“I don’t care (about football)” is a participatory artistic project involving the players of the Marangoni 105 football team, created in 2011 as part of one of the rehabilitation residences of the Udine Mental Health Department managed by the Duemilauno Agenzia Sociale Cooperative. The title, inspired by the words of a girl from the community, suggests how the game is not an end in itself but rather a practice of social inclusion and integration. Marangoni 105 is made up of service users together with its operators and supporters. They all wear the number 14, that of the legendary Ajax player Johan Cruijff – one of the most emblematic proponents of total football.
Over three years of mutual understanding and hard work, workshops were held in which, through artistic-expressive practices, there was a choral reflection on mental discomfort and on the path undertaken over the course of the residence. Football thus became a metaphor for such a path and an experience of treatment. Photographs, meetings, travel, training, stretching sessions, performance actions, interviews, writing exercises and collages are the actions that transform the art object into a place of dialogue, where it is the discovery of the other and the self that takes centre stage. The process of analysis/self-analysis turns into a creative impetus via the appropriation and re-signification of images. Through the cut lines around the bodies, it thus becomes easier to investigate that ‘not’, that ‘not’ that gave the project its name, that difficulty which is such a common trait of existence yet to which it is very difficult to give voice, form and meaning. 

Texts by Maddalena Fragnito, Giulia Iacolutti, Igor Peres, and Tiziano Possamai

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Quilo – Journal of Photographic Tales from Brazil is the first ever publication of its kind, focusing solely on photographic projects created in Brazil. The 300-page magazine features over 40 photographers, visual artists, and short story writers from Brazil. Edited and self-published by University of Hartford Alumni, photographer and creative director, Mico Toledo and designed by design agency Porto Rocha in NY, the publication shines a light on the rich and diverse photographic talent and stories coming from within the borders of such a monumental country. Quilo’s ambitious attempt is to widen the photographic canon, to include a wide range of artistic voices and stories from Brazil, championing unseen stories from within the country, under threat from the previous 4 years of a right-wing conservative government, while also making these stories accessible to a wider audience in the United States, Europe and beyond.

Divided into regions of Brazil, the publication flows like a road trip through the many arteries that criss-cross the lengths of this monumental country; its three hundred pages take us on an odyssey from the far reaches of the North to the deepest South of Brazil. Unfolding through the eyes and minds of forty-four contemporary photographers and writers, the publication travels through towns and cities, mangroves and beaches, meets locals and encounters the often invisible tales this land holds, shining a light on counter-narratives, and turning them into powerful weapons against intolerance and bigotry.

Featuring photography from: Affonso Uchôa, André Cepeda, André Penteado, Camila Falcão, Camila Svenson, Celso Brandão, Cícero Costa, Coletivo Trëma, Desali, Diego Bresani, Edu Simões, Fabricio Brambatti, Felipe Russo, Fernanda Frazão, Gabo Morales, Gabriel Carpes, Gabriela Portilho, Giovana Schluter Nunes, Gui Galembeck, Igor Furtado, Jonathas de Andrade, Julio Bittencourt, Karoline Karlic, Marco Antonio Filho, Mico Toledo, Miguel Salvador, Ramírez-Suassi, Roberta Sant’Anna, Romy Pocz, Rodrigo Oliveira, Silvino Mendonça, Stefanie Moshammer, Tommaso Protti, Tuca Vieira, Titus Riedl, Valda Nogueira, Vincent Catala, Virginia de Medeiros, Vitor Casemiro, Yago Gonçalves

With written contributions from: Beatriz Bracher, Jarid Arraes, Jeferson Tenório, João Almino, Geovani Martins, Milton Hatoum

Design: PORTO ROCHA, Felipe Rocha, Leo Porto, Vitor Carvalho, Natalia Oledzka, Elisa Bortolini

Creative Director: Mico Toledo

Editor: Joanna Cresswell

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Published on the occasion of the eponymous exhibition held at Malmö Konsthall in 1999. The exhibition was organized and conceived by Bera Nordal.

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48-page book with photographic documentation, lyrics & additional context
Includes a download code for the album

Design by Niels Wehrspann
Translation work by Aastha Gupta, Sheraz Ahmed, Abdur Rahman Jerral, Tazyne Fatima, and Asad Sheikh

Ruhail Qaisar’s Fatima is a requiem for a dead future. The debut album release by the self-taught artist and producer screams with the trauma and decay of life in his hometown of Leh—a high-altitude plateau region in the contested Ladakh area, extending from the Himalayan to the Kunlun Ranges. Qaisar absorbs this external condition of perpetual conflict between nation states into his internal life and resulting compositions, crossing sound art, noise music and experimental filmmaking. Hauntological drones, power electronics and convulsive post-industrial dissonance create an unnerving sense of fear, anger, and alienation. A broken transistor with a knob tuned to the abyss is bombarded with the cries and bitter laughter of a city’s inhabitants tyrannized, not only by military occupation but the soft-power subjugation of the tourism industry.

Following 2016’s Ltalam EP—released under Qaisar’s now-defunct Sister moniker—Fatima serves to transmit memories carried through the events, local mythos and personal recollections of growing up between the remote agrarian villages of Ladakh and the urban center of its joint capital—Leh. The album was mixed between that area, and a DIY home studio in New Delhi, where the artist amalgamates his collected found sounds and field recordings into unrecognizable hybrids. Discordant pads and atmospherics on the dark ambient of Daily Hunger is disrupted by a crashing, pounding reverb, while contributor Elvin Brandhi shrieks towards its horrifying conclusion in the squelching, scratching sound of something soft being chewed.

An anti-lingual conjuring of metaphysical totems in music, Fatima is a seething chronicle of experience through the dynamics of riots, violence, colonization, unemployment, PTSD, and self-abuse. The cycling tumult of Namgang hosts a menacing whisper that echoes the hissing fury of something like Einstürzende Neubauten and Lydia Lunch’s Thirsty Animal, while a trouncing distorted bass line on Fatima’s Poplar circles a voice that barks, The Western Civilization Show has been discontinued.

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Image courtesy of Kink Gong

Dear friends, 

We are pleased to share with you Motto’s February 2023 Music Mix, Triste Tropik Mix created by Kink Gong.

Listen to the mix here

Listen to Kink Gong here

Artist Federico Hewson describes, accompanied by botanical drawings, how roses have been tools and symbols for activists and movements around the world throughout and today.

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Catalogue published in conjunction with the eponymous exhibition held at Malmö Konsthall from 22 March to 7 May, 1978.

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In 2019, Karolin Meunier presented the performance Aller-retour et aller for the first time at Arsenal Cinema in Berlin. This was followed by a screening of the film Wanda (1970) by Barbara Loden, one of the most important works of independent filmmaking by female directors. For HaFI 017, Meunier documents her performance script. Among other references, she engages with Nathalie Léger’s book Supplément à la vie de Barbara Loden (2012) by translating text excerpts in dialogue with a friend. In this essayistic novel, Léger follows the traces of the film in her search for the actress and director Barbara Loden.

In HaFI 017: Aller-retour et aller, Meunier’s artistic gestures of experimental translation echoes the intertwining of these three women’s quest by dissolving the biographies of the film character, the actress, and the novelist: “A woman telling her own story through that of another woman.” (Nathalie Léger). The pamphlet includes an afterword by Clio Nicastro.

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Texts by Brad Feuerhelm, Juri Marian Gross, Marija Repšytė, and Nele Ruckelshausen
Edited by Philippe Gerlach and Agnė Juodvalkytė
Design by Marijn Degenaar

Through photographs of the studio process and visual sketches the first publication ANSKA by artist Agnė Juodvalkytė offers an overview of the artist’s studio practice from the past years while creating a sensory world of recollection. The book marks the conclusion of the ANSKA cycle in her work.

“In Agnė Juodvalkytė’s work, the weave that is bound by cloth, ash, dirt, and dye, invokes memory, utility, and hand-infused labor. The stains, folds, and strained fraying edges of her chosen material are also infused, caked, and distressed to provide new readings of production. There is something familiar in her use of textiles. Each fold of fabric is detailed by a weave birthed from the center spiraling out in an obstinate mosaic of emotion wrought from the plunder of self.”
— Brad Feuerhelm

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“When asked what were my early influences in music, I get reminded of my teenage years in Parisian suburbs, simultaneously discovering from public libraries two important French record labels: OCORA and GRM. Then the roots of my interest in traditional music and electroacoustic experiments grew into doing it myself, recording ethnic minorities of the Zomian plateau of south-east Asia and composing a soundscape around it. This is what is happening here.” — Laurent Jeanneau aka Kink Gong

Kink Gong works with what is unknown to him, as an artist who’s attracted by beauty and strangeness. Like a stranger, he has been deeply curious about recording ethnic minority music isolated from dominating cultures within South-east Asia, thus working with musicians taking part in specific cultural communities to make almost 200 albums. Like an artist, he has been leaning towards strange marriages, building on these raw materials. They are lived moments that combine space, people and music, as if they were blocks made out of the same material.

— I
14 TUBES MOUTHORGAN PAKSE LAOS + BULANG LAWA 3 STRINGED LUTE (NIU TUI QIN) AND VOICE OF 2 OLD LAWA MEN + VOICES OF 3 AKHA WOMEN YUNNAN CHINA, FOREST LAO CAI HMONG WOMEN VOICES + ELECTRONIC MOUTHHARP (CHUNGJA) SAPA VIETNAM + BULANG LAWA MAN & DRUNK WIFE + ELECTRONIC MALIMBA TANZANIA + LUE WOMAN VOICE PHONGSALY LAOS + DONG PIPA 4 STRINGED LUTE GUIZHOU CHINA + LUE WOMAN VOICE NORTH VIETNAM + HMONG 6 TUBES MOUTHORGAN HA GIANG VIETNAM + YI NISU WOMAN VOICE + YI NISU SIXIAN 4 STRINGED LUTE YUNNAN CHINA

— II
BRAO WOMAN VOICE ATTAPEU LAOS + ELECTRONIC + METALLIC TOUPIE + UYGHUR DAP HAND PERCUSSION + BRAO MAN VOICE RATANAKIRI CAMBODIA + OIRAT MONGOLIAN MORIN KUR 2 STRINGED CELLO XINJIANG CHINA + 14 TUBES MOUTHORGAN IN BERLIN TEUFELBERG + SHUI MIAO WOMEN VOICES GUIZHOU CHINA + SANTOOR IRANIAN DULCIMER IN BERLIN + YI NUOSU WOMAN VOICE SICHUAN CHINA + ARAK 16 TUBES MOUTHORGAN SEKONG LAOS + TRIANG 5 WOMEN VOICES + BELLS SEKONG LAOS + ELECTRONIC + MIEN WOMEN VOICES SAPA VIETNAM

ALL RECORDED BY LAURENT JEANNEAU BETWEEN 2004 AND 2014 ON LOCATION IN

. SOME INSTRUMENTS (MOUTHORGANS & SANTOOR) PLAYED & PROCESSED & RECOMPOSED BY KINK GONG, 2016

LP COVER BOY ON THE ROCK TADLO LAOS, 2013

Mastered by Raschad Becker, Berlin
Cut by Frederic Alstadt, ANGSTROM STUDIO, Brussels
Artwork by João Basto

The edition of 300 copies are silkscreened and individually hand numbered

Silkscreened at Atelier Ice Screen, Brussels
Inside A4 risographed at Frau Steiner Studio, Brussels

Released June 18, 2021

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