Featuring: Noémie Boebs, Sagal Maj Comafai, Viktor Dallmann, René Frauchiger, Jonis Hartmann, Ruth Loosli, Gorch Maltzen, Valerie-Katharina, Meyer, Jan Müller, Anna Ospelt, Rüdiger Saß, Adam Schwarz, Noemi Steuerwald, Adi Traar, Wolfgang Wurm.
Illustrations by Tobias Gutmann. Guest contributions from studio marcus kraft.
€15.00
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.
€18.00
BOOK LAUCH
The Ruin to Come.
Walid Sadek.
Motto Books & Taipei Biennial 2016
Thursday 15 June, 2017 starting at 6:00 pm
Venue: Agial Art Gallery, 63 Abdel Aziz St., Hamra, Beirut, Lebanon.
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These collected essays, written in Beirut over a period of 10 years between 2006 and 2016, look at the conditions of living under a temporality theorized as the “protracted now” of a civil war, one structurally capable of perpetuating the conditions of its own dominance. This protracted now, these essays argue, remains untranquil in the many unfinished strains of a troubled history that resist falling back into a settled and distant past.
What unites the diverse essays of this book is an investment in the concept of labor, understood as both interminable and historical: the labor of min, the labor of the corpse, the labor of nearblindness and the labor of missing. These labors are interminable since they persist in a disinclination to join the various calls for regeneration and resurrection implicit in state-sanctioned and market-driven projects for the reconstruction of Lebanon. They are also historical since they frame this disinclination as an anti-historicist position open to a non-linear conception of memory that attempts to name the many pasts slighted by a forward-looking rush towards better futures.
Together, these labors develop into a critique of hope as a reactionary sentiment that numbs collective action in the present and propose that within the folds of war lie moments of political significance that can be recovered and thought through, in order to initiate a livable living built with the unwelcome but necessary knowledge shouldered by unreconciled survivors.
A new collection of poetry by Roberto Harrison.
Publisher by The Green Lantern Press.
Language: English
Pages: 240
Size: 15.2 x 23 cm
Weight: 448 g
Binding: Softcover
ISBN: 9780988418585
€20.00
36 Short Stories – Mélanie Bouteloup (ed.)
36 Short Stories brings together a selection of works and texts, published, exhibited, or collected during Bétonsalon – Center for Art and Research’s program. Presented in the form of a collection of short stories, it brings into dialog thirty-six voices and experiences—personal and collective, factual and fictional, and some times forgotten. Encompassing authors from a wide range of disciplines, contributions explore the margins of traditional historiography and the distribution of knowledge, employing fiction as a means to resist uniformity. In a word, each seeks to deconstruct established norms and to offer new readings of the histories we construct.
–
Table of contents:
Foreword
Bernard Blistène
Introduction
Mélanie Bouteloup
The Information Man
Edward Ruscha
Shared Letters
Katinka Bock
memos, briefs and reports (on formats)
Franck Leibovici
Navigating the Immense Sea
François Aubart
Grosse Fatigue
Camille Henrot and Jacob Bromberg
A Man In the Moon
Johnny Kit Elswa
Reversing the Burden of Proof as Postcolonial Lever
Lotte Arndt
The Most Powerful World of Our Age
Peter Weiss
My Time With Michèle
Annie Tresgot
The Ethical Deed in the Soviet Films of the 1960s and 1970s
Keti Chukhrov
Edouard de Laurot and (the) Cinéma Engagé.
Preliminary Remarks
Nicole Brenez
Re-constitutions: On Mueda, Memória e Massacre, by Ruy Guerra
Raquel Schefer
How Do Images Make Politics?
Petra Bauer
The Civil Contract of Photography:
Terms and Conditions
Ariella Azoulay
Street Art, Collective Action and Dissent in Sana’a
Anahi Alviso-Marino
To Be In a Time of War
Etel Adnan
Letters to Max
Eric Baudelaire
Cidade
Leon Ferrari
Of Borders and Limits of Visual Technologies
Nana Adusei-Poku
Opéra 5 Weeks
Benjamin Seror
Fluidity
Claude Parent
Free Ride: Skating, Galilean Mechanics, and Simple Forms
Introduction – Locomotive Gravity
Raphaël Zarka
Jikken Kobō: The Experimental Workshop in Japan During the 1950s
Mélanie Mermod
A Chronology of Pirate Radio
Thierry Lefebvre
Total Restoration
Louise Hervé and Chloé Maillet
Notes on Scriptology: Voices from the script of the Otolith Group
Morad Montazami
Not Not Over: Archival Engagements in Queer Feminist Art
Mathias Danbolt
Writing the History and Politics of the Future:
Notes on a Few Historiographic Fictions
Kantuta Quirós and Aliocha Imhoff
Lesbian Peoples: Material for a Dictionary
Dictionary – History
Monique Wittig and Sande Zeig
Ethnic Autohistorias-teorías:
Writing the History of the Subject
Gloria Anzaldúa
I, Too
Langston Hughes
American, Haitian, Spanish and Russian Digressions
Sarah Frioux-Salgas
Letter to the Crown Prosecutor Louis-Gilbert Boucher
Furcy
How Do We Live Among the Plants?
Françoise Vergès
Fields of Zombies: Biotech Agriculture and the Privatization of Knowledge
Claire Pentecost
About ADA Magazine:
A Few Questions for Jennifer Sorrell
Mélanie Bouteloup and Garance Malivel
Native Cultural Objects Today in Brazil
Maria Thereza Alves
Justiniano Lamé Has Been Killed
Jimmie Durham
–
Available in English and French.
A point alienates from itself and becomes a line. A line alienates from itself and becomes a square. A square alienates from itself and becomes a cube. A cube alienates from itself and becomes a hypercube. Black Hyperbox is a dimension of productive alienation from concepts through experience and from experience through thinking. Black Hyperbox is a productive lie, a future-oriented spatiotemporal ruse, where the conceptual horizon is mutilated through doing and the horizon of imagination is mutilated through thought. In Black Hyperbox, any known can be black-boxed and the unknown can turn out to be most banal.
This was the text that announced Black Hyperbox, initiated by Florin Flueraș and Alina Popa in 2015. Black Hyperbox started as a frame for performance and text based on the alienation between practice and conceptualization. Meanwhile, individual artworks, mostly performances, emerged from its process. They are circulating sometimes independently, sometimes together. Now Black Hyperbox is also a book, the outcome of the discursive section of the project. Its contributing authors were immersed in Black Hyperbox or gravitating around it, at least conceptually. In the book, Black Hyperbox comes forth as a place that holds incompatible conceptual zones and spatiotemporalities together: Old World and New World, theater and jungle, jaguars and AI, prehistory and futurism, the earthly home and the alien space,Mecca and the North Pole, spaceships lost in cosmos and the politics of Isis, Malevich’s black square and the moon travel, thought and hallucination.
Contributions by Florin Flueras, Alina Popa, Ioana Gheorghiu, Ștefan Tiron, Gabriel Catren, Irina Gheorghe, Garett Strickland, Sina Seifee, Bogdan Drăgănescu, Eleni Ikoniadou, Cristina Bogdan, Cosima Opartan, Nicola Masciandaro, Ben Woodard, Blake Victor, Adriana Gheorghe, Gregory Chatonsky, Dorothée Legrand & Georges Heidmann, Matt Hare, Larisa Crunţeanu, Dylan Trigg, Ion Dumitrescu.
€16.00
Initially known for her work in photography—which she has been making over the last three decades—New York–based artist Moyra Davey (born 1958) is also an esteemed writer, editor and, most recently, filmmaker, whose works layer personal narratives with explorations of other authors, filmmakers and artists. This book is based on two related projects that take form as text, photography and film. Les Goddesses (2011) collapses the lives of Davey and her five sisters with those of the daughters of Mary Wollstonecraft, the 18th-century feminist writer and activist. Hemlock Forest (2016) weaves references to Wollstonecraft, Chantal Akerman and Karl Ove Knausgaard with her own family stories. During the making of Hemlock Forest, Akerman took her own life. Her death soon engulfed Davey’s awareness, prompting a broader exploration of Akerman’s and her own biographies, amid more universal themes of compulsion, artistic production, life and its passing.
Published by Bergen Kunsthall & Dancing Foxes Press
Language: English
Pages: 126
Size: 18 x 24 cm
Weight: 632 g
Binding: Softcover
ISBN: 9780998632605
€29.00
Waldo Pardon, Alexandra Myshalov, Nadia de Vries and Adrienne Herr @ Motto Berlin
Saturday March 11th, 6-9pm
‘Class of 2017’ will be a reading in preparation for greater things. Showcasing artists and poets who have little in common, other than their enrollment and an A+ attitude. Come to a presentation of new work by 4 poets.
Most Likely to Get Out of Here:
Waldo Pardon (b. 1997, Belgium) is a writer and filmmaker. For Class of 2017, Pardon will read the first chapter of ‘The Bacterial Anchor,’ his unfinished novel. ‘The Bacterial Anchor’ is a fairy tale that revolves around 4 teenagers, densely keyworded, sinisterly branded, and their pilgrimage to an OG necropolis as soon as they get released from a juvenile detention center in Florida.
Most Likely to Crash on Your Couch:
Alexandra Myshalov (b. 1995 USA) is a writer, globalized subject, and sacrificial object. For Class of 2017, Alexandra will read “Port of call”, a rubric for narcissistic divination that combines confessional narrative and cut ups from Heavier than Heaven: A Biography of Kurt Cobain.
Most Liked by Parents:
Nadia de Vries (b. 1991, the Netherlands) is a poet and curator. She is the author of First Communion (2015), R.I.P. Nadia de Vries (2016) and Pain in Translation (forthcoming 2017). In 2016, she curated Sisternhood, a poetry anthology featuring work by European women writing in English. She lives and works in Amsterdam.
http://nadiadevries.com/
Most Likely to Succeed:
Adrienne Herr (b. 1991 USA) is a poet who works heavily with video and performance.
http://adriennes.site/
These collected essays, written in Beirut over a period of 10 years between 2006 and 2016, look at the conditions of living under a temporality theorized as the “protracted now” of a civil war, one structurally capable of perpetuating the conditions of its own dominance. This protracted now, these essays argue, remains untranquil in the many unfinished strains of a troubled history that resist falling back into a settled and distant past.
What unites the diverse essays of this book is an investment in the concept of labor, understood as both interminable and historical: the labor of min, the labor of the corpse, the labor of nearblindness and the labor of missing. These labors are interminable since they persist in a disinclination to join the various calls for regeneration and resurrection implicit in state-sanctioned and market-driven projects for the reconstruction of Lebanon. They are also historical since they frame this disinclination as an anti-historicist position open to a non-linear conception of memory that attempts to name the many pasts slighted by a forward-looking rush towards better futures.
Together, these labors develop into a critique of hope as a reactionary sentiment that numbs collective action in the present and propose that within the folds of war lie moments of political significance that can be recovered and thought through, in order to initiate a livable living built with the unwelcome but necessary knowledge shouldered by unreconciled survivors.
Written by Walid Sadek
Published by Motto Books & Taipei Biennial 2016
Language: English
Pages: 253
Size: 13 x 20.5
Weight: 198 g
Binding: Softcover
ISBN: 9782940524563
€15.00
Our relationship with animals is fraught and contradictory: we simultaneously mythologize, venerate, sacrifice, and exploit those who are not of our species. This paradox suggests that our connection with animals might be more complicated, and far richer, than commonly thought, and that the distinction between human and animal is not at all clear-cut. By laying down a novel artistic and theoretical framework, Animality, devised by Jens Hoffmann in conjunction with Marian Goodman Gallery, looks to examine this complex relationship. Written to accompany an exhibition of the same name, it includes more than seventy participants, mostly from the world of art, but also covering film, literature, philosophy, and science.
A fully illustrated catalogue designed by A Practice for Everyday Life.
Cast of Creatures:
Giorgio Agamben, Jennifer Allora and Guillermo Calzadilla, John Baldessari, Stephan Balkenhol, Georges Bataille, Pierre Bismuth, Cosima von Bonin, Marcel Broodthaers, Balthasar Burkhard, Maurizio Cattelan, Abraham Cruzvillegas, Charles Darwin, Berlinde De Bruyckere, Gilles Deleuze and Félix Guattari, Mark Dion, André Marie Constant Duméril, Albrecht Dürer, Elmgreen & Dragset, Roe Ethridge, Peter Fischli and David Weiss, Étienne de Flacourt, Michel Foucault, Conrad Gessner, J. J. Grandville, João Maria Gusmão and Pedro Paiva, Ernst Haeckel, John Halas and Joy Batchelor, Petrit Halilaj, Charley Harper, Carsten Höller, Roni Horn, Marine Hugonnier, Peter Hujar, Luce Irigaray, Malia Jensen, Sarah Jones, Jamian Juliano-Villani, E’wao Kagoshima, Karen Kilimnik, Louise Lawler, Jochen Lempert, Emmanuel Levinas, Klara Liden, Carl von Linné, Robert Longo, Steve McQueen, Maria Sibylla Merian, Annette Messager, Eadweard Muybridge, Friedrich Nietzsche, Gabriel Orozco, George Orwell, Jean Painlevé, Naufus Ramírez-Figueroa, Louis Renard, Henri Rousseau, Johann Christian Daniel von Schreber, Albertus Seba, Wael Shawky, George Shiras, Yinka Shonibare, Taryn Simon, Hiroshi Sugimoto, Emily Sundblad, Adrián Villar Rojas, Danh Vō, Peter Wächtler, William Wegman, Franz West, Harrison Weir, Alexander Wilson, Jordan Wolfson, Cerith Wyn Evans, Jakub Julian Ziolkowski.
Language: English
Pages: 203
Size: 22.5 x 29.7
Weight: 944 g
Binding: Softcover
ISBN: 9780944219348
€50.00