Saturday June 6, 2015
Ishion Hutchinson / Fivehundred Places @ Motto Berlin
7pm

http://ishionhutchinson.com

MAD

Dmitry Paranyushkin @ Motto Berlin. 08.05.2015
7pm (sharp)

Way to Russia Book is a 780-page guide to the deepest crevices of Russian subconscious as well as the surface phenomena.

In this book presentation I will present the book itself as well as the strategies and methodologies used when making it.

Made as a guidance, Way to Russia attempts to be both practical and divinational, material and immaterial, Russian and not Russian at all.

Signed books will be available at Motto after the presentation.

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More information:

I will talk about Polysingularity as a strategy for understanding complex phenomena, using the context of writing a book about Russia, which I will be presenting at this talk.

Polysingularity is essentially a practice of dynamic variability. The approach is in taking different perspectives, which are sufficiently distinct from one another, to form certain points of view that are connected on the global level to produce mutually coherent simultaneous narratives.

The book is structured in a networked way to allow for several such simultaneous narratives – mainly the Crudes (oil, gas, attitudes) and the Cosmos (space technology, idealism, faith).

A page on Sputnik – the first satellite – is followed by the page on Kalashnikov – both very well-known Russian exports. This same page links to the Cosmonautics museum in Russia and to Terletskoe lake in Altay mountains where parts of space launch rockets fall to produce amazing lighting effects in the sky and to contaminate the nature around… A page on the concept of hybrid warfare utilised in Ukraine links to the Russian martial art Systema, which utilises this concept as a physical practice.

The book also has numerous portals into the digital realm where the subject matter is augmented with additional information, images and links for further exploration (often guiding back into the book).

The book was published by Special Agency on behalf of http://waytorussia.net/ – the most popular travel guide to Russia online with an audience of 1.5 Mln readers, which also helps travellers arrange trips to Russia: visa, train tickets, hotels and such.

If a guide book is normally made to guide, this guide book is made to be more like a guidance, helping the readers inscribe multiple narrative fantasies into the real. A certain persistence that erupts with the crude force into the polysingularity of Cosmos – something that has a lot to do with faith, belief, idealism and passionate naivete.

Henning Bohl / Bom Dia Books @ Motto Berlin. 2.5.2015
from 5pm

After Namenloses Grauen and Kadath Fatal, Fatal Kadath Fatal is the third publication for Henning Bohl by Bom Dia Boa Tarde Boa Noite.

A sequel to Kadath Fatal, Fatal Kadath Fatal takes up a slower pace in narration. Conceived as a leporello the book gathers a succession of 18 drawings that circle around one single motive: Two maiden’s cornets glide along through space. Only light and contrast change, and the veils of the cornets take up peculiar shapes despite the supposed absence of gravity and friction. On the will of their own the maiden’s cornets return in their present form as a medley of elements from former works by Bohl. The title of the book is inspired by H.P. Lovecraft’s The Dream Quest of Unknown Kadath (1926/27), an epic tale that examines the realm of human dreams by combining elements of horror and fantasy.

170 × 230 mm
36 pages
oftcover

published by BOM DIA BOA TARDE BOA NOITE,
designed by Henning Bohl
in collaboration with Studio Manuel Raeder,
ISBN 978-3-943514-41-4
EUR 16

The release is accompanied by an installation at MOTTO and a limited edition will be available through Bom Dia books and Motto.

Kulturamas Högre fotografiska utbildning (Higher photographic education) @ Motto, Berlin
from 6pm

The presentation consists of a display of photo books produced by the students, in presence of professor Misha Pedan.

Rick Buckley @ Motto Berlin. 25.04.2015
from 7pm

Four Corners Books Familiars series
The Nose by Nikolai Gogol art by Rick Buckley

Q&A: Rick Buckley, The Nose

In 1997 you anonymously fixed to-scale sculptural nose forms to buildings around central London. What was the idea behind this?

I was inspired by reading about the antics of the International Situationists operating in Paris during the late 1960s, carrying out sporadic artistic pranks as political gestures. The intervention involving the cast nose forms applied to specific interior / exterior locations within and around Central London, was a political gesture responding to a long running political debate over the obtrusive and ever growing numbers of CCTV surveillance cameras being installed within public spaces in and around the capital. This excess of surveillance was criticized as an infringement upon the rights to privacy of the individual citizen.
It was an afterthought whilst carrying out the intervention, that by integrating an applied form to a specific location, would over a period of time, become part of the structure it had been applied to. With the emergence of social network forums on the net, the small number of remaining nose forms have since become part of urban myth making. One such myth entitled The London Nose’, is centered around a Nose form located at Admiralty Arch. Various versions exist, but the first to appear was on a London Cab Driver’s blog, where he made numerous speculations for the nose’s existence. One explains that because of its position, it enables mounted horse guards to stroke it for good luck whilst on military duty whilst passing through the arch. It is now believed to feature in the London Cab Drivers examination (The Knowledge), thus prompting fledgling cab drivers to touch the nose for good luck before taking the exam and enabling them to receive their hard earned London Hackney Carriage License.

How does this street intervention fit in with the rest of your practice?

I’ve always been interested in the concept of myth making, which I often use as a conceptual pretext for my artistic practice.
 
How do you feel the project has changed now that it also exists in the form of photographs accompanying text?

It’s many years since I carried out the intervention and therefore I have a distance to it. It’s now out there on its own, belonging to the public, and therefore the book publication is extension of that public sphere.
 
How do you think the experience of reading this edition might compare with reading a version without images?

Well the human imagination is far more inventive than what already exists out there, but juxtaposing a 19th Century novella with a contemporary setting, may make the absurdity and pomposity of power more vivid.
 
Were there any challenges in working in response to a story by such an influential author?

No, because both works were responding to absurdities of authority and criticising the powers that be. And there are certainly no challenges in regards to the obstacles relating to copyright law, as it’s outside the 70 years remit. Actually, current Russian copyright law stipulates that all copyrights to works published prior to October Revolution (7th November 1917) are believed to have expired.
 

Downing Street. John Moseley, Titus Kroder, Eva Weinmayr @ The Showroom. London. Sat March 14th
(performance starts at 2.30 pm)

Part farce, part madcap caper, Downing Street responds to the dilemma created when art is appropriated as “radical chic.”
Written by John Moseley, Titus Kroder, Eva Weinmayr.

A sketch of a performance by seven actors, with the audience. Directed by Hester Chillingworth

Published by New Documents, Los Angeles.

The Showroom, 63 Penfold Street, London NW8 8PQ