Local Stickerbook is an independent magazine exhibiting works of contemporary Ukrainian artists. For each edition, around twenty artists are selected to represent their creations through the sticker format. The project was launched in February, 2021 as an initiative of Kyiv-based artists and curators. Since that time, the team successfully hosted several multi-format events uniting various local musicians, artists and enthusiasts to explore metamodernistic ideas and approaches.
The Local Stickerbook team also provides artists and their families with financial aid. The team intends to create a special financial support foundation giving a part of the profits and donations to the Ukrainian artists in need. Together we make a difference!
Since the 2010s, the line between public and private, online and offline have increasingly become blurred by digitalization and social media. In contemporary art, digitality has assumed a new type of presence—no longer only as a virtual sphere of sociality, but increasingly as a technological interface that structures our embodied experiences. What is presented in an “exhibition“? And how should we write about the new types of post-digital images we are seeing (in them)? In Passing Images: Art in the Post-Digital Age, Marie-France Rafael provides an attempt to write with art, rather than just about it. Rafael aims to retrace the living spirit of art and the procedural-performative experience of art in her writing.
Marie-France Rafael is a tenure-track professur at the Zurich University of the Arts. She studied art history and film studies in Berlin and Paris, and holds a PhD in art history. From 2011 to 2015, she was a research associate at the Free University of Berlin and until 2019 taught at the Muthesius University Kiel, Department of Spatial Strategies/Curatorial Spaces. Her interview book with French artist Brice Dellsperger, On Gender Performance, was published with Floating Opera Press in 2019.
A selection of tracks from albums included in Motto’s November 2022 music newsletter, featuring sounds from:
Mads Emil Nielsen Nile Koetting Significant Soil Raed Yassin Muslimgauze MAI MAO Alfred Panou & The Art Ensemble of Chicago Oswaldo Lares Crème de Hassan
Motto is very excited to announce that Mizna Publications are now available as part of our catalogue.
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Mission
Mizna is a critical platform for contemporary literature, film, art, and cultural production, centering the work of Arab and Southwest Asian and North African artists. For more than twenty years, we have been creating a decolonized cultural space to reflect the expansiveness of our community and to foster exchange, examine ideas, and engage audiences in meaningful art.
Named City Page’s Nonprofit of the Year in 2020 and a Regional Cultural Treasure in 2021, we publish Mizna, an award-winning SWANA lit and art journal; produce the Twin Cities Arab Film Festival, the largest and longest running Arab film fest in the Midwest; and offer classes, readings, performances, public art, and community events, having featured over 400 local and global writers, filmmakers, and artists.
Vision
Mizna seeks to be a local, national, and international leader in providing excellent artistic platforms for emerging and established SWANA artists, connecting their work to engaged and thoughtful audiences.
Through Mizna, audiences have the opportunity to engage in the work of Arab and Muslim artists on its own terms. And our community has a critical opportunity to see some facet of their own experience reflected on the page or the screen.
History
Mizna was co-founded as a grassroots organization by Kathryn Haddad and Saleh Abudayyeh who identified a need for an artistic space dedicated to Arab and Muslim writers to narrate their own stories and make work on their own terms. Along with a small group of other Arab and Muslim writers, artists, and scholars, Kathy and Saleh established Mizna during vibrant time in the ‘90s when Asian and black Twin Cities artists and activists were creating collectives and working together to imagine a more socially just and representative arts scene.
A unique fusion of comics culture and philosophical cogitation takes readers on a ride through time, space, and thought.
Approaching the comic medium as a supercollider for achieving maximum abstraction, in Chronosis artist Keith Tilford and philosopher Reza Negarestani create a graphically stunning and conceptually explosive universe in which the worlds of pop culture, modern art, philosophy, science fiction, and theoretical physics crash into one another.
Taking place after the catastrophic advent of the birth of time, Chronosis narrates the story of a sprawling multiverse at the center of which monazzeins, the monks of an esoteric time-cult, attempt to build bridges between the many fragmented tribes and histories of multiple possible worlds. Across a series of dizzying overlapping stories we glimpse worlds where time flows backward, where the universe can be recreated every five minutes, or where rigid facts are washed away by the tides of an infinite ocean of possibility.
A unique fusion of comics culture and philosophical cogitation, this conceptually and visually mind-expanding tale takes the reader on a dizzying rollercoaster ride through time, space, and thought.
This volume contains the entire Chronosis series in full color, along with additional background materials including early sketches, script notes, and alternative covers.
Headdresses and head coverings are among the most powerful vehicles of cultural identity, referring variously to nationality, subculture, gender, ethnicity, religion, and profession. Yet cultural identity is also continuously evolving. Hybrid Heads is a project by Daniela Dossi and the open collective studio Manoeuvre, a multidisciplinary, artist-run space in Ghent. Her long-term residency resulted in an open design method, a textile research project based on a visual and textual archive of head coverings from around the world, and a preliminary collection of hybrid headdresses. The project is an exhibition, an interactive installation, a web platform, and a design-educational programme.
Blown Derivatives (2009–2014) was an international collaborative project instigated simultaneously with Blueprints. Collaging papers that blew out of the WTC, it focused on post 9/11 financial crises, attitudes and borders. Artists were invited to participate in ephemeral exhibitions that reflected on politics, economics, and customs of their countries of destination. Pieces were hung outside until they were destroyed or decayed. Couriers and local citizens were also invited into the project, which took place in Antarctica, Iceland, China, Tibet, Iraq, and Pakistan. Blown Derivatives complies the four-year project’s processes, outcomes, and blind spots. With writings and work by: Sanjin Cosabic, Margaret Coughlin, Jonathan Field, Fatin Al Jumaily, Daniel Kaniess, Janet Lobberecht, Abraham Renko, Anna-Marie Shogren, Sean Smuda, Ping Wang.
Anton Maurer’s Endeavour is a series visualising the impacts of capitalism and colonisation on Aotearoa, New Zealand. Made from 2012–2017 the works challenge viewers to question their perception of this land and the narratives most commonly associated with it.
Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead.
For as long as recording and communications technologies have existed, operators have evoked the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. In Unsound:Undead, contributors from a variety of disciplines chart these undead zones, mapping out a nonlinear timeline populated by sonic events stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), with a speculative extension into 2057 (the emergence of holographic and holosonic phenomena).
For the past seven years the AUDINT group has been researching peripheral sonic perception (unsound) and the ways in which frequencies are utilized to modulate our understanding of presence/non-presence, entertainment/torture, and ultimately life/death. Concurrently, themes of hauntology have inflected the musical zeitgeist, resonating with the notion of a general cultural malaise and a reinvestment in traces of lost futures inhabiting the present.
This undead culture has already spawned a Lazarus economy in which Tupac, ODB, and Eazy-E are digitally revivified as laser-lit holograms. The obscure otherworldly dimensions of sound have also been explored in the sonic fictions produced by the likes of Drexciya, Sun Ra, and Underground Resistance, where hauntology is virtually extended: the future appears in the cracks of the present.
The contributions to this volume reveal how the sonic nurtures new dimensions in which the real and the imagined (fictional, hyperstitional, speculative) bleed into one another, where actual sonic events collide with spatiotemporal anomalies and time-travelling entities, and where the unsound serves to summon the undead.
Contributions by Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.
