Julian Charrière: Future Fossil Spaces. Nicole Schweizer (Ed.). Mousse Publishing.

Posted in art, books, distribution on December 13th, 2014
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Julian Charrière: Future Fossil Spaces. Nicole Schweizer (Ed.). Mousse Publishing.

Nicole Schweizer, ed.
Texts by Amelia Barikin, Rebecca Lamarche-Vadel, Nadim Julien Samman, Nicole Schweizer

Whether creating innovative topographies of his native country and adopted homeland using bacteria in constant evolution, or Babel-like towers that are gradually coated with organic motifs obtained through decomposition of samples taken from nine great rivers of the world, Julian Charrière studies the effect of time, its relationship with space and matter, and the various ways we perceive it. What he calls “the geology of History”
“Future Fossil Spaces”, the exhibition devised for the Musée cantonal des Beaux-Arts de Lausanne which is the occasion for this book, brings together works for which Julian Charrière traveled to Iceland, Kazakhstan, the Atacama Desert (Chile) and Argentina. The exhibition title evokes The Blue Fossil Entropic Stories, the result of an expedition carried out in 2013 in which the artist climbed an iceberg in the Arctic Ocean and attempted to melt the ice under his feet using a blowtorch for over eight hours. The fossils mentioned in the title do not refer to traces of animal or plant life found in rocks, but to the Latin etymology of the word, which translates literally as “obtained from digging”, the action of the artist consisting therefore in proposing, in the present of the exhibition space, works that are in dialectical tension between the two arrows of time, one pointing to the past and the other towards the future.

Language: English / French
Binding: Hardcover
ISBN: 9788867491063

€ 25,00
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Chapters I-XXX. Haris Epaminonda. Humboldt Books, Kunsthaus Zurich.

Posted in art, books, distribution, film on December 13th, 2014
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Chapters I-XXX. Haris Epaminonda. Humboldt Books, Kunsthaus Zurich.

In tracing some of the notions and narratives embedded in Chapters, a 16 mm film shot in Cyprus in 2012, the idea of making a book came about as an exercise, or rather an experiment, to deconstruct the film into some of its subject matters. Embarking on a new set of associations between image and subject, source and information, meaning and abstraction, this book is both a document and a memory map, tracing the beginnings of a thought, a time, an image, a place.

Chapters I-XXX is published and presented in conjunction with the exhibitions Haris Epaminonda. Chapter IV at Fondazione Querini Stampalia, Venice (14 March – 18 May 2014); Haris Epaminonda. Vol. XIV at Galleria Massimo Minini, Brescia (25 March – 18 May 2014).

Concept: Haris Epaminonda and Marco Walser, Elektrosmog, Zürich
Graphic design: Marco Walser, Elektrosmog, Zürich
Image design / editing: Haris Epaminonda
Hardcover folder | English
24 film stills (color)
30 posters (b/w & Color)
ISBN 978-88-908418-5-9
23x31x2cm

€ 39,00
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Mousse #46 – Artists’ Words. Edoardo Bonaspetti (Ed.)

Posted in art, distribution, magazines, writing on December 9th, 2014

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Mousse #46. Edoardo Bonaspetti (Ed.)

New trimmed format for reader’s pleasure.

Language: English / Italian.

(this issue has 3 different cover colors. please ask in case)

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The Serial Universe by Alexandra Leykauf. MOREpublishers at MOTTO Berlin. 12.12.2014

Posted in art, events on December 8th, 2014
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The Serial Universe by Alexandra Leykauf
on invitation by MOREpublishers at MOTTO Berlin
Opening reception 12.12.2014 from 7pm

Exhibition 13.12.2014 – 07.01.2015

http://www.alexandraleykauf.com/
http://www.morepublishers.be/

Relief Journal 2: Drift. Heidi Kawai Smith, Nicholas Smith (Eds.)

Posted in art, distribution on December 8th, 2014
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Relief Journal 2: Drift. Heidi Kawai Smith, Nicholas Smith (Eds.)

he theme of the second issue of Relief is Drift a rudimentary translation of the French term dérive popularised by Guy Debord and adopted by the Situationists to describe a way to experience the urban through unplanned drifts. This act traditionally signified a political gesture that strived to create friction in the world of capitalism, (or in the mind of the flâneur at least). Today such acts are perceived as privileged and dated, but the reason that I wanted to focus on this theme was because I believe that the Drift is an extremely prevalent practice within our lives, this process however has been internalised. Alot of what we used to experience outside, we now experience inside, so how we branch out into the world has changed. What does it mean to be in a city? Where is that city? How do we become public? Richard Senate, in his book The Fall of Public Man, announces that The Stage Tells a Story the Streets No Longer Tell, a statement made in 1977 which, seems to now have become inverted in the reflection of the dormant LED monitors that are installed in our workplaces, our homes, our journeys, our person. The Streets Tell a Story the Stage No Longer Tells – our journeys are virtual first and real second, they become real at the point that we choose to become public.

The contributors for this issue have chosen to become public and in doing so have either rendered themselves visible or disappeared. We hope that Relief allows a space for our contributors to become public in a way that is less bureaucratic than a gallery or institution and allows for the fleeting idea to sit next to the major work. Encapsulating the point in between the proposal and finished work we have, in the same way we did with the first issue commissioned new works, reconfigured older works, published archival documents and made talks and lectures black and white. A much more text heavy endeavour this time in a strive to become more ‘journally’ and less ‘ziney’, sticking to the same structure but more words, less pictures.

Owen Hatherley sets the tone to Drift, passing by the situationists, via Warsaw, Southampton, Notting Hill, Depford and a Chinese takeaway in Stockwell to the soundtrack of Pulp and the Manic Street Preachers. ‘An Occurrence’ provided by the editors looks at the work of Chris Marker and his misclassification by art historians in relation to the works of Hito Steryl. Jack Lavender has put together the photographic essay and provided the front cover image, displaying a potent articulation of the artists drift. Damian Griffiths interview’s German born US based artist Josephine Meckseper, her shop window displays that conflate with screens and advertisements, chrome rims, mirrors, underwear models and Brecht – the work is found and made, she talks about her aesthetic journeys and background.

The invited contributors for this issue are; Olivier Castel, who presents a selection of sand drawings from a recent show in London, Powered Cement originally installed with a light that either made the image visible or not, are here displayed in black and white on the static page. Tamarin Norwood has punctuated the publication beautifully with drawings that are between the digital and the analogue, accompanying this work is also a video piece that is available on the Relief website. Victor Burgin has provided what I have come to refer to as the ‘spine’ of the issue, a text originally given as a keynote talk in the Tate; Visible Cities starts in Palomanova and traverses through a version of Dubrovnik made entirely from images on Flickr, he pictures the streets of Naples, Paris and Milan with the use of the films of Roberto Rossellini, Michaelangelo Antonioni and Éric Rohmer. Simon Fatihfull has edited a collection of digital drawings of a journey from the Rivers Cam and Ouse, they are part of large collection of on-going drawings which started in 2000. In Dilatantes Smothered in Velcro George Vasey shares a curatorial diary of his journey in the strange space of making exhibitions, the banality and the sublime blindness of accumulating new knowledge through allowing unexpected situations, objects and systems to interfere with what we may consider as a straight forward profession. Jane Rendell visits three instances; writing spaces through an architectural discourse using of course, the works and lives of artists. In Dear Allan Arjuna Neuman writes to his old tutor and mentor, Allan Sekula, is he aware that these emails will never reach his intended reader?

Relief is a project that is created in-between artistic practices, jobs and many personal commitments, not only on my behalf as the editor but everyone who contributes to this publication. I would like to thank the contributors for being so generous and you for your support through buying Relief, as your support will allow us to continue publishing and providing a dynamic and insightful dialogue between our audience and our contributors.

Front cover image: Jack Lavender Unit 9, 2014, Courtesy The Approach, London
19 x 24 cm
116 pages

12€
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Zora Mann’s Magical Coloring Book. Chert Berlin, Motto Books

Posted in art, Chert, distribution, drawing on December 7th, 2014
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Zora Mann’s Magical Coloring Book
. Zora Mann. Chert Berlin, Motto Books.

Printed on Bio Top paper by ourpress, in Berlin
Cover: Linoprint, printed at Druckwerkstatt im Kulturwerk des BBK Berlin, on Finnish Holzpappe
1st Edition, 220 copies
Plus 30 special editions, colored, signed and numbered

Published by Chert & Motto, Berlin December 2014

http://www.zoramann.org/
http://www.chert-berlin.com/
http://www.mottobooks.com/

30€
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80€ (Special Edition)
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John Fahey: Paintings. Inventory Press

Posted in art, distribution, painting on December 5th, 2014
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John Fahey: Paintings. Inventory Press

The much-revered avant-garde guitarist John Fahey (1939–2001) incorporated influences ranging from folk, blues, and bluegrass to classical music, musique concrete, and noise in his primarily acoustic guitar-based compositions. Considered a legend by many, Fahey released upward of three dozen LPs in his lifetime.

Relatively late in life, Fahey extended his so-called American Primitive approach beyond music, and into the creation of a substantial body of paintings created in makeshift studios in and around Salem, Oregon. Painting on found poster board and discarded spiral notebook paper, working with tempera, acrylic, spray paint, and magic marker, Fahey’s intuitive approach echoes the action painters and abstract expressionists. The same alluring and tranquilizing aesthetics that defines much of Fahey’s musical output are equally present in his paintings.

The first publication focusing on his visual output, John Fahey: Paintings is illustrated with 92 plates and is accompanied by essays from Keith Connolly, founding member of No-Neck Blues Band, and the critic Bob Nickas.

Design: Project Projects
Language: English
Pages: 128
Size: 21.9 x 26.7 cm
Price: €38.00

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Jean-Michel Wicker : e & e industrial @ Motto Berlin. 4.12.2014

Posted in art, books, drawing, editions on November 30th, 2014

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(e industrial)

Robert Overby: Works 1969-1987. Alessandro Rabottini, Andrea Bellini, Martin Clark (Eds.). Mousse Publishing.

Posted in art, books, distribution, painting, photography, sculpture on November 29th, 2014
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Despite a prolific and diverse practice, Robert Overby (1935–93) remains one of the best-kept secrets in post-war American art. While rarely exhibiting during his lifetime, he nonetheless built up an extraordinary, multifaceted body of work encompassing sculpture, installation, painting, photography, print and collage.

This monograph is published on the occasion of “Robert Overby: Works 1969-1987”, the first survey exhibition of the artist’s work to be organized in Europe. Edited by Alessandro Rabottini —in collaboration with Andrea Bellini and Martin Clark—it has been conceived, from the outset, as a joint project of four partner institutions: Centre d’Art Contemporain, Genève; GAMeC – Galleria d’Arte Moderna e Contemporanea, Bergamo; Bergen Kunsthall, and Le Consortium, Dijon.

Texts by Andrea Bellini, Martin Clark, Robin Clark, Alison M. Gingeras, Terry R. Myers, Alessandro Rabottini

Language: English
Pages: 294
Size: 24 x 31,7 cm
Binding: Softcover
ISBN: 9788867491223

37€
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Jimmy Robert: Draw the Line. The Power Plant @ Motto Berlin. 24.11.2014

Posted in art, events on November 24th, 2014
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Jimmy Robert: Draw the Line

Lecture / performance with Jacob Korczynski
Presented by The Power Plant
Monday November 24th
start 7pm