This book is an anomalous and layered object. It is split into chapters, following the way the Matrice exhibition was developed and completed over many months of work. Some key phases in the construction of the project in fact took place in the period prior to its opening, in a form that straddles the private dimension of an artist’s work and the public dimension of the exhibition. As also discussed in the critical text, Jacopo moved his studio to the spaces of the Fondazione Carispezia in the months preceding its opening. Here, within a triangular, uterine structure, the physical ‘matrix’ of the exhibition to be precise, he produced most of the works that would then be exhibited. And indeed many things took place inside it. The catalogue thus attempts to account for all of this. The colour photographs were taken by photographer Andrea Rossetti to document the two moments in which the project came into being. The first is made up of the so-called ‘invisible exhibition’: in order to understand the genesis of Matrice, we in fact need to understand how the exhibition is the final result of the ‘real’ exhibition that no one but the artist and very few others had the pleasure of seeing. All the works in this closed space, built in the very heart of the Foundation space, were in fact displayed on the walls, yet destined never to be seen by any visitor and then to be brutally dismembered. As the photos show, the works displayed are covered with a series of sheets to prevent them from being seen during Jacopo’s performance a few days prior to the opening. Only the photographs installed horizontally above the sculptures are partially visible. In the centre of the room, on the other hand, we can still see the tools used in the creation of the works, and the musical instruments that would later be played during the performance. The second moment taken by Rossetti consists of the actual Matrice exhibition itself, which the public could then view during its opening months. Andrea is one of the world’s leading exponents of that fine art which is the documentation of artworks and especially of contemporary art exhibitions. It is indeed an approach that requires great sensitivity and critical outlook. It is a translation process in which a – fruitful – betrayal of the material to be translated is and always will be necessary. A loving and respectful betrayal which was indeed requested by Benassi when he brought Rossetti on board for this task. The two sections of the catalogue must therefore be seen as a true collaboration between the two, in the wake of the many already developed by Jacopo with other artists in the fields of performance and sound research. The black-and-white photographs in the book were instead all taken by Jacopo Benassi or devised, prepared and coordinated by him. They recount the most performative and moving moments of the exhibition and its making, and are very much integrated with Andrea Rossetti’s work, adopting the same brutality with which Jacopo intervened in the Foundation exhibition space.

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Despite the state of the world, the sunrise, the smells, nature, and youth.
Everything was beautiful at the moment.

These photographs were taken for an advertisement for the artist’s brand ATELIER FLATMOON (https://www.atelierflatmoon.com/).

Photography by Hideaki Ota
@hid_ota

Edition of 30, numbered

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PERFORMANCE ART FROM ROMANIA AND MOLDOVA

Interviews with: Iulia Popovici & Raluca Voinea, Dan Perjovschi, Szilard Miklos, Matei Bejenaru, Pavel Braila, Farid Fairuz, Anca Benera & Arnold Estefan, Nicoleta Esinencu, Alexandra Pirici, Veda Popovici, Candidatura la Presedintie, Paul Dunca, Ioana Paun, Simona Dumitriu & Ramona Dima, Florin Flueras & Alina Popa.

„The diversity of performance art forms in Romania and the Republic of Moldova speaks about distinct motivations, personal and artistic, in the opinion for this language, but also about the mode in which an art gets to build its own definitions, in specific contexts. There are these definitions that we are searching, through the dialogues with artists, in the present book.”
(Iulia Popovici)

„These days we don’t find each other so much in the street; we don’t find ourselves in the political or aesthetical programme of the recent protests or we simply wait that they generate other metaphors and other concepts, for a new generation of artists (and citizens).”
(Raluca Voinea)

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Adam Fearon. Alpina Huus x Motto

10 August, 6-10pm
8pm sharp: Performance by Jessica Gadani

 

In August 2018, four artists are challenged to think the outdoor exhibition space and the historical window displays located in the courtyard of a bookstore in Berlin. Over the course of a project exploring the performative potential of their visual and sculptural practices, you are invited to a weekly gathering, during which one of the artists will unveil their contribution. Each new project will be visible throughout the week following the opening.

Adam Fearon was born in Dublin where he studied Fine Art at National College of Art and Design before going on to study at Frankfurt’s Städelschule. He has exhibited widely, including recently at Harbinger, Reykjavik; Frankfurter Kunstverein; Kunsthal ved Siden Af, Svendborg; BQ, Berlin; Temple Bar Gallery, Dublin and the Museum für Moderne Kunst, Frankfurt. In 2019 he will have a solo exhibition at the Butler Gallery, Kilkenny. He lives and works in Berlin.
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Alpina Huus x Motto
10 August—7 September 2018

Adam Fearon, 10 August, 6-10pm
Claude Eigan, 17 August, 6-10pm
Tarik Hayward, 24 August, 6-10pm
Nastasia Meyrat, 31 August, 6-10pm

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Revised and expanded second edition of Hartmut Geerken and Chris Trent’s comprehensive reference Omniverse Sun Ra, originally published in 1994.

Omniverse Sun Ra features many previously unpublished photographs of Sun Ra and His Arkestra in New York in 1966 and Germany in 1979 by Val Wilmer, and Hartmut Geerken’s previously unpublished photographs from Heliopolis in Cairo, Egypt, in 1971, in addition to an updated comprehensive pictorial and annotated discography by Chris Trent, including chronological discography and alphabetical record title, composition, personnel, and record label indexes, as well as indexes of shellac 78RPM records, 45 RPM singles, jackets, and labels.

Also includes essays and photo documents by Hartmut Geerken, Chris Trent, Amiri Baraka, Robert L. Campbell, Chris Cutler, Gabi Geist, Sigrid Hauff, Karl Heinz Kessler, Robert Lax, and Salah Ragab.

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GX Jupitter-Larsen is an artist who lives and works in Los Angeles. In Nihil Ad Rem, his well-known performance art group The Haters is extensively documented from its inception to the present. From tearing paper in 1979, to blowing up hillsides in 1986, to amplifying erosion during the 1990s and 00s, to recent paintings, Jupitter-Larsen’s work celebrates entropy and his own self-created lexicon of units of measurement.

Pages: 64
Size: 16,5 x 23 cm
Weight: 240 g
Binding: Softcover
ISBN: 9780990635185

€25.00

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Ulay – Life-Sized

He describes himself self-deprecatingly as the “most famous unknown artist”: Frank Uwe Laysiepen aka Ulay. With his concept of transformation, he constantly creates new identities. His preferred medium is photography — initially, in the form of the Polaroid, photography became an integral part of his earliest artistic practice. For Ulay the instant picture, which has now been replaced by the digital image, is the material in his decade-long search for a way to represent life. To this day, his body serves as the object of his research, on which various influences leave traces and can be read, just like on a canvas. The Schirn Kunsthalle Frankfurt presents the first-ever major overview of the works of the artist, which will be accompanied by a catologue covering photographs, performance art pieces, and works that Ulay has kept private for years and which are now being made public for the first time. (Ulay, Schirn Kunsthalle Frankfurt, 13, October 2016 to 8, January 2017) Text: Maria Rus Bojan, Noah Charney, Ann Demeester, Sophie Duplaix, Rudolf Frieling, Chrissie Iles, Dominic Johnson, Amelia Jones, Thomas McEvilley, Lyle Rexer, Beate Söntgen, Matthias Ulrich

192 pp.
with 230 black-white and colour images
thread-sewn softcover
Leipzig 2016
ISBN: 9783959051118

Width: 22 cm
Length: 27.8 cm
DESIGNER
Christoph Steinegger / Interkool
EDITOR
Matthias Ulrich, Max Hollein
AUTHOR
Play

€45.00

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How (…) things that don’t exist
How to (talk about) things that don’t exist focuses on the processes that led to the artworks and arguments in ‘How to (…) things that don’t exist — an exhibition developed out of the 31st São Pau¬lo Biennial’ presented at the Serralves Museum of Contemporary Art in Porto. The publication continues the ide¬as and discussions that generated the exhibition and proposes unexpected synapses between different subject areas: Education; Reverse Colonialism; and Right to the City — Criminalization of the Poor. It includes a wide variety of texts, chronicles, lyrics, historical documents, drawings, collages, paintings, film stills and photographs many of which specifically conceived for this book by artists, curators, art historians, writ-ers, researchers, pedagogues, sociologists, urban planners, journalists, social workers and activists.

Como (falar sobre) coisas que não existem
Como (falar sobre) coisas que não existem centra‑se nos processos que conduziram as obras e discussões presentes na exposição “Como (…) coisas que não existem — uma exposição desenvolvida a partir da 31a Bienal de São Paulo” apresentada no Museu de Arte Contemporânea de Serralves no Porto. A publicação propõe sinapses inesperadas entre os diversos temas tratados: Educação; Colonialismo Invertido; e Direito a Cidade ― Criminalização da Pobreza e inclui uma variedade de textos, cronicas, letras de musicas, documentos históricos, desenhos, colagens, pinturas, fotogramas e fotografias — alguns concebidos especificamente para este livro — da autoria de artistas, curadores, historiadores de arte, escritores, investigadores, pedagogos, sociólogos, urbanistas, jornalistas, assistentes sociais e ativistas.

39.90 €

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Questioning the physicality of space and the meaning of an object within its relation to a viewer, I tend to intertwine the viewer’s visual memory and imagination by repeating previous moments of an experience. The architectonic theatre features various objects and [theatro] expands on the notion of ‘view’ (‘thea’ in Greek, where the word ‘theatre’ comes from). The word ‘view’ is also the root of the word ‘theory’ [coming from the junction of the words ’thea’(=view) and ‘oro’( =to perceive)]. Intending the theory as practice, Ι composed [theatro] as an act of theory, asking ‘Does a de-construction of a composition inquire or does it request a knowledge of the past?’

[theatro] is a rhythmical reading experience, a 5.5 meters long transcript of a seminar performance reflecting it’s original pulse and duration. It is based on the seminar performance “PUZZLE”, that took place at FROWN, Athens initiated by Maria Lalou, consisted of Katerina Drakopoulou [A], Maro Zacharogianni [B], Maria Lalou [O], Mirrored Glass Object [X] and a live-feed camera. In this work Maria Lalou uses two software platforms for writing. Powerpoint for the pre-fabricated text and a live performed text on ‘Word’, both projected on the screen from her computer. [theatro] is verbatim transcription of the piece with several functions. Next to the documentation of the PUZZLE performance and a manual reading, it also serves as a script for the play, ‘I AM A ‘Φ’.

During the book launch in Motto Lalou will introduce the work with the lecture performance ‘theatre of consciousness’ a work based on a critical text that Lalou has written in 2013 for the academic press ‘activate’ published in London prior to the idea of [theatro]. The performance’ theatre of consciousness refers to the seen and the seer through an analysis that places the audience in a central position and as a core thematic of ‘the seen’.

[theatro] is published by Onomatopee launched primary in Eindhoven at Lalou’s solo exhibition ‘a spect’ during June 2015. The publication is designed in collaboration with Yin Yin Wong/Werkplats and includes an introduction to the work by Alena Alexandrova.

[theatro] leporello will be installed in its full length from the 19th November in the vitrines of Motto accessed through the public space. Lalou is producing a limited edition of prints of the floor plan ‘archetype’ which is one of her basic tools for this series of work, to will be installed in the exhibition space.

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Maria Lalou is an artist born in Athens in 1977. She works with the science of objects – containers, spatial installations, film and accumulated performances, developing context as of extensions of architecture. Lalou’s specialization at glass science has been evolving in contextualizing aspects of mass / surface / space/ time /duration in the sphere of cognition by challenging the bodily experience and questioning alignment of the vertical and horizontal, disposition and disorientation. She graduated from the Gerrit Rietveld Academie in Fine Arts and from Technical University of Athens in Architecture, Design of Space – Object and Constructive Arts. She has been researcher at DasArts Amsterdam and an invited resident in e- mobilArt program for Interactive Artists. Lalou’s works have been shown amongst others in the Contemporary Art Museum of Thessaloniki during the 2nd Biennale of Thessaloniki, in ‘Technopolis’ Industrial Museum of Athens and at ‘Living Spaces’-2nd Contemporary Art Festival in Damascus, ‘Manobra’ Festival in Sao Paolo Brazil. She has been in collaboration with institutions as the E-Engineering of the Hogeschool of Amsterdam as an external adviser, with Roehampton Univesity in London as a writer on a post academic journal and an invited lecturer by Rijksacademie Studios in Amsterdam in 2012. For more info visit: http://reaction-lalou.com

Free Shop Book documents the project Free Shop in Germany, Japan, Poland, Denmark and Norway. It contains interviews with customers and participating shop owners.

Free Shop takes place in an ordinary shop, anything purchased in the shop by any given customer, while Free Shop is performed, is free of charge. There are no signs or other means of information communicating that merchandises, goods, services, etc. in the shop are free of charge. A customer in the shop may not realize that merchandises, goods and/or services have been purchased for free until the counter clerk gives the customer the bill for the purchase, stating the amount of 0. Performed for the first time in 2003 in Bremen, Germany, Free Shop has since been held in Japan, Poland, Denmark and Norway.

 

€18.00

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