Idea Car. Matthew Clifford Green. 2nd Cannons Publications & Motto Books

Posted in 2016, art, Artist Book, books, distribution, poetry, writing on September 20th, 2016
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Matthew Clifford Green is a young painter based in Los Angeles.

On his canvasses Matthew Clifford Green expends the material of oil paint in a near-facetious way, creating works that border the monstrous with the cartoonish. As the surface of his works mound and extend off the canvas, the act of viewership becomes tactile despite its distance, blending sight with touch. The crudeness of Green’s painting style results in works that bend the formal nature of color and the oil medium towards the realm of hyper simplicity, while carefully dodging the fine line of affected naivety.

He has already held plenty solo exhibitions.

IDEA CAR is the artist’s first book of scribbled poetry.

Published by 2nd Cannons Publications & Motto Books in an Edition of 500

20€

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‘Books and Elephant’. Simon Popper @ Motto Berlin. 03.09.2016

Posted in art, books, events on August 30th, 2016

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‘Books and Elephant’. Simon Popper @ Motto Berlin.
Opening September 3rd, 7-9 pm

Exhibition September 4th until October 10th, 2016.

For his exhibition at Motto Berlin, Simon Popper’s work can be broadly understood by its degrees of visual and linguistic separation, that is, through its titles (its naming) and the relations between what the works appear to be, what they are and what they might become. This often rests upon a hinge of wordplay or punning and visual tropes to break down or collapse objects and ideas characterised by a sense of the comedic or the deadpan – but in all seriousness – in a logic of displacement or derangement.
The permeation of a kind of working dyslexia (real and imagined) or visual/linguistic displacement extends to Popper’s methodology in general and to each operation in particular. It’s his way of creating or making things in the world and for the world and his reason for doing it in the first place. This displacement or making other of art, books or just things is as much about the pleasure of creating opportunities as it is about unmaking them, a kind of non-productivity or ‘patience work’ in its ‘purposelessness’ in the folly of its ways. It could be understood as a ‘negative’ making or anti-artisanal production by producing something not just along the lines of value or even the commodity – at least notionally. It’s almost as if the artist was a cottage industry but without the industry, production without product in the simple act of doing.
The work of Simon Popper is an invitation to delinquency, an abandonment of one’s place anchoring a rational centred self into some altogether other self in another place, ordered and classified by systematic play and caprice if only for a moment. The ideal space these works might inhabit would be something like a contemporary ‘room of one’s own’, that now impossibly dissolving bourgeois space, away from the order of things, from the exhaustion of life and from a life surrounded by exhausted objects.

David Bussel

Exhibition proposed by Gregorio Magnani

A Step Towards the Sea (+ DVD). Roman Signer. Humboldt Books

Posted in art, distribution, exhibition catalogue, video, Wholesale on August 29th, 2016
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A Step Towards the Sea tells the relationship between the artist and Italy through a selection of installation views and video works. The accompanying DVD includes an unreleased film and a documentation on every actions carried out in Italy by Signer since the 1990s.
Signer’s bond with the country is a special one, bearing in mind some of his most renown works, produced on the Stromboli volcano, or the numerous actions and sculptures that revolve around an Italian iconic subject such as the Ape Piaggio. The central section of the book is dedicated to Sardinia, with a conversation between Lorenzo Giusti and the artist and a photographic essay by Barbara Signer. A text by Barbara Casavecchia contextualizes Signer’s Italian dimension by introducing the viewing of Reisen Italien: a personal collection of filmic notes produced by the artist in the course of his journeys with the family in the 1990s. The essay by Rachel Withers introduces the hefty iconographic setting of his entire Super-8 production, which consists of 205 clips filmed between 1975 and 1989 and presented in a large installation within the exhibition in Nuoro. The book is accompanied by a DVD which, in addition to the unreleased film, gathers all of the actions Signer carried out in Italy starting from the 1990s and a piece he produced specifically for the exhibition, after which the book is titled.
Published following the exhibition “Roman Signer. Films and Installation,” at the MAN, Nuoro, from April 22 to July 3rd, 2016.
Born 1938 in Appenzell, Switzerland, Roman Signer lives and works in St. Gallen.

 

€30.00

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ETOPS – Extended Operations II & ETOPS – Extended Operations III. Matthew Evans (ed.). Yngve Holen.

Posted in art, distribution, magazines, Wholesale on August 13th, 2016
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ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_1ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_1ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_2ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_2ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_3ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_4ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_4ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_5ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_5ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_3ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_6ETOPS - Extended Operations III & ETOPS - Extended Operations 2. Matthew Evans (ed.). Yngve Holen._Motto Books_6

 

ETOPS, or Extended Operations, is artist Yngve Holen’s magazine about specialized industries today. Edited with Matthew Evans and designed by Per Törnberg, ETOPS is a qualitative and interview-based research project. Previous issues of ETOPS explored the commercial airline industry, plastic surgery, and pornography. The third issue is a travelogue about food and political ecology in the Amazon rainforest and the Andes. The publication project is made possible by the Hessische Kulturstiftung.

 

€10.00

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,you asshole. Alina Lupu.

Posted in art, Artist Book, Theory, Wholesale, writing on August 1st, 2016
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“An intelligent and literarily written account of ‘the art of assholedom’, shining light on all-encompassing and ruthless art as/is life as represented in the acts of Kippenberger, Lee Lozano, Andy Warhol.”
– the northern committee

“Truly unapologetic assholery of which (and because) the ‘what’ and the ‘how’ and the ‘why’ remain hard to grasp – leaving those who try with nothing but a blank stare: why accelerate on a dead end street? Is there a way out – a secret, or a lie? But told by the beholder it still remains a bitter fairytale.”
– substantial times

“So there is a moral after all, despite the critique of art world mechanism that is convoluted and captivating with a discernible joy for provocation.”
– amsterdam tribune

“A voice that we can’t help but think is yet too cautious to actually touch upon the unknown knowns.”
– the moral observer book review

 

€13.00

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Dreams First. Erik Steinbrecher. Exhibition @ Motto Berlin from July 13th to August 25th.

Posted in art, exhibitions, Motto Berlin event on July 26th, 2016
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Dreams First

During years Erik Steinbrecher sorted out daily dirt, leftovers and all kinds
of wrappings. The design of this artist book is based on photographes
of made layouts of waste, moody notes, scribbelings and liquid stains.

For this new episode the artist has decorated Motto’s vitrines in an instant and enjoyable way.

From July 13th to August 25th at Motto Berlin

 

Four variations on nothing or talking about that which has no name. Nicolás Paris. Filipa Oliveira, Motto, Museu Coleção Berardo.

Posted in art, Artist Book, distribution, Motto Books on June 14th, 2016
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Four variations on nothing or talking about that which has no name is conceived as a process of examination in which art is seen as a series of encounters and situations that happen in time. Four variations, four rooms, four concepts: tool, method, idea and system – these are the underpinnings of the thought and work of Paris.
The “tools” are drawings, educational exercises, utensils, games, prototypes. Here, thought is seen as an exercise, while the tools are there to help with setting out ideas. They are not mere techniques of representation, but rather comprise a system of thought that allows us to exchange views.
The “methods” are traditionally taught in a school-style learning environment. By rethinking and playing with the concept of the classroom, the architecture is devised by Paris in such a way that it is transformed into a working process itself, as well as a set of routines that give rise to spaces of exchange in which social skills and learning habits are developed. Each classroom, where the viewer decides what he or she wants to learn or unlearn, is a structure in which the artist’s interests cross with the visitors’ experiences. Every model offers a space to discover relationships, an architecture that serves as a trigger for thinking about different ways of socializing, in a process of learning and failure combined.
The exhibition shifts scale in order to tackle the “idea”. In a small architectural installation, an object suggests that an idea is something that is always being constructed and developed. It is something transformative that we cannot fully access; something that can grow in a number of possible ways, that emerges in time, and that lies in the hands of each viewer.
Under normal circumstances, education would be the system and architecture the method, but in this exhibition this state of affairs is reversed. Education is now seen as a conceptual, logical institution that allows us to learn by association. It is a process that provides room for thought and generates ideas, sparking one or more experiences. A set of short films that are at once demonstrations of the use of the tools and brief poetic essays, and which activate ideas and processes that have already been presented in the exhibition.

19 €
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Foreign Places. Grégory Castéra and Caroline Dumalin (eds.). WIELS, Motto Books

Posted in art, books, distribution, Motto Books on June 10th, 2016
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Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 111Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 15 Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 19Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 3 Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 5Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto BooksForeign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 11Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books, Lausanne:Berlin 122Foreign Places, Grégory Castéra and Caroline Dumalin, WIELS, Brussels and Motto Books 8

Foreign Places

Foreign Places is conceived as an alternative travel guide, which accompanies the eponymous exhibition. The eight contributing artists were invited by Stefano Faoro, designer of this publication and also a former WIELS resident, to imagine a place for the book page in which their work is invested – whether it is a building, city or series of locations. The final text chapter features ‘A Glossary of Place Names’ by WIELS curator Caroline Dumalin, which emphatically locates the artists’ image sequences, as well as the essay ‘From Beirut to Brussels: Notes on Curating as an Exercise in Attachment’ by guest curator Grégory Castéra, who delivers a personal account of the challenges involved in working abroad and attaching oneself temporarily to a place or a practice.

Edition: 750
2016

20.00 €
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CURA. NO. 22. Ilaria Marotta. Andrea Baccin (ed.).

Posted in art, Artist magazine, Motto Berlin store on June 10th, 2016
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CURA. NO.22

COVER BY SOL CALERO
INSIDE THE COVER
Sol Calero
text by Adam Carr
PORTRAITS IN THE EXHIBITION SPACE
Johannes Cladders’ anti-museum
by Lorenzo Benedetti
EXHIBITION LITERATURE
Expanded Literature.
Dominique Gonzalez-Foerster
by Jean-Max Colard

SPOTLIGHT
James Bridle.
 Seeing Like a Network
in conversation with Ben Vickers
Self-Portrait as a City.
Alex Israel in conversation
with Gigiotto Del Vecchio

ABOUT
Anicka Yi’s Allegorical Bouquets
by Chris Sharp

ABOUT
Kevin Beasley.
Energy Accumulates
by Rose Bouthillier

ARTIST’S PROJECT
by Amy Yao

SPOTLIGHT
Philipp Timischl
in conversation with
Pierre-Alexandre Mateos
and Charles Teyssou

A VISIT TO
Rodrigo Hernández
in conversation with
Joao Mourao & Luis Silva

SPOTLIGHT
ÅYR
in conversation with Philipp Ekardt

SPOTLIGHT
Caroline Mesquita
in conversation with
Martha Kirszenbaum

HOT!
Debora Delmar Corp.
by Judith Vrancken
Juliana Huxtable
by Whitney Mallett
Sophie Jung
by Frances Loeffler
Nancy Lupo
by Sarah Lehrer-Graiwer

9.00 €

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On the Verge of Visibility. Wolfgang Tillmanns. Serralves.

Posted in art, Artist Book, books, distribution on June 9th, 2016
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For his first exhibition in Portugal, Wolfgang Tillmans (1968, Remscheid, Germany) continues to expand the possibilities for the reception of his oeuvre through a radical repositioning of its multiple dimensions. At Serralves, he pays particular attention to what he describes as his ‘Vertical Landscapes’, photographs of the natural phenomena of light when day meets night, sky meets earth, cloud meets sky. Dating from 1995 until the present, and printed in scales ranging from the standard size of photographic printing paper, to the panoramic expanse of four metres in size, the photographs encapsulate the expressive potential of Tillmans’ highly developed visual formalism, and his engagement with photography as inherently physical as it is immaterial. In their unnerving beauty, produced partially by the camera makers technical advances and partly by the photographer’s insistence on allowing those advances to show, they create a challenge to the canon of visual cool preeminent in today’s visual culture.

The exhibition will be site specific, in its response to the particular architectural context of its presentation in the museum and through the inclusion of new photographic material. It will also allude to ideas of the ‘universal’ through the everywhere-ness of sky and water, in which glimpses of the human body and particular social, natural and architectural situations and places from around the world emerge. Presented as a visual and architectural intervention across 1000 sq metres of the Serralves Museum’s galleries, together with a suite of installations of newly produced video works, the exhibition promises to be an immersive environment of threshold states.

Since establishing his reputation in the youth and club culture of 1990s London, Tillmans has become one of the most influential artists of our time. His continued exploration of photography as a means to communicate reality is one that inspires and moves in its wonder and its intelligence. For Tillmans, reality is not only visual, social, economic and political, it is organic, bodily, and phenomenal, from the bodies of friends and family to the constellations of cities and plants, the celestial galaxies of night skies and the exquisite abstractions created from the impact of light in photographic process itself. If the medium of photography and its processes provide the foundation to Tillmans’ work, his engagement with place, and his choreographic use of space and scale constitute a world, in which images of people and places and object-like registrations of light are part of an interconnected, physical and cosmic whole.

‘Wolfgang Tillmans: On the Verge of Visibility’ is organized by the Serralves Museum of Contemporary Art, Porto and curated by Suzanne Cotter, Director, assisted by exhibition curator Paula Fernandes.

19€
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