work.

Odious Rot welcomes all modes of design practice, performance, poetry, prose and cultural observation in response to a chosen theme. Devoid of big brand advertising, we prioritise the practitioner, holding space for the unsung talent we feel is owed more light. A printed relic of this moment, now.

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Part performance transcript, part conceptual writing exercise, this project works from an extract from Sam Riviere’s poem Miserable I hope you do too. The original text was rewritten and recombined into multiple possibilities of form and content. The variations of this text were then recited – from memory – in a semi-improvisational way over a four hour performance that took place at Black Box Theatre in Oslo. Focusing on the meditative pace and rhythmic intonation of the original poem, various alternative possibilities for the poetic narrative were imagined and explored, creating a generative palimpsest of poetic experience that was shared with the audience. Here, the text from the performance is transcribed, allowing the poem to further mutate and shift from the realm of the voice back onto the space of the page.

With an introduction by the original poet, Sam Riviere.

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Edited by Miya Yoshida in collaboration with Christiane M-Schwarz & Kerstin Flasche with special
contributions by Hongjohn Lin, Marucia Bjørnerud, Jimmie Durham & Akio Suzuki. 

How can we reserve time for imagination in the age of digital culture? The publication, Listening to the Stones/ Den Steinen zuhören deals with the contemporary ecology with a metaphor of stones in multi-disciplines. The book, which exists both in a printed and a digital version, consists of images, sounds, silence, and text in three chapters: 1) Time, Planet, Technology, 2) Territory and Politics 3) Body and Performativity. 

It presents two newly commissioned theoretical texts by Hongjohn Lin, art theorist, Prof. Taipei National University of the Arts and Marucia Bjørnerud, geoscientist, Prof. Lawrence University, two special text contributions by Jimmie Durham &

and twenty-two art works from Europe and the Southeast Asia.

The book includes the access to different sound files that excerpt from art works. This invites the reader to initiate the act of listening and attempts to open up an imaginative time-space that s/he can form and reform through their own imaginative power. Utilising “stone” as a pivotal point, the book addresses the significance of aesthetics and politics of time and imaginary in the age of digital culture. 

The publication is based on the synonymous title of the exhibition that held at the Kunsthaus Dresden from Nov. 20, 2021-March 6, 2022, curated by Miya Yoshida in collaboration with the Kunsthaus Dresden (Christiane Mennicke Schwarz & Kerstin Flasche).

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Fail Like Fire is a carefully selected collection of twenty poems, written over the past HOWEVER MANY years, from Penny Goring’s intensely personal poetry archive.

76 pages

203 x 127mm

Arcadia Missa Edition: 2022

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Join us on Friday September 8 at 7 pm at Motto Berlin for the launch of “Manufacturing Narratives,” the second issue of MAKAN.

MAKAN is a journal of culture and space that is edited and published by Think Tanger, an independent arts organization based in Tangier, Morocco. Its inaugural issue “Informal Utopias” was published in 2020 and established the foundations of MAKAN as a vehicle for critical engagement with contemporary architectural and urban conditions and with academic scholarship emanating from, or focused on exploring, Africa and the Arabic-speaking milieu. 

The second issue “Manufacturing Narratives,” focuses on how interrogating narrativity can provoke fundamental questions about how societies define or choose to accept societal or historical truths in today’s world. Contributors to the issue include: Ala Younis, Ali T. As’ad, Bari Abbassi, A. George Bajalia, Karim Kattan, Karima Kadaoui, Kenza Sefrioui, Lahbib El Moumi, Laila Hida, Maureen Mougin, Mohamed Amer Meziane, Monica Basbous, Nadia Tazi, Sénamé Koffi Agbodjinou, Sonia Terrab, Soufiane Hennani, Yto Barrada.

The event will include presentations by the creative director of Think Tanger, Hicham Bouzid, and the editor of MAKAN Issue #2, Ali T. As’ad. The presentations will be followed by a conversation / Q&A moderated by Berlin-based urban researcher and performance artist Nancy Naser Al Deen. 

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Think Tanger

Motto Books

Doyenne 002: Singing To Spirits is an anthology curated by artist and writer Flora Yin Wong looking to historical, indigenous rituals worldwide. Bringing together female-identifying musicians, artists and writers on the platform to explore lesser known forms of their artistic practice – the contributions for the first book are from friends & collaborators across the world including: 

Christina Vantzou (Kranky), Lisa Lerkenfeldt (Shelter Press), Lucy Liyou, YL Hooi, Lucinda Chua, Dali De Saint Paul (EP/64), Sarah Shin (Ignota Books), Cucina Povera (Editions Mego), Martyna Basta, Marija Bozinovska Jones, Ekaterina Bazhenova-Yamasaki, Ruth Saxelby (ex-Fader), Susu Laroche, Mira Mattar (Granta / Ma Bibliotheque), Heather McCalden (Fitzcarraldo Editions), Hibiki Mizuno, Hana Noorali, Rose Higham-Stainton, Sonia de Jager, Tara Fatehi, and Marianthi Hatzikidi. 

Thematically rooted around the tradition of ‘Singing to Spirits’, the notions of music being used as an ancient medium to commune with the afterlife are linked with songlines in Aboriginal animist belief as a connection to the land – featuring texts including intimate personal essays, identity exploration, photographic work and lyrics. The project will be further explored through various events of performances and excursions. 

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