Radical Friends second printing @ Motto Berlin

Posted in art, Artist Book, books, Motto Berlin store on October 28th, 2022
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We are happy to announce of the arrival of the second printing of Radical Friends, edited by Ruth Catlow and Penny Rafferty, published by Torque Editions, 2022.


Contributors: Ramon Amaro, Calum Bowden, Jaya Klara Brekke, Mitchell F. Chan, Cade Diehm, eeefff, Carina Erdmann, Primavera De Filippi, Charlotte Frost, Max Hampshire, Lucile Olympe Haute, Sara Heitlinger, Lara Houston, Cadence Kinsey, Nick Koppenhagen, Kei Kreutler, Laura Lotti, Jonas Lund, Massimiliano Mollona, MetaObjects, Rhea Myers, Omsk Social Club, Bhavisha Panchia, Legacy Russell, Tina Rivers Ryan, Nathan Schneider, Sam Skinner, Sam Spike, Hito Steyerl, Alex S. Taylor, Cassie Thornton, Suzanne Treister, Stacco Troncoso, Ann Marie Utratel, Samson Young.

First publication to document the use and potential of Decentralised Autonomous Organisations in the arts that use blockchain technology and build on NFT innovations.

Decentralised Autonomous Organisations (DAOs) offer unique tools for translocal peers to encode rules, relations and values into their joint ventures using blockchain technology. This new book, edited by Ruth Catlow and Penny Rafferty, who have been at the forefront of investigations into the relationship between DAOs and the arts, constitutes over 5 years of research with essays, interviews, exercises and prototypes from leading thinkers, artists and technologists across this emerging field.

Radical Friends is an urgent book for the 21st Century and beyond. It shows us, in the spirit of the legendary poet and artist Etel Adnan, that the technology of the future needs to be about “togetherness, not separation. Love, not suspicion. A common future, not isolation.”
– Hans Ulrich Obrist

How things are run is often more important than what is done. It may not be easy to establish alternative formats and infrastructures, but it’s certainly necessary… This collection shows that it is possible too.
– Sadie Plant

This book is about friendship, despair and hope — a beautiful, must-read for all people who are asking unanswerable questions about life, love and the end of the world.
– Franco “Bifo” Beradi

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111 stanze. Giulia Casartelli. Edizioni postali tigre

Posted in Artist Book, books, exhibition catalogue, illustration on October 27th, 2022
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Between 28 April 2020 and 3 September 2021, Giulia Casartelli painted and sent 111 watercolour postcards to as many selected recipients. Each postcard reproduced a fragment of the short story Clementina Butterfingers (Edizioni postali tigre, 2022), written by the artist from 2014 to 2020. On 26 September 2021, Giulia started a trip to visit the locations where the postcards are now displayed. She photographed (or has asked the addressees to photograph) these intimate spaces and reproduced them in watercolour. 111 stanze is an archive of this journey.

Texts by Giulia Casartelli, Camilla Pietrabissa, Elena M. R. Rizzi
Translation: Johanna Bishop
Book design: Federico Antonini

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Bodybuilders. Alien

Posted in Artist Book, books, photography on October 18th, 2022
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Bodybuilders is a photographic project by London and Milan based photographer and DJ, Alien that investigates themes of identity, extravaganza and new means of self-expression by documenting 30 of the most intriguing club performers in the UK.

Sitting at a crossroads between visual and performing arts, gender studies, queer activism and positive affirmation, Bodybuilders shows how bodies can be built, distorted and transformed against the binary of systematic male domination.

Bodybuilders includes introductory texts by co-author of The Xenofeminist Manifesto, Helen Hester and Inferno London’s founder, Lewis G. Burton.

First edition of 600

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Handful of Earth. Andrei Becheru. Centrul de Fotografie Documentară

Posted in Artist Book, photography on October 15th, 2022
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Handful of Earth is an ongoing visual exploration of man’s connection to his living environment and day-to-day life in mountain areas.

„Even as a child, I was fascinated with the mysterious atmosphere of mountain scenery. In 2014 I started to volunteer for a local NGO, and my instinctive drive to explore led me back to them. I kept the pictures taken during my mountain hikes for about two years. Then the puzzle behind the project started to take shape. To me, a place can have a certain sound of its own, which is why I tried to put into pictures emotions generated by music. Handful of Earth is both the first part of this project and the title of an album combining traditional and contemporary music. Its inspiration comes from genres like ambient, electroacoustic and experimental music.”
– Andrei Becheru

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What is a name? Why does everyone have a name? What purpose does it have? And for whom?. Alma Kim

Posted in Artist Book, photography on October 11th, 2022
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I couldn’t stop thinking that people initially started to use names for convenience only but they morphed into something more significant. A destiny can be attached to a name: some parents carefully check the meaning of a name and wish their child will live up to that. But a name can’t define a person life as well as you will never know if a person grew up liking its own name, the meaning or the set of expectations that comes with that specific name. Then which name becomes the perfect name for someone or something?

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Matrice. Jacopo Benassi. bruno

Posted in art, Artist Book, exhibitions, performance, photography on October 11th, 2022
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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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Constantin Flondor. When Eye Touches Cloud. Alina Șerban (Ed.). P+4 Publications

Posted in art, Artist Book, books, film, Monograph, painting, photography, Uncategorized on October 10th, 2022
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When Eye Touches Cloud is the first monograph dedicated to the manifold oeuvre of Romanian artist Constantin Flondor (born 1936, in Czernowitz), the leading protagonist of the art groups 111, Sigma and Prolog. This richly illustrated publication takes a closer look on the influential body of work he had produced in painting, kinetic & Op art, land art, action, experimental film & photography from the 1960s until today. It surveys the various steps of his practice: from the lyricism of the first pictorial constructs to the optical and kinetic art of the Group 111, from the study of form and land art characteristic of the Sigma Group, defined as the effort to connect within a single equation visual research and experiment, to the Prolog Group’s spirit of communion and conviviality.

The book offers a comprehensive overview of the principles that shape Constantin Flondor’s art, of reflecting and theorising starting from the inventory of terms, themes, and concepts that have guided him as an artist over seventy years of uninterrupted work and of restoring them to the international context of art through the contributions of invited authors, Dieter Roelstraete & Abigail Winograd, Rainer Fuchs, and Katarzyna Cytlak. Besides the commissioned essays, the book includes a selection from the artist writings and several archival materials which enlarge our view on artist’s singular mode of thinking.

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P+4 Publications is an independent publishing programme dedicated to the promotion of Romanian contemporary art, photography and architecture, exploring the book medium as a point of encounter between theoretical research, graphic design experiment and artists’ ideas and subjects present in their practice. Presently, the programme brings together the Artist Book Series and the Architecture Book Series, supported between 2013–2021 by the PEPLUSPATRU Association, and Parkour and Exhibition-Dossier series, developed by the Institute of the Present since 2017. Starting from 2021, P+4 Publications is coordinated by the Institute of the Present.

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Crass Goods i. Lulu (Hian-Fui Lim)

Posted in Artist Book, graphic design, illustration on October 2nd, 2022
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Crass Goods i is a two-part publication, a vibrating diversion, a mad passion and a way of not taking any important thing too seriously and taking some trivial matters much too seriously.

There are many things we are obsessed with. In the first issue, we documented the renovation of a 48-year-old 4-story Taiwanese house (my late grandparents’ house).

The documentation consists of two parts, ‘Crass’ and ‘Goods’. The ‘Crass’ part is a long newspaper-like print of size 14.6 x 50 cm. It contains construction comics documented during the renovation. The ‘Goods’ part is a tiny book of size 6.5 x 11 cm. It is a catalog-like edition of over 100 household goods found in a 48-year-old, 4-story Taiwanese house.

The theme of the construction process was picked for the ‘Crass’ part of the first issue for its crude, unrefined, unprocessed nature.

I was part of a complex process that challenged how my grandparents’ house could be imagined, lived and ordered differently. I was the designer and superintendent. The position gave me the opportunity to scrutinize the passive monumentality of the house’s self-conscious spatial differences, and to oversee and document every step of the construction process, from planning to completion. The comics were illustrated during my 10-day home quarantine in Taipei.

Ranging from furniture pieces and deity figures to postal stamps and professional tools, the ‘Goods’ part of the first issue features more than one hundred pieces, paying tribute to the house owners(my late grandparents) and the house that housed many years’ worth of objects.

I closely browsed and investigated their archives, the objects that I have been familiar with since childhood for a year or so. There are precious objects and excess belongings, all taking up time and space. There are memories evoked, some vague and fleeting, some sharp and searing. I see many of them as heterogeneous mediums capable of narrating multiple stories. Every view of an object is different. The pieces I chose were mostly based on one thing, a gasp of delight. I see myself as an uninvited(self-invited) curator, curating an exhibit based on the house owners’ collection. The curation is reserved yet cordial, ubiquitous yet unique.

For Crass Goods, each issue is a new geography that reformulates and redeploys. It is also a process of accumulation, corruption, and withdrawal. We seek something missing, miss something left behind. We are dwellers without the consent of the real owners. We curate, and hopefully, our collection could be your collection.

  1. Crass Goods i (crass)

14.6 x 50 cm
12 pages
Edition of 500 (numbered)
English
2022

  1. Crass Goods i (goods)

6.5 x 11 cm
144 pages (113 photographed objects, 5 illustrations)
Exposed Smyth-Sewn Hardcover
Edition of 300 (numbered)
English
2022

dig a hole (@da__h_)

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Dan Perjovschi: The Book of Notebooks. Alina Șerban (Ed.). P+4 Publications

Posted in art, Artist Book, illustration, politics on September 24th, 2022
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Texts by Kristine Stiles, Alina Șerban, Jelena Vesić, What, How & from Whom / WHW

“I do one notebook for every show or project. It is like a pocket studio and research space. In the notebook drawings are pushed further to the limit and are not very PC. There are a lot of bad drawings, things that do not work out, lame jokes. Humor is hard to capture… Of the two hundred drawings in a notebook, thirty or fifty will make it onto the wall an maybe ten will make it into the general repertoire. The repertoire began in 2000 and since then drawings have been incorporated and discarded, rolling from one wall to the next.

I am the happiest when I draw in the notebook and I know the drawing is good. Translating it onto the wall is also good, but it is just a translation.

I draw, I happy.” (Dan Perjovschi)

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P+4 Publications is an independent publishing programme dedicated to the promotion of Romanian contemporary art, photography and architecture, exploring the book medium as a point of encounter between theoretical research, graphic design experiment and artists’ ideas and subjects present in their practice. Presently, the programme brings together the Artist Book Series and the Architecture Book Series, supported between 2013–2021 by the PEPLUSPATRU Association, and Parkour and Exhibition-Dossier series, developed by the Institute of the Present since 2017. Starting from 2021, P+4 Publications is coordinated by the Institute of the Present.

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Panorama. Haruyuki Shirai. Haruyuki Shirai Studio

Posted in Artist Book, photography on September 21st, 2022
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‘Panorama’ is a collection of photographs of different landscapes in Tokyo captured between 2019-2020 using a slit camera that Haruyuki Shirai made himself.

‘Panorama’ is a combination of ‘pan’, meaning ‘all’, and ‘horama’, from the Greek word for ‘view’, hence the meaning ‘full view’. Haruyuki Shirai chose this word as the title of his book – a collection of photographs which capture ‘views of everything’.

The dimension of time is introduced, and the flow of time is projected horizontally, becoming a landscape-like scene. Upon a timeline, these photographs are the ‘views of everything’.

Text: Kinichi Obinata
Art Direction: Taro Kambe
Design: Noa Watanabe
Translation: Catherine Lealand

Edition of 500, numbered

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