Editionshow. Chert, Raster & Motto, @ Chert / Motto. 06.12.2013 – 15.02.2014
Opening reception: 05.12.2013 from 7pm

“Editionshow” groups together Raster, Chert and Motto’s artists’ editions, ephemera and smaller productions, which have come alive in recent years.

Chert has been producing different editions and publications over the course of the past five years; ranging
from prints, collages and neons to small installations, objects and mixed media. These will be presented
together with our publications. The books are printed in many different ways, from photocopies or risograph,
to digital or offset. On occasion of this show, each of the artists represented by Chert gallery will present
one or more editions, and a small table will be dedicated to the publications produced or coproduced by the
gallery so far.

Raster gallery is one of the pioneers of the Polish art editions market. Raster’s aim is to present
contemporary art in a broader context, contributing to its understanding and paving a way for building
home libraries and collections in Poland. For over ten years the gallery has cooperated with accomplished
artists from Poland and abroad, across generations such as Michał Budny, Rafał Bujnowski, Aneta
Grzeszykowska, Wilhelm Sasnal and Zbigniew Libera – whose works are now also available as limited
edition series.

Raster will present editions by Oskar Dawicki, Aneta Grzeszykowska, Zbigniew Libera, Slavs and Tatars
and Karol Radziszewski. Special attention should be paid to the selection of Libera’s editions, especially
The Messenger Girl – a hand-crafted portfolio containing 12 duotone prints on cotton paper depicting
fictitious characters. Libera incorporated the figures and faces of twentieth century movie stars, inserting
them into the scenery of the Warsaw Uprising as photomontages originally featured in the book What is the
Mes sen ger Girl Doing.

Motto will present a range of editions by Kasper Andreasen, Sara MacKillop, Jonathan Monk and Erik
Steinbrecher, which are among several produced for presentations at the bookshop, since the Berlin
location opened in late 2008.

http://rastergallery.com/
http://www.chert-berlin.com/

– Recurating: When Exhibitions Become Reified
– Thinking Contemporary Curating, Terry Smith. Book launch

Terry Smith, Andrew W Mellon Professor of Contemporary Art History and Theory, University of Pittsburgh
with Tara McDowell, Associate Professor and Director, Curatorial Practice, MADA
and Rebecca Coates, Independent curator and lecturer, Art History, University of Melbourne

This talk examines the recent phenomenon of restaging historical exhibitions, culminating in the dramatic and polarizing rehang of When Attitudes Become Form: Bern 1969/Venice 2013 at Fondazione Prada in Venice this year, undertaken by Germano Celant with Thomas Demand and Rem Koolhaas. The topic will be introduced and contextualized by Tara McDowell and concluded by a conversation among Terry Smith, Tara McDowell, and Rebecca Coates.

The talk is followed by the Australian launch of Smith’s recent book, Thinking Contemporary Curating, published by Independent Curators International. The book launch is, in turn, followed by the launch of issue 7.2 of un Magazine, a free and independent magazine for dialogue in contemporary art.

—

Talk: 3:00–5:00pm
Book launch: 5:00–6:00pm

Friday 6 December 2013

Free entry

Motto Melbourne / Magic Johnston
27–29 Johnston St
Collingwood
Victoria 3066

Paper Monument 4. Dushko Petrovich & Roger White (Eds.). Paper Monument.

From the Editors

Before the Earth was covered mostly in water, there lived a people who worshipped petrochemicals and spent vast sums of money on things called “art objects.” I kept revisiting this thought as I worked: these far-future humans, or maybe even post-humans, puzzling over this funny piece of sculpture—which was now, thanks to my careful ministrations, almost completely free of water stains. It did somehow get me through the day.

Spasm to Spasm
Christopher Hsu

Even during my lifetime, the world, or at least its representation, has become clearly funnier. It’s not just cultural products, films or TV or magazines, YouTube videos of men and women fist fighting on city buses; I mean that I myself, for example, and seemingly everyone I meet have gotten noticeably funnier. I feel an impulse to preface almost every remark in conversation with something light or even with an outright joke, as a sort of aperitif.

Was Asked to Write About the Experience of Occupy Wall Street and Directing Light Onto Fist of Father
MPA

can we begin at the energetic?
can we all meet there?

our beliefs are not our own.

“we” is quoted culture.

Toward a History (and Future) of the Artist Statement
Jennifer Liese

Some are self-doubting, like Adolph Gottlieb’s: “Surrounded by my materials, canvas, paints, oils, brushes, etc. I feel like a relic of the past because paintings are still among the few things made by hand.” Others process-oriented, as with Karel Appel: “I make myself free, I stand aside, I squeeze myself dry. Then I am ready to begin painting.” Some are droll: “Rembrandt is beautiful, but sad. Boucher is gay but bad. ‘Great Painting’ has never made anyone laugh,” observes Jean Dubuffet.

Painting Under Obama
Julian Kreimer

Months later, as I wandered around the Bushwick open studios, it became clear to me that metallic colors had become (along with neon hues) major signifiers of the “Shwicky” look: the blend of irony and earnestness that denotes, somehow, that the artist is aware of her impossible position in the world, simultaneously seeking ideal truths and the mythical rent of $1.00/sq. ft./month.

Resistant
Martha Schwendener

Why would anyone who opposes torture interrogate painting?

Painting Has Issues
Cameron Martin

It’s hard to know what to think of all the paintings being made right now. A curator recently told me that he feels “the conversation” is so diffuse, at this point it’s next to impossible to talk about contemporary painting as a coherent subject. The heterogeneity of current painting production can leave us feeling deep in the potpourri, unable to separate the orange peel from the rose hips.

Dear Yoko Dear Sierra
Sarah Demeuse

I decided to address my feelings in a personal letter to you because I need not only to get rid of my sense of guilt but also to tease out some of the issues raised by this type of exchange. (If you want, you can share this letter with Rivane.) Though I usually prefer email, I feel a letter is closer to the spirit and original context of your tree. While I long ago mastered the skill of writing profusely detailed exposés to Santa, I am not experienced in writing to a famous artist.

Humanimals
Caroline Picard

Through the horse-blood infusions, Laval-Jeantet claims to have effected a shift in her consciousness in which she experienced the world as an herbivore: sleeping little, being unusually nervous. “In my opinion,” she said, “my essence was not changed, but I was able to respond to an eternal frustration: I could finally feel Animal Otherness in me, outside of a purely anthropocentric point of view.” Of the prosthetic cat device, she wrote, “As soon as I put them on and got used to this strange way of walking, the cats came up to me, sniffed and jumped on me, playing with me in the same way as they played between themselves.”

Portfolios

William Pope.L and David Giordano
Andro Semeiko
Mary Weatherford
Pinar&Viola

Price: €13.00

Buy it

The Ritual of the Snake. Gianni Politi. cura.books.

What images can speak today of the Absolute in a universal way? Aby Warburg’s legendary journey among the native tribes of North America – an experience reported in the famous 1923 conference on the “Serpent Ritual,” which in 1939 appeared in the Warburg Institute’s «Journal», and later became the scholar’s spiritual testament – represents the emotional and cultural reference behind a collection of 80 images, selected by eight artists and eight curators, dedicated to the identification and construction of a personal and collective imaginary. The power of images, of which Warburg investigated the origins in magic rituals and in spiritual and pagan celebrations, is given back here through the explorations of the authors involved, who, thanks to a variety of experiences and of historical, personal and cultural references, go through the kaleidoscopic landscape of contemporary iconography.

Softcover
Concept: Gianni Politi
Design: Andrea Baccin

Price: €18.00

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No Goal. Jacob Kassay. The Power Station.

Featuring contributions by Ajay Kurian.

Published on the occasion of the exhibition ‘No Goal’ held at The Power Station, Dallas, April 11 – July 13 2012.

Language: English.
84 pages.

Price: €27.00

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“Vues/Blick 2008-2013” – Michel Bonvin Photographies

Softcover with colour photographs.
Texts by Silvia Do Nascimento and Julia Hountou.
Language: French / German.

29.80€

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ACID #24

Featuring: Kerstin Cmelka, Megan Francis Sullivan & Sabine Reitmaier, Gavin Morrison & Scott Myles, William Morris, Jan Tschichold, Herbert Beyer, Quinn Latimer, Jennifer West, Brian Holmes and Magda Tothova and many more.

Plus, free Flexi Disc: Eva-Tone Soundsheet Modulator 2013, by Florian Hecker.

Price: €4.00

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Graphic Design, Exhibiting, Curating. Giorgio Camuffo & Maddalena Dalla Mura. Bozen Bolzano University Press.

In recent years, graphic designers have become increasingly interested and engaged in the exhibition context as a space of production, mediation and dissemination. In June 2012, the international conference Graphic Design, Exhibiting, Curating brought together a number of graphic designers, curators and critics engaged in exhibition-making and curating. The proceedings feature contributions by Brave New Alps, Charlotte Cheetham (Manystuff.org), Mieke Gerritzen (Museum of the Image, Breda), Lungomare/Lupo&Burtscher, Prem Krishnamurthy (Project Projects), and Jon Sueda, as well as extracts from the discussions that followed each panel.

2013, 160 pages, 17 x 24 cm
Language: English

Price: €18

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Richas Digest Special Edition. Achim Riechers. Richas Digest.

Richas Digest Special Edition:
Richas Digest #2 with limited edition photographic print.
Choice of 5 different prints.

Language: German

Price: €20.00

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DADALENIN. Rainer Ganahl & Johan F. Hartle. Edition Taube.

DADALENIN reconstructs and speculates about how Dada and Lenin had more in common than is usually assumed. The book points to some of the tragicomic aspects of their parallel and overlapping artistic and political histories in order to question the unfulfilled legacy of the avant-garde.

In Rainer Ganahl’s voluminous series of works DADA and Lenin are abundant sources of historical imagination. To dive into the historical situation Ganahl uses a variety of artistic media and techniques––ranging from animation movies to theatre performances, from ink drawings to bronze sculptures, departing from a number of historical details and catch phrases, from the no-man’s land between porn, terror and the history of the avant-gardes.

Co-editor Johan F. Hartle’s text situates DADALENIN in the development of Rainer Ganahl’s work and reconstructs it in the context of current debates on the artistic and political avant-garde. DADALENIN thus appears as a reflection of numerous key motifs of contemporary cultural theory, indirectly haunting us in all kinds of monstrous alliances.

Edited by Rainer Ganahl and Johan F. Hartle
With contributions by Boris Groys and Jenny Borland

Black and white offset print.
Language: English
Hardcover, 608 pages.

Price: €25.00

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