How to (talk about) things that don’t exist. 31st São Paulo Biennial. Serralves

Posted in art, distribution, exhibitions, painting, performance, politics, writing on October 4th, 2016
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How (…) things that don’t exist
How to (talk about) things that don’t exist focuses on the processes that led to the artworks and arguments in ‘How to (…) things that don’t exist — an exhibition developed out of the 31st São Pau¬lo Biennial’ presented at the Serralves Museum of Contemporary Art in Porto. The publication continues the ide¬as and discussions that generated the exhibition and proposes unexpected synapses between different subject areas: Education; Reverse Colonialism; and Right to the City — Criminalization of the Poor. It includes a wide variety of texts, chronicles, lyrics, historical documents, drawings, collages, paintings, film stills and photographs many of which specifically conceived for this book by artists, curators, art historians, writ-ers, researchers, pedagogues, sociologists, urban planners, journalists, social workers and activists.

Como (falar sobre) coisas que não existem
Como (falar sobre) coisas que não existem centra‑se nos processos que conduziram as obras e discussões presentes na exposição “Como (…) coisas que não existem — uma exposição desenvolvida a partir da 31a Bienal de São Paulo” apresentada no Museu de Arte Contemporânea de Serralves no Porto. A publicação propõe sinapses inesperadas entre os diversos temas tratados: Educação; Colonialismo Invertido; e Direito a Cidade ― Criminalização da Pobreza e inclui uma variedade de textos, cronicas, letras de musicas, documentos históricos, desenhos, colagens, pinturas, fotogramas e fotografias — alguns concebidos especificamente para este livro — da autoria de artistas, curadores, historiadores de arte, escritores, investigadores, pedagogos, sociólogos, urbanistas, jornalistas, assistentes sociais e ativistas.

39.90

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Syria, A Travel Guide to Disappearance. Giovanna Silva. Mousse Publishing.

Posted in Artist Book, politics, travel on July 19th, 2016
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Texts by Pier Paolo Tamburelli, Noura Al Sayeh
Taken at the height of the Assad days, the images of the photographer Giovanna Silva overlap in this publication with Syrian tourist guides’ images and texts, creating a net of intended and unintended relationships and time interconnections. As Pier Paolo Tamburelli writes in his essay, “Silva’s photo speak of time that is twice lost. […] When I look at them, I can smell that apparently eternal condition of no-change in Syria before 2011. I recognize the omnipresent, idiotic smile of Bashar – at the time still considered the gentle son of Hafez al-Assad (the ophthalmologist who lived in London and did not really wanted to leave to become a dictator and who finally had to substitute the nasty brother probably killed by Mossad). Now that the civil war has erased everything that belonged to that Syria, now that everything changed, I have the impression that that world is way more lost than many other episodes of the past. Both for Syrians and for foreigners the memories of the civil war will occupy all the space that could have been dedicated to these last twenty years of Syrian history. […] Not only are those moments gone, but they will not be remembered. The boredom of that period entirely disappeared in the cruel excitement of the war. The pictures are a strange homage to a lost world”.

 

€25.00

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“Prose and poetry reading for the working class and other laborers.” Contributors: Nora Schultz, Kayla Guthrie, Nicholas Sewitz, Clarice Lispector, Juliana Huxtable, Keren Cytter. 01.05.2016, 7 pm @ Wendy’s Subway, Brooklyn.

Posted in 2016, events, poetry, politics on April 27th, 2016
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MAY12

Dear friends and families,

Please join us to celebrate an Asexual international working day on May 1.

With contributions by Nora Schultz, Kayla Guthrie, Nicholas Sewitz, Clarice Lispector, Juliana Huxtable and Keren Cytter.

The event is hosted by Jack Gross.

On the occasion of Motto’s temporary bookstore at Wendy’s Subway, open every Saturday and Sunday from 12pm to 6pm and during evening events, May 1st through May 29th.

**Free Vodka**

May Day for Worker and Communists – “A decidedly non-pagan, asexual May Day celebration is that of International Workers’ Day, a holiday created by socialists and labor organizers in commemoration of the Haymarket Riot of May 4th, 1886 (also called the Haymarket Massacre or, more cautiously, the Haymarket Affair).

In post-Civil War America, the Industrial Revolution was in full blaze and workers were suffering. Machines were replacing skilled laborers, hours were increasing, conditions were worsening, and the wages were inadequate. The revolutionary ideas of socialism and Marxism caught on with many of these disenfranchised and antagonized laborers, and the movement for an eight-hour day had gained powerful momentum. With all of this brewing, disputes and riots ignited again and again. Then at a large protest in Chicago’s Haymarket Square someone threw a dynamite bomb at the cops, which triggered a battle that left at least twelve dead and many more wounded. The riot was followed by a hugely publicized trial and the eventual hanging of four anarchists, the “Haymarket Martyrs.” This violent clash in Chicago became a powerful symbol for radical labor groups. A few years later, the Second International officially initiated the tradition of May Day labor demonstrations that continue still.”

Poetry – “Literary work in which special intensity is given to the expression of feelings and ideas by the use of distinctive style and rhythm; poems collectively or as a genre of literature.”

Prose – “written or spoken language in its ordinary form, without metrical structure.”

Vodka – “an alcoholic spirit of Russian origin made by distillation of rye, wheat, or potatoes.”

ART AGAINST ART – Taslima Ahmed and Manuel Gnam (eds.)

Posted in politics, Theory on January 11th, 2016

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London, Paris, New York, Milan, Los Angeles, Sao Paulo, Palo Alto – art is moving faster than capital like a god wind that no-one can stop let alone control. Meanwhile a lot of art writing and ‘critical theory’ is stuck in the comfort zone of the 70-90s when there actually was an avant garde or subculture. For art writing to get back on track it needs to shake out of this nostalgia and start engaging with the nuances of what is going on by covering the new breeds of involvement that have emerged since 2009 – the new sincerities and ironies, the more subtle art practices and social variations of market participation that have developed to deal with the institutional grip. For some time an aesthetic suspension of disbelief helped to provide an alibi that allowed us to participate as if we did believe the market was the key to “validation”, but then quickly vanished into feelings of depression after any agency seemed like an impossibility. As the contradictions got wider, different problems have emerged such as whether art is concurrent with the transitional moments of our present culture or technology, or whether art altogether has reached its informational limit. The art world has slowly transitioned from modernist pretensions that seem like delusional excuses to the public, to developing a new sensibility – one of silent, shared communion, retributions and confessions. It has taken the step into a reality that is more in keeping with the real world of business, design and branding than creating stark ‘alternatives’. Beyond short-term pragmatism and adaptability, how can artists aesthetically work alongside their authentic desire to participate in a logic of the market that by necessity must scale? How can we realistically judge the work of art institutions if they are frozen into following instrumental logics rather than relevance? With the availability of information online, there is no way these logics are not transparent to a committed internet user. Narratives like these happened in Pop Music years ago. Just as the Music Industry had to face up to its own protocols, the Art Industry needs to be judged on its changing developments; the ways art is being used as a financial instrument, art’s new marketing techniques, art as representation of different sociological interests, art as access to power, status, fame, participation and the rest of it. Until art writing gets really into these driving forces, it won’t be able to say anything interesting about art. It also won’t be able to grow or be writing that anyone really wants to read. Art Against Art marks a turning point – the one that says by breaking from the overbearing logic of what seems like an inevitability, we can get closer to the conceptualizations we would like society to experience but don’t. The Editors

9€

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

Posted in Artist Book, collage, photography, politics on November 30th, 2015
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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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Politics of study

Posted in art, books, history, literature, performance, photography, politics on July 6th, 2015
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Universities and art schools alike have been subjected to the pressure of recent austerity politics and the ongoing attempt to transform higher education according to the demands of reigning neoliberals. In this context, it is urgent to conceive of alternative frameworks and methodologies of study–whether within, outside or at the margins of academic institutions.

This book examines the current interest in education through a series of conversations with artists, theorists, activists and educators -including Suhail Malik, Brian Holmes, Ruth Sonderegger, Gerald Raunig, Judy Chicago, Gal Kirn, Mohammad Salemy, Melissa Gordon, Marina Vishmidt and Andrea Fraser-who are all actively involved in developing new models of study. Ranging from self-organized learning to critical teaching methodologies, the alternatives gathered here offer a resource for those interested in the renewed politicization of education, new modes of knowledge production and teaching methodologies.

€ 23.00

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The great masters of art history with pictures of Jacques Chirac: Haim Steinbach. Nicolas Giraud

Posted in art, Artist Book, books, men, photography, politics on May 28th, 2015
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The great master of art history with pictures of Jacques Chirac

1st in the series: Haim Steinbach

Edition of 400

€16.00

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Of Democracy / De la Démocratie, Henri Chopin. Motto Books & Supportico Lopez.

Posted in Artist Book, distribution, Motto Books, politics, Theory, writing on June 25th, 2014
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Of Democracy / De la Démocratie by Henri Chopin

© 1984 Henri Chopin ‘Enluminure’, Fondazione Morra, Naples

Published by Motto Books & Supportico Lopez, June 2014
English and French facsimile
Staple bound
Edition of 1000 copies

Price: €10.00
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Miklós Klaus Rózsa. Christof Nüssli, Christoph Oeschger. Spector Books & cpress.

Posted in books, distribution, photography, politics on May 8th, 2014
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Miklós Klaus Rózsa

The photographer and political activist Miklós Klaus Rózsa (*1954) was kept under surveillance for years by the Swiss Federal Office of Police, the Cantonal police, and the municipal police of Zurich. His photographs as well as the State Protection files compiled on him from 1971 – 1989 form the basis for the book. Christof Nüssli and Christoph Oeschger juxtapose the text produced by the state and the images produced by the monitored person. The collage of these sources produces new images that reveal the history of a politically agitated time in Switzerland. The two lines of narration could not be more antithetic: On the one hand are the images by Rózsa which document the events from the midst of the agitation, the Zurich youth movement of the 1980s. On the other hand the surveillance files demonstrate the distanced and often uncomprehending gaze of the police observing the occurrences. The montage brings the conflict between Rózsa’s images and the State Security texts to light. Observation and counter-observation clash. The book will be published in cooperation with cpress, Zurich.

Author: Christof Nüssli, Christoph Oeschger
Publisher: Spector Books & cpress
Language: German-English
Pages: 600
Binding: Softcover
€42.00

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Il Piedistallo Vuoto / The Empty Pedestal. Illaria Bombelli (Ed.). Mousse Publishing.

Posted in art, books, distribution, exhibition catalogue, politics on February 25th, 2014
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Texts by Boris Buden, Keti Chukhrov, Vit Havránek, Marco Scotini and Joanna Warsza.

Published for “Il Piedistallo Vuoto – Fantasmi dall’Est Europa / The Empty Pedestal – Ghosts from Eastern Europe” – presented at the Museo Civico Archeologico in Bologna from January 24 to March 16 and organized by Arte Fiera – this book accompanies a project that traces recent developments in the art scene of Eastern Europe and the former Soviet Union. On view are a hundred works (from leading Italian private art collections) by over forty artists, ranging from members of the younger generation, such as Petrit Halilaj, Gintaras Didžiapetris and Evgeny Antufiev, to recognized masters like Ilya and Emilia Kabakov, Marina Abramović, and Miroslav Tichý. “None of these so-called archeologists”, writes exhibition curator Marco Scotini, “is practicing an art of ruins: they all act upon time but also ‘against’ time, in favor of a time to come. Neither do they aim to predict anything. All they do is allow the unknown knocking on the door to enter”. Alongside a compendium of images, the book presents a selection of essays by philosophers, art critics and curators that illustrate and comment on certain key concepts examined in the show, including the notions of “East” and “West”, and of “democracy”, “struggle”, “History”, and “site-specificity”.

Language: Italian / English
Pages: 304
Binding: Hardcover
ISBN: 9788867490691

22€
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