A-or-ist Issue No. 2. A-or-ist.

Posted in distribution, Journals, magazines, Wholesale on August 10th, 2016
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A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_1A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_2A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_3A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_4A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_5A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_6A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_7A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_8A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_9A-or-ist Issue No. 2, A-or-ist, Netherlands, Text, The Thing, Park McArthur, Sophie Cundale,  Paul B. Preciado, Dorine van Meel, Darren Banks,  CK One,  Gena Rowlands, Ilja Karilampi,  Agnes Martin, Shulamith, 20593384_Motto Books_10

 

 

A-or-ist is a collective publication

The Thing – plasticité – Park McArthur – ubiquity – periods – Sophie Cundale – Pure Heroine – future girls – Paul B. Preciado – therapy – Dorine van Meel – disobedience – fans – not doing – Darren Banks – CK One – ritual – fridges – Tavi – Gena Rowlands – hypnosis – queer mysticism – Ilja Karilampi – Agnes Martin – swooning – Shulamith Firestone – adult babies

Extracts

Polysemous Synthetics (on Park McArthur’s ‘Poly’, Chisenhale Gallery, April 2016)
Jonathan P Watts

‘Poly’, from the Greek meaning ‘many’, already suggests the idea of multiplicity. Poly is the prefix of polymer; in various compound forms, synthetic polymers perform an omnipresent role in our daily lives. Is there a substance richer in meaning and metaphor? Plastic speaks of multiplicity and omnipresence. Plastics in textile blends wrap around our bodies, providing thresholds between the world and our skin. Gels – those weird polymer solids that flow – hold the form of the body. Although aware of Park’s political argument against metaphor, I couldn’t reconcile the literalness of material and the disavowal of its metaphorical resonances. Plastics are a fundamental ontological rug pull, so to speak. The widespread use of plastics following the second world war not only enabled new forms, but augured unforeseen possibilities of mimesis. In other words, plastic helps us to think about identity.

Mutational Media & DeepTime Thrombosis: On Darren Banks’s Object Cinema
Jamie Sutcliffe

Get the feeling we’ve been here before? The remote northerly location, the arrogant frontierism of a bunch of bearded scientists, the excavation of some ancient intelligence? Despite being a fantastically pointed, topical and originally scary in its own right, The Last Winter draws heavily on John Carpenter’s 1982 alien-infection classic The Thing, from its pacing, through its paranoia, to the perilous uncertainty of its final scene. The setting and situation may have changed, but we’re still involved in the same grievous plight of cosmological vulnerability. Casting a little grit onto the cultural tundra, letting the strata reveal itself, it turns out there’s a visible lineage that recedes from Carpenter’s own movie back through a hundred years of texts, comic book adaptations and films that replay the same story in which a group of scientists excavate a primordial life form that seeks its own survival by infecting human subjects. One could even go so far as to suggest that the story itself is a parasitic entity, employing human media as the impotent host of its own regenerative self-purpose.

Notes on Disobedient Children (Dorine van Meel, 2015)
Naomi Pearce

(Dorine) creates a cracked and empty landscape, a handful of pylons sparsely scattered, barely perceptible in the red fog. There’s no sun, or sky or horizon. Another image: a meshwork of untethered electricity cables, slack, inoperative. Cut to a heavenly futuristic landscape where the remnants of human institutions – a white wedding veil – float serenely free. There are no bodies here, just structures on a sliding scale of functionality. We look up from inside a rhizomatic cage or out at a far-reaching line of fences. These are monuments to construction, they mark boundaries but in all this emptiness it’s not clear what they separate, what orders they impose.

All the while crumbling, glitching audio mutates. The sound of movement, of things breaking, both digitally and physically, tectonic plates shifting, buildings falling, rubbish heaps accumulating.

According to Alice 2:The Scent of Ubiquity
Alice Hattrick

Nothing much changes in the minutes and hours after atomization. It is ‘green’ and citrus – lemon and bergamot – and then slightly floral. An hour later it becomes woodier before it is basically nothing. L’Eau d’Issey (1992) was just as ubiquitous in the 1990s and much more interesting: a whole flower – stem and bloom – and way dirtier than its name suggests. The only decent descriptor I can think of for CK One is ‘CK One’. It sits on top of your skin and refuses to have anything to do with you. No part of it sticks, stays, or really changes. And then I realize: it’s not supposed to. CK One is no one’s signature scent. It is pure ubiquity. It is the definition of blending in. Wearing CK One, I have the thought that this is in fact the opposite of perfume.

Period Piece
Hannah Gregory

Looking back to the bloody patterns of Instagram and Tumblr, it seems that the elsewhere rehearsed prescription of social media as contemporary ritual (inglorious ritual) fits. These rhythmic performances are linked to the public-private life of the selfie generation, sure, but they are more than a narcissistic gesture or appeal for attention. Sociologist Karen Gregory has suggested that social media helps elaborate ‘an improvised narrative arc of personal spiritual development [which] can mitigate the dislocation and desperation of precarity.’ In this reading, online expressions are immediately reified as ‘one’s [provisional] life story’ is converted into social or actual capital for the users or the platforms. While the period posts do act as an outlet for an alienating experience, they resist becoming just another instantiation of self-branding.Their gridded repetitions try to put disorder in order, and their shared hashtags of #menstrala and #periodart represent what it might mean to bleed collectively. Un-pretty and undesirable, the images make visible what society prefers to censor.

A Woman Under the Influence (on Sophie Cundale’s After Picasso, God, 2016)
Amy Budd

The iconoclastic title After Picasso, God betrays the simple narrative structure and prosaic content of a film following a day in the life of a woman undergoing hypnosis to quit smoking. Whereas in previous works the artist mostly remained behind the camera, only occasionally making her presence felt in Prologue by interrupting improvised scenes with one line quips and directions, After Picasso, God sees Cundale perform the role of non-verbal protagonist, smoking her way through South London’s public and private spaces.

Queer Mysticism, Feral Communism and [the Body of Text]
Caspar Heinemann

A grounding statement is: Your body is literally hollow; another is: You literally do not have a body but rather millions.This gets more intense when you disregard Cartesian dualism and remember you don’t have but rather are bodies. ‘Your’ ‘body’ is constituted by organisms of many different genders and none. Literally literally literally literally and a few metaphorically.

Swooning
Lizzie Homersham

To my recovered self and to ideas about the obligation to care, Firestone’s ‘Swooning’ is like (Agnes) Martin’s Homage to Life: remarkable for making imperative the need to visualize a problem in order to put it to rest. Remarkable for being the blanket you might wrap around yourself when, echoing Claudia Rankine, ‘you are alone and too tired even to turn on any of your devices, you let yourself linger in a past stacked among your pillows.’ The black blanket you might share? By posting ‘Swooning’ to Twitter, and writing about it here, I wanted to put Firestone’s edges and the tempting prospect of disappearance into dialogue with some questions I have about social media. If that’s not too much of a flight of mind.

 

€10.00

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Mousse #50. Edoardo Bonaspetti (Ed.)

Posted in art, distribution, Journals, writing on October 8th, 2015
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In this issue:

Kelly Akashi, A.K. Burns, Dance and the Art World: Alexandra Bachzetsis, Trajal Harrel, Adam Linder, Dance Factory, Oscar Enberg, Esprit de l’escalier, Bruno Gironcoli, Irena Haiduk, Knot Theory: Trying Art, Psychoanalysis and Topology, Mernet Larsen, Calvin Marcus, The Materiality of Digital Forms, New Narratives of Relevance, The Politics of Art, Richard Rezac, Yves Scherer, Sentiment Analysis, Monir Shahroudy Farmanfarmaian & Frank Stella, Jim Shaw

Includes:

– The Artist as Curator

Issue #9 an insert in Mousse Magazine #50

 

€10.00

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Mousse #49. Edoardo Bonaspetti (Ed.)

Posted in art, distribution, Journals, writing on June 17th, 2015
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Includes:

– The Artist as Curator – Issue #8 an insert in Mousse Magazine #49

&

– The Future is Here

(Available in the international edition and for subscription only)

 

€10.00

 

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Camera Austria #130. Reinhard Braun (Ed.)

Posted in art, distribution, Journals, photography on June 17th, 2015
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With:
Zoe Leonard‬
Carolin Förster‬
The Center For Land‬ Use Interpretation‬
William Ifox‬ ‪
Philip Gaißer‬ ‪
‎Jens Asthof‬
Michael Höpfner‬
Luigi Fassi‬
& others

€16.00

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Of The Afternoon #7

Posted in distribution, Journals, photography on June 17th, 2015
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Issue 7 contains more content and more pages than we’ve ever printed before. Accessible and inspirational; Of the Afternoon asks questions and explores the creativity, passion and hard work behind some of the most exciting visual artists.

Featured artists:
Ren Hang / Erik Kessels / Florian Braakman / Inka & Niclas / Anouk Kruithof / Delaney Allen / as well as work from 30 of the photographers that took part in our recent pop-up exhibition in London.

€11.00

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POV paper issue 1. La Fête du Slip, sexualities festival

Posted in art, distribution, film, illustration, Journals, photography, writing on November 7th, 2014
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POV paper issue 1. La Fête du Slip, sexualities festival

Swiss-based quarterly mind fucking paper about gender and sexuality, linked to the sex-positive festival La Fête du Slip. Sexy photos, illustrations, erotic fiction, reviews of porn and interesting films, records to listen, dance and fuck to, a selection of sex-positive events, as well as critical articles on theory, politics, sex-education, and lots more!

Journal, full color, under cellophane. First printing 1000 copies.

TEXTS BY: María Bala (porn performer and filmmaker, and member of the Toytool Comiteé), Marianne Chargois (dancer, contortionist, sex-worker, author of Le Petit Théâtre Masturbatoire (Humus) shortlisted for the Prix Sade 2014), Yiss H. Heimer (poet), Sasha Osipovich (co-founder and director of La Fête du Slip, sexualities festival), Viviane Morey co-founder and artistic director of La Fête du Slip, sexualities festival), Michel P. (Humus Library Lausanne), Matthias Strogoff (author). IMAGES BY: Louisa Gagliardi (illustrator), Romain Mader & Nadja Kilchhofer (Photographers)

Language: English, French, Spanish

Size: 31,5 x 47 cm

€5.00

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Odiseo #4. Oriol Mogas, Pol Perez (Eds.). The Flames (Folch Studio).

Posted in distribution, Journals, photography on July 23rd, 2014

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Odiseo #4. Oriol Mogas, Pol Perez (Eds.). The Flames (Folch Studio).

Volume 4 revolves around the loose topic of value, which is explored from different angles by Philippa Snow, Marta Jankovska and Eugenia Lapteva. It also includes photo essays by Jonathan Schofield, Olya Oleinic and Alex Franco, sitting alongside a review of Allen Jones’ controversial and unwilling contribution to The Clockwork Orange.

Language: English
Pages: 128
Size: 24 x 17
Binding: Hardcover
ISBN: 978-84-939703-6-9

Price: € 12.00
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zweikommasieben #9 launch w, Call Super (Houndstooth) @ Sounds of the Universe, London.10.07.2014.

Posted in art, collage, design, events, graphic design, Journals, music, photography, writing on July 9th, 2014
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zweikommasieben #9 launch w, Call Super (Houndstooth) @ Sounds of the Universe, London.10.07.2014.

Please join us for the London launch of zweikommasieben #9, with:

Call Super  (Houndstooth)

zweikommasieben (2,7) is a Swiss music journal that has been devoted to the documentation of contemporary club culture since the summer of 2011. Each issue features artist interviews and essays, as well as a particular focus on design, photography and illustration.

Artists featured in the new issue include: Andy Stott, The Haxan Cloak, TR\\ER (aka Truss & Tessela), Cyclobe, Helena Hauff, Ensemble Economique & AUN, Terranova, Call Super and Vatican Shadow.

Published by Präsens Editionen & Motto Books.

Thursday 10th July, 18.30 start.

SOUNDS OF THE UNIVERSE
7 Broadwick Street
Soho
London
W1F 0DA

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distracted-reader #2 Michael Parr and Blaine Western. split/fountain.

Posted in distribution, Journals, photography on June 26th, 2014
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distracted-reader #2 Michael Parr and Blaine Western. split/fountain.

A ridge, a section, an existing boundary, additions, a removed partition. A floor; concrete (where possible). 160 pages; includes 10 tipped-in colour plates. With essays by Michelle Menzies, Lance Pearce, and Henry Babbage.

Parr and Western segue a photographic essay on the ruinous state of Barton Gillespie’s modernist house in Westemere into photographs of mutely eloquent architectural and landscape fragments taken in Los Angeles and Mexico. Menzies’ essay reads the Barton Gillespie house as a figure of rapport between people, topography and climate. Pearce considers the itinerancy and conceptual mobility of Parr and Western’s practice. Babbage reflects on the different audiences that Parr and Western’s temporary, quasi-architectural spaces create, and the way the spaces operate as platforms for occupancy and performance.

Language: English
Pages: 156
Size: 29 x 20 cm

Price: €18.00

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distracted-reader #1 Mixtures: Xin Cheng and Allan Smith. split/fountain.

Posted in art, distribution, food, illustration, Journals, photography, writing on June 26th, 2014
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distracted-reader #1 Mixtures: Xin Cheng and Allan Smith. split/fountain.

156 pages with drawings, photographs and texts by Xin Cheng, and drawings, photographs and texts by Allan Smith.

The title Mixtures comes from a 2011 Xin Cheng exhibition; in this publication Cheng mixes memories of a Chinese childhood with recipes for healthy eating, photographed pages of anthropology texts showing Mongolian Yurts, and knitted socks from Scandinavia, images of ingenious low-tech merchandising stands in Cambodia, drawings of stone walls, and a bread igloo.

Smith writes about the copiousness and fabricational inventiveness of Cheng’s practice, and about the accumulative materiality in the collages and architectural practice of ex-pat architect M.K. Smith.

Allan Smith’s ‘un-illustrations’ set old school ink drawing and comic-book sequencing to work on the textured ‘push and pressure’ of a densely textured world.

Language: English
Pages: 156
Size: 25 x 19 cm

Price: €18.00

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