Diese Publikation vereint Quellen, Referenzen, Bildmaterial und den Rohtext des Theaterstückes hexen flexen, das im August 2021 am Theater Basel uraufgeführt wurde.

Sie stellt eine Vernetzung unserer gemeinsamen Recherche über Hexen dar und bildet eine Kontextualisierung der künstlerischen Arbeit, indem sie zwischen akademischer Herangehensweise, künstlerischer Forschung und intuitiver Vernetzung changiert. Wir bezeichnen die Verben hexen und flexen als eine Praxis, die mit Überschreibungen spielt und in der es explizit um Rückeroberung von Raum, Begriffen und Körpern geht.

Die Publikation hat kein Ende – sie stellt einen Ausschnitt aus der andauernden Recherche von Louisa Raspé und Jana Furrer dar, welche mit Johanna Schäfer und Mona Mayer geteilt und weitergewebt wurde. So ist eine Art Gewebe entstanden in weitreichender Kompliz:innenschaft; mit all jenen, die vertreten und auch nicht vertreten sind.

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A comic album once discarded from a public library and later found on the street by the artist on his way to his studio is transformed into a series of abstract collages. Using simple cut and paste tactics a collection of science fiction narratives is reorganised into images drifting away from definition to be reproduced as Risograph prints on the pages of Flashback Gordon.

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Atlas soccer is part of atlas, a collection of images taken from newspapers and gathered from 1990 to 2010 and later filed by subject. The material, exclusively in paper format, was found by chance and collected without a particular reason other than the compulsive attraction to the photographic image. It was only later, in the filing process, that it has found its current form, a sort of map of the author’s obsessions.
Atlas soccer is different from other, more uniform, collections in that inside the soccer world there are an infinite series of sub-categories that can be traced back to the actions and gestures taking place on the 90 minutes of the match. This chain of gestures opens to wider reflections on performance and production. Every gesture goes beyond its primary nature of spontaneous action and into the hybrid territory of representation. Soccer players, modern heroes relentlessly followed by camera lenses, give vent to their narration in a chain of poses that find their outlet in the image itself, displaying forms dripping with erotism and involuntary history of art. The match becomes synonym with the world; its gestures being its subjective variant.

€20.00

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Published on the occasion of the show Amputee Love at Motto Berlin, April 2016

Translated by Lucile Dupraz
Published by Villette Editions and Motto Books

Price: €15.00

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What’s wrong with redistribution? Wolfgang Tillmans. Verlag der Buchhandlung Walther König.

Wolfgang Tillmans’ “truth study centre” became a fixed part of his exhibitions since he first showed a version of the multi-part tabletop installation in 2005. Often arising from local circumstances and current issues at the time of their creation, the “truth study centre” works mark an endeavour to create a clear view in ever more confusing times.

Tillmans observed the paradigm shift that defines politics today early on. The scope and complexity of this project become apparent for the first time through this book, the second we have published, after “manual” in 2007, dedicated to this set of works. Over 320 pages, printed using a high-resolution technique, Tillmans presents an alternative chronology of the present. Far exceeding his original and main medium of photography, he juxtaposes a variety of contrary opinions, statements and comparisons on recurring table formats. The dimensions of the wooden tables, which he designed himself, are not arbitrary: they are built using standard British door panels, 198 cm long, and with one of four different standard widths.

This book gives an overview, through lavish reproductions, of this new form of collage, in which picture, text and object “are only kept in place by their own weight.” An essay by Thomas McDonough, Professor for Art History at Birmingham University, New York, places Tillmans’ project within the context of twentieth-century collage, from Hannah Höch to Robert Rauschenberg.

This artist’s book, produced by Tillmans’ Berlin atelier, includes a Fresnel magnifying glass, making it possible to zoom in on the contents and read even the smallest of printed texts. The largest installation of “truth study centre” to date will be shown in Berlin’s Hamburger Bahnhof beginning November 28, 2015.

€48.00

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buch 3b de 10. Kristen Mueller. & So.

buch 3b de 10 is the tenth in a series of books based on Dieter Roth’s bok 3b, a collection of comic book pages in which numerous holes were die cut before the pages were re-bound, published in the ‘Collected Works, Volume 7’ by edition hansjörg mayer in 1974. Using Roth’s book as a template, holes were hand-cut into a selection of papers found in books in Berlin. buch 3b de 10, exhibited from 17 October to 7 December 2014 in the vitrines lining Motto Berlin’s courtyard, consists of 56 double-page spreads which together form an entire 3b buch.

Each double-page spread consists of three unbound papers which can be folded as a 12-page booklet or displayed open as a single spread.

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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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Turbo Magazine #48: Mixed Media. Linus Bill + Adrien Horni.

Par Linus Bill + Adrien Horni, November 2013

Procédé d’impression: Offset
Nombre de pages: 32
Reliure: Piqûre à cheval
Dimensions: 26.7 x 36 cm
Poids: 320 g
Edition: 400 ex.

Price: €17.00

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Malicious Damage. Ilsa Colsell (Ed.). Donlon Books

In 1962, a then unknown couple, John (Joe) Orton and Kenneth Halliwell, were tried at Old Street Magistrates Court, London, charged with, ‘larceny, malicious damage and wilful damage’, involving hundreds of Islington Library’s book stock. Over the previous three years the pair had been secretly stealing these books, removing what amounted to thousands of valuable art plates and either using them to create alternative dust jackets for other books, (which were then returned quietly to the library’s shelves for unsuspecting browsers to find), or pasting them directly into a large and uninterrupted collage spanning the interior walls of their one-roomed flat on nearby Noel Road. The pair would receive a six-month custodial sentence for these actions. The reconfigured dust jackets were part of a decade of often shared creative endeavour; the two had written, collaged and entertained themselves with the combined fragments of Arts history and contemporary culture. This small flat their studio and living space, and where they enacted a loving relationship at a time when homosexuality was forbidden by law ‘in public and in private’. Their arrest and trial would be an abrupt curtailment of this private idyll and a turning point in their lives, setting them separately (though never entirely separated) on a path which would lead John to become Joe Orton, one of the fashionable playwrights of sixties London. Halliwell pursued his own creative path with further collage — but did so without fully finding an audience for his artwork to match Orton’s rapid theatrical success. Their deaths at Noel Road five years later in 1967 became the sensationalised end to what had largely been a private, enclosed life together; Orton murdered by Halliwell who then took his own life. Now, fifty years after the trial, Malicious Damage looks closely at the collaged dust jackets still remaining within the archive at Islington Local History Centre and focuses on the early collaborative nature of Orton and Halliwell’s relationship. Using the changing collage that had consumed such a large part of their lives in Noel Road as its frame, Malicious Damage underlines the visual and performative nature of their collaborations, as well as using the process of collage itself to investigate Halliwell and his work in greater detail.

44€
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Mathew Hale & Misha Hollenbach. Book launch and screenings @ Motto Berlin. 23.01.2014.

Please join artist Mathew Hale, designer/publisher Misha Hollenbach and Motto Berlin for the book launch of CUT IN CANNES (Pambook, 2013).

To accompany the launch, Mathew will present the screening of his slide projected piece TAXI STOP FIJI (2008), and also the first ever screening of his super8 film TAXI STOP FIJI IN COLOUR (1999).

Drinks will be served.

Thursday 23rd January.
7pm start. First screening at 7.45pm.

Motto Berlin
Skalitzer Str. 68
im Hinterhof
Berlin 10097