2ND EDITION

1984–1987
Graz, 2010
Hg. / Ed. Koko Okano und Christine Frisinghelli
IZU Photo Museum Shizuoka / Edition Camera Austria, Graz
Text: Einar Schleef

Unter dem gemeinsamen Titel “Mémoires” sind seit 1989 fünf Bücher von Seiichi Furuya erschienen, die dem Andenken an seine Frau gewidmet sind. Fotografien aus der Zeit in Ostdeutschland bilden den Schwerpunkt des vorliegenden Buches, mit dem Furuya seine “Mémoires” abschließt. Der Text “Schwarz Rot Gold” von Einar Schleef ist 1996/97 zu den Fotografien von Seiichi Furuya entstanden.

Language: German / English / Japanese
Pages: 352, 151 Color and 102 Black and White Images
Size: 19,8 x 24,5 cm
Binding: Softcover
ISBN: 978-3-900508-80-7

Price: €49.00

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Cheap Method Edition – Struggling Bodies in Capitalist Societies (Democracies). Claudia Bosse (Ed.) theatercombinat / Motto Books.

cheap method edition offers a collection of working material issues. the aim is to open up specific methodologies, which are the basis for the creation of performative work. It is not about documentation, it is about starting a discourse on performative praxis, about the approaches, the material, the historical and political contexts and transportation, as well as the (artistic) decisions, the specific knowledge and experiences which are resembled in different working processes. cheap method edition will publish examples to create a discourse on fading performative works. cheap method edition combines artistic research with scientific and experiential knowledge, connects both in thematic issues to open up bigger contexts which can be re-used, re-worked and re-discussed and compared.

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struggling bodies
in capitalist societies
(democracies)

a publication series of political hybrids

03 editorial by claudia bosse
SELF-SUBVERSION AND ASCETICISM

08 gerald siegmund: to be or not to be:
towards a theatre of dis-identification
or the body as supplement

20 elke van campenhout: food and hunger

26 dialogue: gerald siegmund,
elke van campenhout, and others
THE BODY AND ITS CONSTRUCTIONS
BETWEEN SEXUAL AND POLITICAL
NORMATIVES

40 marina gržinić: struggling with the
performative body in the garbage dump
of history

54 dialogue: marina gržinić,
gerald siegmund, hrvoje jurić and others

62 snapshots of BOXEN,
performance by günther auer
THE BODY AS THE PLACE OF THE
POLITICAL

66 alice pechriggl: zu konstitution und
aisthêsis eines unumgänglich/en
demokratischen körpers.
ein textfragment.

74 hrvoje juric: scientific de(con)struction
and artistic (re)construction of the body

84 dialogue: alice pechriggl, hrvoje jurić,
and others

Language: English
Pages: 94
Binding: Softcover
ISBN: 9782940524136

Price: €9.00

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Die vorliegende Publikation stellt Sekulas Arbeiten “Dear Bill Gates” (1999), “TITANIC’s wake” (1998 – 2000) und “Waiting for Tear Gas” (1999/2000) in den Zusammenhang dieses “kritischen Dokumentarismus”, dessen Hintergrund in der für ihn typischen Verbindung von Fotografie und Essay, Konzeptkunst und kritischem Journalismus besteht. Die dafür ausgewählten Essays liegen damit zum ersten Mal in deutscher Sprache vor. In diesen bezieht sich Allan Sekula unter anderem auf seinen 1984 publizierten Essay “Über den Handel mit Fotografie” und die darin gestellte Frage, welche Rolle der Mythos von der Fotografie als “universelle Sprache” spielt (“Zwischen Netz und tiefblauer See”). Der Aufsatz “TITANIC’s wake” illustriert die gleichnamige 23-teilige Fotoserie und stellt Themen wie Ausbeutung und wirtschaftliche Vormachtstellung in den Zusammenhang größerer sozialpolitischer Problematiken. “Waiting for Tear Gas” kommentiert die gleichnamige Dia-Serie, die, 1999 in Seattle entstanden, die Anfänge der Protestbewegung der Globalisierungsgegner dokumentiert. TITANIC s wake ist damit einmal mehr zugleich ein wichtiger Beitrag zur zeitgenössischen Kunst wie zum Verständnis der drängenden Probleme der gegenwärtigen Gesellschaft.

Language: Deutsch
Pages: 120
Size: 28,5 cm x 22,5 cm
Weight: 743 g
Binding: Hardcover
ISBN: 3-900508-452-3
Availability: In stock
Price: €28.00

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Kushtetuta # 2 “Mums and Dads” launch @ Motto Berlin. 01.02.2014
from 7pm

Kushtetuta is a small publication edited by Alvaro Urbano and Petrit Halilaj.

The name “Kushtetuta” – meaning “constitution” in English – was chosen to mark an ironic beginning: for different reasons, the constitution of Kosovo grants far more freedom and rights than society does. If you divide the word into syllables: “KUSH TE TUT A?” translates from Albanian to: “Who scares you?”

Issue no. 1 (December 2012) was created as an insert for the cultural magazine Kosovo 2.0. The first issue was dedicated to the theme of sex, compiling work from several international artists and writers, exploring the theme of homosexuality and intervention.

Issue no. 2 (January 2014) has been published independently and printed with two covers. It brings together contributions from artists, writers and architects, including fragments of Petrit’s and Alvaro’s own work.

The issue is dedicated to the theme of mums and dads: mums and dads as family, as fight, as nation, as dialogue, as fetish, as education, as monument, as history, mums and dads as origin. The theme attempts to unify various fragments and opinions concerning the very first social environment we encounter: the family. Through the work of the contributors, who deal with differing topics and problematics, a unique thread develops: a thread which starts to define this complex relationship; where expectations, desires, interests and opinions meet in the middle of a generational change.

Contributors to the new issue include:
Bruno. B, Carlos Motta, David Horvitz, Danh Vo, El Roto, Ettore Sottsass Jr., Eva Kotatkova, Francisca Benitez, Félix González-Torres, Franz Kafka, Gerry Bibby, HaveIt, Mark Wulfgar, Patrizio Di Massimo, Piero Pazzi, Slavs and Tatars, Wolfgang Tillmans, Yorgos Sapountzis, Alvaro Urbano and Petrit Halilaj.

The related editions, produced on occasion of the release of issue no. 1, are currently on show in the exhibition “Editionshow”, organised by Chert, Raster and Motto in the space of Chert Gallery, until Saturday, February 15, 2014.

Show, Demonstrate, Exchange. Performance – Art – Academy, Discoteca Flaming Star and John Paul Raether (Eds.).  State Academy of Fine Arts Stuttgart.

A publication by the department of Fine Arts / Intermedia Arts of the State Academy of Fine Arts in Stuttgart.

Edited by Discoteca Flaming Star and John Paul Raether.
Contributions: Jeremiah Day , Felix Ensslin, Sabrina Karl, Karolin Meunier, Yorgos Sapountzis, Ute Waldhausen, and others.

Johannes Paul Raether and Discoteca Flaming Star document the performances and discussions of the first two organised events in Berlin and Stuttgart. In addition, texts by the artists Karolin Meunier and Jeremiah Day, specially written for the publication, deepen the immediate impressions of the evenings and reflect from their own practice problems developed in the field of performance, art and academy.

Deutsche / English
164 pages, b/w illustrations

€10
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GIRL ON CANVAS. Pola Dwurnik, Izabela Kaszyńska (Eds.).

GIRL ON CANVAS is an artbook project by Pola Dwurnik about painting and its reception. It will show a new life of Dwurnik’s paintings, one completely uncontorlled by the artist ? life born in minds and hearts of over 30 various personalities, who wrote texts for the publication. The book will be both openly personal and bravely intimate. Subversive, rascally and girlish. A subtle riot.

Painting is not dead. It is the viewers who are lifeless or stunned. Though not all and that is precisely what this book is about. It is about how a girl, painted on a canvas, can communicate with us.
I have long noticed that visitors to my studio discover interesting and surprising aspects and narratives in the paintings; often far from what I had intended. Motivated by a desire to preserve such unusual interpretations, I decided in December 2011 to create a collection of stories based on a selection of my works. I commissioned the texts from friends, artistic collaborators, people that think about the world much as I do, or simply those with whom I share a passion and respect for the art of painting. I deliberately chose not to invite other painters for their professional and technical perspective merits a separate publication. The various authors of Girl on Canvas hold different values and subscribe to a variety of worldviews, which means this book does not represent any single milieu. Rather, it brings together people from various walks of life through my paintings. Girl on Canvas is also a review of the first dozen or so years of my painting practice. Here, using the words of others, I am looking at my work from a distance so that I can continue developing as an artist in a conscious and responsible way. P.D.

Concept and graphic design: Dagny & Daniel Szwed (moonmadness.eu)
Print run: 1000 (100 numbered and signed)
356 pages
Paper: Panta Alto 130 G
Hardcover

€29
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Shadow Architecture / Architektura Cienia. Aleksandra Wasilkowska (Ed.)

The economy shapes both architecture and the ethics of its creators. A city focused only on profits may turn into nothing more than an Excel graph. However, the architects who design buildings without taking into account their future maintenance costs can create monsters that would pray on institutions’ budget and could slowly drive them into bankruptcy. The alternative economies which are being invented at times of crisis such as time banks, cashless exchange of goods and services, alternative currencies or expanding the informal economy, will surely influence both the architecture and organisation of the cities of tomorrow.

In many countries the shadow economy reaches up to 40% of the market share. The prognoses predict an ongoing increase in informal transfer of the capital. According to the Organisation for Economic Co-operation and Development almost half of all the working people in the world, which is around 1.8 billion people, are involved in the shadow economy. It is estimated that by 2020 this number will rise to two-thirds of all working people. More and more customers decide to go shopping at the street markets. This phenomenon is so common that many big corporations decide to launch their products also onto the stalls.

The traditional economy still denies the existence of informal economy because it is hard to examine and the boundary between the formal and informal circulation is rather blurry. Most of the economists ignore the influence it has on the world economy and describe it as a marginal or pathological phenomenon. The whole notion of a term ‘informal shadow economy’ is stigmatising. The journalist Robert Neuwirth in his book ‘Stealth of Nations. The Global Rise of the Informal Economy’ calls for a change in the language and finding a new name for the phenomenon. Instead of ‘shadow l economy’ or ‘black market’ he proposes a different name, ‘System D’.

The spontaneously developing shadow economy, called also the grey economy or System D will become an important element of global economy as well as of the city landscape in the 21st century. The street markets and space occupied by street vendors very often create local informal centres and a real alternative at the times of crisis. Together with the advance of System D we can expect to see the development of architecture and infrastructure related with it. Street stalls, collapsible tables, carts and other architectural forms of System D will have a more important role in our everyday life. As we change the language and the name of the alternative economy we should also coin a term of Shadow Architecture.

Shadow Architecture consists of objects, which were created without participation of any architect, as a side effect of the processes driven by the shadow economy. The awareness of Shadow Architecture has been denied by urban planners and architects although this kind of architecture has its regular users: petty traders and serious street vendors. The Shadow Archetype in Carl Gustav Jung’s analytical psychology stands for an element which has been denied from the individual and collective consciousness. Shadow Architecture is a kind of spatial structure which eludes central planning, just like street stalls.

The space around street trade creates local informal city centres. Marketplaces or stalls are something more than just places of direct exchange of goods and services. They form local and open meeting places, community performances, incarnation of contacts where real money is being confronted with real merchandise. The energy of community which is created by market places can be compared to the energy of public gatherings such as holy masses, sports games, parades or general protests. The movement of buying and selling masses builds a certain kind of fervour, a social exchange. Street trade is always close to the human, the city dies without him.

Street vendors of System D should be treated as an important social group. The shadow architecture: stalls, carts and stands can complement the so-called ‘high’ architecture and should be considered in official projects regarding important intersections, bus stops, metro stations, railway stations entrances and in all places which generate traffic. Local plans should provide solid areas which would allow street trade because a city without a street trade looks like an unfinished model.

20€
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Malicious Damage. Ilsa Colsell (Ed.). Donlon Books

In 1962, a then unknown couple, John (Joe) Orton and Kenneth Halliwell, were tried at Old Street Magistrates Court, London, charged with, ‘larceny, malicious damage and wilful damage’, involving hundreds of Islington Library’s book stock. Over the previous three years the pair had been secretly stealing these books, removing what amounted to thousands of valuable art plates and either using them to create alternative dust jackets for other books, (which were then returned quietly to the library’s shelves for unsuspecting browsers to find), or pasting them directly into a large and uninterrupted collage spanning the interior walls of their one-roomed flat on nearby Noel Road. The pair would receive a six-month custodial sentence for these actions. The reconfigured dust jackets were part of a decade of often shared creative endeavour; the two had written, collaged and entertained themselves with the combined fragments of Arts history and contemporary culture. This small flat their studio and living space, and where they enacted a loving relationship at a time when homosexuality was forbidden by law ‘in public and in private’. Their arrest and trial would be an abrupt curtailment of this private idyll and a turning point in their lives, setting them separately (though never entirely separated) on a path which would lead John to become Joe Orton, one of the fashionable playwrights of sixties London. Halliwell pursued his own creative path with further collage — but did so without fully finding an audience for his artwork to match Orton’s rapid theatrical success. Their deaths at Noel Road five years later in 1967 became the sensationalised end to what had largely been a private, enclosed life together; Orton murdered by Halliwell who then took his own life. Now, fifty years after the trial, Malicious Damage looks closely at the collaged dust jackets still remaining within the archive at Islington Local History Centre and focuses on the early collaborative nature of Orton and Halliwell’s relationship. Using the changing collage that had consumed such a large part of their lives in Noel Road as its frame, Malicious Damage underlines the visual and performative nature of their collaborations, as well as using the process of collage itself to investigate Halliwell and his work in greater detail.

44€
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Mathew Hale & Misha Hollenbach. Book launch and screenings @ Motto Berlin. 23.01.2014.

Please join artist Mathew Hale, designer/publisher Misha Hollenbach and Motto Berlin for the book launch of CUT IN CANNES (Pambook, 2013).

To accompany the launch, Mathew will present the screening of his slide projected piece TAXI STOP FIJI (2008), and also the first ever screening of his super8 film TAXI STOP FIJI IN COLOUR (1999).

Drinks will be served.

Thursday 23rd January.
7pm start. First screening at 7.45pm.

Motto Berlin
Skalitzer Str. 68
im Hinterhof
Berlin 10097

„Show, Demonstrate, Exchange. Performance – Art – Academy“
Wednesday, January 22nd @ Motto Berlin
7.30 pm

For the occasion Jeremiah Day presents the PERFORMANCE:
“The Frank Church – River of No Return Wilderness”

Show, Demonstrate, Exchange. Performance — Art — Academy.

„Who is your work for?,” asks Amiri Baraka, in Jeremiah Day ‘s text, the students of the Naropa University. “In what ways does a search for one´s own artistic means stand in relation to an already classical vocabulary – in our case the classical period of modern performance art?” reads Felix Ensslin’s question to the performers after their performance of Esther Ferrer ‘s “Intimo y personal” at the Heusteigtheater. And Karolin Meunier reports how Ulrike Mueller questioned her own paintings and attempts to clarify with them to “How to leave behind the space of representation and move into the here and now of production and reception”. 

Issues that may not be answered with words but also in actions. Questions that do not want to be treated in the format of a conference. Questions that can lose themselves in the rush of the events of a performance festival. Questions, in need of constant revision and of new production, that are beyond simply exhibiting them. Instead, a perpetual Show, Demonstrate, Exchange. In the MoMA, in the library or alone in the bathroom. An event format with the goal to think performance, conversation, teaching and the event in conjunction.

The recent volume is edited by the organizers Johannes Paul Raether and Discoteca Flaming Star and documents in examples the performances and discussions of the first two organised events in Berlin and Stuttgart. In addition texts by the artists Karolin Meunier and Jeremiah Day, specially written for the publication, deepen the immediate impressions of the evenings and reflect from their own practice problems developed in the field of performance, art and academy.

A publication by the department of Fine Arts / Intermedia Arts of the State Academy of Fine Arts in Stuttgart .
Edited by Discoteca Flaming Star and John Paul Raether.
Contributions: Jeremiah Day , Felix Ensslin, Sabrina Karl, Karolin Meunier, Yorgos Sapountzis, Ute Waldhausen, and others

Layout: Sarah Baumann and Antonia Terhedebrügge at the Institute for book design and media development of the State Academy of Fine Arts, Head Prof. Uli Cluss.
164 pp., numerous b/w illustrations
ISBN: 978-3-942144-29-2
Price: EUR 10

Jeremiah Day will perform part of “The Frank Church – River of No Return Wilderness”, his long-term project dealing with old-fashioned and uncomfortable questions of “truth,” understanding and factuality. With its point of departure in the 1970’s Church Commission – an investigation into the US intelligence agencies and the legacy of the man who led the hearings, Senator Frank Church – the work’s evolving forms seem to have a new relevancy against the backdrop of recent disclosures of wide-spread surveillance.