Tags: Motto Books, Nicole Wermers
Foul-Up launch party @ Motto Books
Galaxian (live – experimental set)
Video by James Nunn.
Brand new Berlin based label Foul-Up presents the launch party of its inaugural release, Misantrop’s debut EP “Limerence” in-store at Motto.
Friday 18th Nov
Tags: drawing, Motto Books, Nico Jungel
‘Variations on Dots and Lines’. Nico Jungel book launch @ Motto Berlin. 10.11.2016
Join us to celebrate Nico Jungel’s new book, published by Motto Books
Variations on Dots and Lines
Author: Nico Jungel
Publisher: Motto Books
Size: 21 x 28.8 cm
Weight: 880 g
Tags: Julia Drouhin
Premiere in Germany at Motto Berlin
14:00 > 16:00
FM portable radios welcome
Free event outside
Hot chocolate and glüwein
Skalitzer Str. 68, im Hinterhof, Berlin 10997, +49 30 48816407
Broadcast by Reboot FM 88.4 FM between 15:00 and 16:00
Camille Antoine, Felicia Atkinson, Frieda Beukenkamp, Dinah Bird, Maya Boquet, Emma Bugg, Tania Buisse, Andrea Cohen, Lou Conboy, Selena De Carvalho, Kate Geck, Emmanuelle Gibello, Rosalind Hall, Hanna Hartman, Carola Haupt, Julie Honoré, Cat Hope, Alice Hui-Sheng Chang, Zoe Irvine, Coraline Janvier, Shannon Johnson, Anne Laplantine, Sally Ann McIntyre, Mish Meijers, Miss Despoinas, Rosa Menkman, Maria Papadomanolaki, Edith Perrenot, Nadège Philippe-Janon, Sally Rees, Eve Risser, Elissa Ritson, Anne-Laure Robin, Sabio Design, Pip Stafford, Rachel Tribout, Maia Urstad, Valérie Vivancos, Tricky Walsh, Sarah Washington.
Tags: Gregorio Magnani, Serralves
Everything is About to Happen (Porto): artists’ books and editions @ Fundação de Serralves, Porto
Opening Friday 14 October
Exhibition from October 15 2016 to February 12 2017.
Works by Patrícia Almeida and David-Alexandre Guéniot, Karl Holmqvist, Janice Kerbel, Sara McKillop, Kristen Mueller, Luís Muñoz-Santini, Preston is My Paris, Simon Popper, Erik Steinbrecher, Fritz Welch, Nicole Wermers.
‘Everything is About to Happen (Porto): Artists’ Books and Editions’ is dedicated to the most recent developments in the field of artists’ books as a medium and context for contemporary art. The exhibition presents more than 200 works ? many of them published in small, hard to find editions ? to give an overview of the most recent developments in the field of artists’ books. Through them it looks at burlesque reversals, authorship fluidity, sub-activism, unproductive labour, nonsensical and non-linear languages as tools to reaffirm and question our collective desire for collectivity. It suggests that artists’ books should be seen both as individual artistic expressions and as participants in a forum whose culture and freedom are essential to our future.
For the duration of the exhibition, the Serralves bookstore will become an integral part of the show and present recent artists’ books that respond to the concerns it articulates. The bookstore selection is curated by Gregorio Magnani in collaboration with Motto, Berlin.
Artists’ books ? works of art that adopt the format and particular modes of distribution of the book ? first came to prominence in the mid-1960s. They offered artists a cheap and easily distributed art form that responded to the widespread desire to bring art out of the gallery context. After almost disappearing from view in the 1980s, artists’ books found new energy as a form of artistic expression in the mid-1990s. Then, the wide availability of increasingly affordable digital editing and printing technologies paired with the ease of communication afforded by the internet made it relatively easy to publish or self-publish a book or fanzine. Artists could adopt the book as their chosen medium and become publishers of themselves or choose to rely on a vast network of artist lead, small, adventurous, and often short lived, publishing houses. It was a media that allowed them to be in full control of their own work ? from the first glimpse of an idea, through its development in editing and publishing, to its final marketing. This was liberating: it allowed free experimentation that bypassed the need for institutional support and validation and relied instead on an alternative peer-to-peer network. It also responded perfectly to the 1990s dream of self-empowerment embodying its promise to make each of us a one-man-act on a constant path of self-reinvention. Today the hope of a non-exploitative relation between capital and independent cultural producers seems as unrealistic as the 1960s notion of liberation through commerce. In the creative arts, self-expression reads more and more as labour performed as entertainment for somebody else’s gain. But the productive power of the shared language that constituted the community around artists’ books remains. It relies on low costs, high affective investments, peer-to-peer exchanges and on the focus on the ability of the book to create social exchanges. Threatened by capital’s capacity to survive its crisis through the consumption and production of social spaces, it reaffirms its communal energy by acknowledging the dangers it faces.
‘Everything is About to Happen (Porto): Artists’ Books and Editions’ is organized by the Serralves Museum of Contemporary Art, Porto, and is curated by Gregorio Magnani.
A Step Towards the Sea
at Motto Zürich Müllerstrasse 57
on the 17th of September in the presence of
The conversation starts at 5pm and will be held in German.
Published on the occasion of the exhibition Roman Signer. Films and Installation, hosted at the MAN (Nuoro, Italy, April – July, 2016), A Step Towards the Sea is not only a catalogue, but a book to all effects and purposes, which tells the relationship between one of the most acclaimed contemporary artists and Italy. Signer’s relationship with the country is a special one, bearing in mind some of his most renown works, produced on the Stromboli volcano, or the numerous actions and sculptures that revolve around an Italian iconic subject such as the Ape Piaggio. The central section of the book is dedicated to Sardinia, with a conversation between Lorenzo Giusti and the artist and a photographic essay by Barbara Signer. A text by Barbara Casavecchia contextualizes Signer’s Italian dimension by introducing the viewing of Reisen Italien, the unreleased film included in the enclosed DVD: a personal collection of filmic notes produced by the artist in the course of his journeys with the family in the Nineties. The essay by Rachel Withers introduces the hefty iconographic setting of his entire Super-8 production, which consists of 205 clips made between 1975 and 1989 and presented in a large installation within the exhibition in Nuoro. The book is accompanied by a DVD which, in addition to the unreleased film, gathers all of the actions Signer carried out in Italy starting from the Nineties (Stromboli, Civitella d’Agliano, the Maremma, Venice) and a piece he produced specifically for the exhibition, after which the book is titled.
‘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.
Exhibition proposed by Gregorio Magnani
New Dirty Enterprises:The First Annual Report
Record Release Party @ Motto Berlin. 29.07.2016
Jerszy Seymour with Travis Broussard, Olivier Lellouche, Victor Delestre, Kerwin Rolland,
Yanik Balzer, David Kaltenbach and Veronika Bjarsch
featuring Hot Tub Jazz Allstars DJ crew
of Egon Elliut and Steffen Sennert
and a Birthday Cake for Resi