Out of the Blue. Kirill Golovchenko. Rodovid Press.

Posted in Artist Book, books, distribution, photography, Wholesale on April 15th, 2017
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As a kid I spent a lot of time on the beach. We spent most of the summer in a seaside holiday home. It’s a great feeling on the seaside, calming and threatening at the same time. Life on the beach is very varied. The beach is a universal theme and in this case part of the cultural world of the Ukraine.

Perhaps you can find out more about people at the beach than at other public spaces. People go to the beach, take off their clothes, lie down next to other people they don’t know, swim, eat, tan, and drink … The more people there are lying on one level, the more join. Some parts of the beach are so hopelessly overcrowded that you can’t get to the waterside for all the beach-towels. My images are what they are, merely windows on the reality of the seaside. Most images are direct observations captured using a camera: seen briefly, and then they’re over. I’ve always needed to be close up to people, to almost be part of them, which is like saying I was never just an observer but also a holidaymaker. One of them.

I took a swimming tyre and shot photos through it. The circular image this created reminds me of a ship’s porthole. Also, the circle resembles a telescope lens and had a touch of the voyeuristic about it. It fits the beach, and not just as a formal device. For me, the tyre helped me learn to swim. At the beach you watch others and they watch you. I did my watching through this ‘hole’. It seemed spontaneous and fun while taking the photos. There was something of the performance about it and yet I also felt invisible as a consequence. The swimming ring conceals you, isolates you, but also makes you visible. It helps you focus, both as the photographer and as the observer. It’s like a pin-hole, a spotlight illuminating a certain situation for a brief moment. What’s important is that the viewer recognizes the shape of the swimming tyre and when viewing the images is taken to another level, one between staged reality and documented reality.

Language: English, Ukrainian
Pages: 104
Size: 27.5 х 18.5 cm
Weight: 590 g
Binding: Hardcover

€34.00

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Hybrid Modernism. Haubitz + Zoche (eds). Spector Books.

Posted in books, distribution, photography, Wholesale on March 2nd, 2017
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Hybrid Modernism – Movie Theatres in South India
Haubitz + Zoche (eds.)

In the period from the 1950s to the 1970s, a large number of cinemas were built in both the urban and rural areas of South India. Their architecture is an unusual mix of Western influences and local building styles. The brightly coloured façades resemble stage sets and provide a foretaste of the film experience in the auditorium, where the extravagant forms and embellishments are continued, getting the audience in the mood for the cinematic world before the opening credits roll. One might call this architectural language a kind of hybrid modernism. Many of these cinemas have been maintained in their original state. However, in the big cities, the process of converting them into multiplexes has already begun. Haubitz+Zoche’s photographs from the period 2010 – 2013 document a piece of cinema culture that has already for the most part disappeared in Europe and the USA and is being increasingly displaced in India by commercial interests.

128 pp.
numerous colour images
thread-sewn hardcover
Spector Books
Leipzig 2016
Size: 30 x 31 cm
Weight: 1.15 kg
ISBN: 9783959050777
designer
Christian Lange

€42.00

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Crude. Sally O’Reilly. Eros Press.

Posted in books, distribution, literature, Wholesale, writing on November 23rd, 2016
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In a country called Academia, art critic Ida O’Dewey is at the top of her game –until she misjudges the limit between satire and irresponsibility, live on radio. She must retrieve her public reputation and avoid professional extinction, but sources of power and methods of persuasion are never clear-cut. An enigmatic group of radical sensualists, with an occult attraction to a glossy black substance and a deep contempt for mainstream conceptualism, present a possible way out. This stuff called ‘oil’, Ida intuits, could be the perfect subject for a block-busting thesis.

Crude relates the non-sequiturs and irrational connections that make up
a complex society, where even the most specialised and experienced cannot
profess to be in control of their immediate future.

“In Crude, Sally O’Reilly sets up a relationship between academia
and the oil industry. What emerges in this ingenious novel is an
ever-expanding exploration of how art historical and literary
theory can become embedded within our everyday realities.
O’Reilly utilises the double-meanings of its title in order to
explore the slippery and sticky underflow of rhetoric, social
networks and in-fighting within the art world. The result is a work
that oscillates between fiction and reality. Crude is a revelation.”
— Hans-Ulrich Obrist

Cover image:
Brian Griffiths, some basic treatment, 2016

Eros Press
ISBN 9780993426889
Softcover
390 g
19.8 x 12.9 cm
328 pages

€14.50

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Taking a Line for a Walk. Nina Paim (ed). Spector Books.

Posted in art, books, distribution, graphic design, Wholesale, writing on November 15th, 2016
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Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions. Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education. This book is a compendium of 224 assignments, edited by Nina Paim and coedited by Emilia Bergmark. A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within. Taking a Line for a Walk derived from an exhibition of the same name at the International Biennial of Graphic Design Brno 2014.

Taking a Line for a Walk

Nina Paim (ed.)
Spector Books
272 pages
22.5 x 25.5 cm
Softcover

34€

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Route 1, Mike and India. Thomas Whiteside.

Posted in 2016, Artist Book, books, distribution, photography, Wholesale on November 11th, 2016
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Route 1, Mike and India

Thomas Whiteside
Self published, 2016
34.3 x 30.5 cm
900 g
Hardcover

€90.00

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¨Strangers’ Guide to Home Territories¨. Steve Bishop. Motto Books, Supportico Lopez

Posted in books, distribution, Motto Books on October 21st, 2016
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Steve Bishop
Strangers’ Guide to Home Territories
1st edition, 250 copies

Photos taken at the following exhibitions:
Standard Ballad (2015)
Carlos/Ishikawa, London

You’d Be So Nice to Come Home To (2016)
Supportico Lopez/6817 Los Angeles

Insulated by the Boundary (2016)
AND NOW, Dallas

1st edition, 250 copies
60 C-prints on Fuji Crystal Archive photo paper
Screen printed PVC jacket
ISBN: 9782940524518
Published by Motto Books, Supportico Lopez

35€
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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

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

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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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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