The project began with a large collection of images from Alexander Jackson Wyatt (artist) that were taken during his pit stops while travelling. The selection carves new paths out of well explored routes and to highlight the island that the individual becomes during times of transit.

Alexander met with Back Bone Books (Claudia de la Torre (editor) and Maxime Gambus (graphic designer) in the summer of 2014 in Berlin- and brought the idea of giving this material a tangible form. After a long ride, a limited edition of 100 were published by Back Bone Books in the Spring of 2015.

All copies are Hand-numbered and signed.

€27.00

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Cruiser Board 8.5
242 skateboards

€ 90.00

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This is a collection of the temporary sculptures by Chi Tsai Ni. Ni re-arranges and sets them again according to his memory, when our photographer shoots them. Ni’s daughter edits the book, accompanied by Ni’s preliminary sketches.

Chi Tsai ni’s original works were gone. They only exist in the memory of his family members. As his daughter recalls, around 1989-1999, when returning home from school, she would find those sculptures lying in her parents’ bedroom. They came in weird shapes, and the shapes never repeated.

Ni’s wife does not participate in any discussion.

When re-making the sculpture series, Ni recalls the younger days when traveling with his friends, they lodged, by mistake, in a love motel. There on the bed was a pile of blanket-mountain giving a hint of sex. Ni’s own sculptures showed much the same sexy fantasies. They acted as a sign or investigation to his wife, while Ni’s daughter was still little.

During the shooting, as Ni folds the blankets, in his mind he always had a perfect projection of the outcome, giving rise to the impossible forms of such ordinary objects. The photographer and our team are absorbed in the blankets like we are getting psychedelic, haunted by the desire that the blankets generate.

Artist: Chi Tsai Ni – Photographer: Etang Chen – Editor: Son Ni

First published 2015 – Limited 500 copies, numbered – published by nos:books, Taipei, Taiwan

€25.00

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TUNICA is a receptacle of international culture based in New York, stemming from an urge to assemble and curates talents, combines disciplines and shares new ideas and styles.

TUNICA contributors represent a wide range of international and cutting-edge artistic disciplines.

Issue #4 featuring: Adam Parker Smith, Amanda Jas, Chillzone, Elizabeth Butters, East Village Eye

€16.00

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Huseby’s first monograph is all at once a field guide, a photography book and an eco-polemic. The photographs are of plants he has found between his home and studio in Berlin over the last five years.
Weeds & Aliens is an occasionally arbitrary collection of photographs of some rather wonderful, useful plants, normally considered weeds. The book is thought of as an introduction to the fragments of nature around us, even in the most urban of habitats. What is a wild plant, a native plant, an invasive or alien plant, a weed? The story of weeds is the story of man and civilisation, of agriculture and migration. There are no weeds in the wilderness, but, then again, can we truly speak of wild nature?’
(From the introduction)

Weeds & Aliens attempts to expand upon ecological discourse by shifting how we define nature and our relationship to it, occasionally suggesting strategies in opposition to mainstream biologists, as well as discussing our changing cities, our evolutionary possibilities, modes of migration and the inherent colonial racism embedded within the languages and sciences used to articulate vegetal life.

B. A. Huseby is a Norwegian artist/photographer who currently lives in Berlin.
Additional text contributions by Iranian-American writer/curator Ashkan Sepahvand and Indian writer/curator Natasha Ginwala.

€39.00

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Where To Now? records are proud to present Beatrice Dillon’s follow up release to the widely well received ‘Blues Dances’. This three track 12” sees Beatrice step things up a gear in terms of intricacy, experimenting wildly to add to her already astute palette of timbre and rhythm.

‘Face A’ leads the record with the unmistakable skronk of saxophone cutting and jamming over the skeletal pulse of Beatrice’s signature dubbed out techno landscape. Initially the inclusion of saxophone acts as an aural abstraction or diversion to extract a little freedom from the pumping cavern of dark dub techno atmosphere punctuated with the mechanical juddering saw-bass, but as the piece develops and we become deep into the groove the inclusion of wild sax snorts trips us up and become the focus itself as new levels of complex melodic and rhythmic detail become apparent within this otherwise structurally obedient space. Taking it’s cues from Rabih Beaini, Miles Davis ‘Big Fun’ era, Dresvn and Keith Hudson, undoubtably ‘Face A’ is a compelling, complex trip… heads down but arms flailing.

‘Face B’ continues the theme but takes the listener far deeper into the cavern. Here the concern is more the effects of space within song, a moment where Beatrice allows herself to move away from the floor to find a little more room for playful experimentation. The saxophone is further treated with a plethora of effects to compliment the array of dub signals that scatter and skip around the basin.

The record closes with ‘Sonnier (Walk in the light)’ which strangely somehow manages to feel jazzier in its components, even in comparison to a pair of tracks riffing on a manipulated free-jazz sax part. It sounds strangely unsure of its world, adding to this whole loosely slung, loping feel which somehow fits amongst the stern, brooding, and efficient synth play. Beatrice masterfully manages to create a piece here that grows in intensity without ever increasing in pace or texture, every drop is intended to stir the listener a little more than the last. There’s a sense throughout all the pieces of having rhythm imposed or even inflicted upon the listener but this is certainly not a conflict of ideas… there is optimism, harmony and above all – wild groove nestled within Beatrice’s world of mutant shuffle.
credits
releases 21 August 2015

Written and produced by Beatrice Dillon, tenor saxophone on ‘Face A/B’ by Verity Susman.
Mastered by Rupert Clervaux at Grays Inn Road.
Sleeve drawing Sam Porritt, ‘We’re tripping myself up’, 2012, ink on paper, courtesy of the artist.

€13.65

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Edition of 20 + 8AP

includes both Kadath Fatal and Fatal Kadath Fatal books + silkscreened sheet paster on scarf.

(different colors are available, please ask)

Bohl has previously employed a wide variety of media accommodating found materials and taking the form of free-standing sculpture, sculptural reliefs, friezes, collages, prints, posters and videos. Bohl’s most recent work consists of drawings that draw references from a wide variety of popular and archetypal imagery familiar to him from his adolescence. They incorporate styles learned from, amongst other things, Aubrey Beardsely (1872 – 1898), Métal Hurlant comic books (1974 – 2004) and Blair Reynolds and other graphic artists associated with Pagan Publishing (1990 – 1993). As with his previous works, these drawings employ modest yet very specific materials.

The title of this book references a mythical peak where gods dwell ‘in the cold waste where no man treads’ described in H.P.Lovecraft’s ‘The Dream Quest of Unknown Kadath’ (1926/27). Lovecraft’s novel itself drew from William Beckford’s gothic horror ‘Vathek’ (1786), Robert W. Chambers’ ‘The King in Yellow’ (1895) and the novels and short stories of Lord Dunsany (Edward John Moreton Drax Plunkett, 18th Baron of Dunsany, 1878 – 1957).

Henning Bohl (b.1975, Oldenburg, Germany) currently lives and works in Hamburg. He studied at the Kunsthochschule, Kassel and at the Städelschule, Frankfurt am Main where he completed his studies in 2004. There have been recent public exhibitions of his work at Kunsthalle Nürnberg and Berlinische Galerie (2013) Pro Choice, Vienna (2012); Kunstverein Hamburg (2011); Artpace, San Antonio and Cubitt, London (2010); Grazer Kunstverein and Staatliche Kunsthalle, Baden-Baden (2009) and at the Oldenburger Kunstverein (2008). His work was recently presented at the Carnegie International, Pittsburgh (2013) and has also been included in group exhibitions at venues including the Kunsthalle Bonn and Australian Centre for Contemporary Art, Melbourne (2013) Halle für Kunst, Lüneburg (2012); Portikus, Frankfurt am Main and Seattle Art Museum (2011); Kunstverein Schattendorf; Kunstverein Hannover and CCA Andratx , Mallorca (2010); White Columns, New York and Sammlung Grässlin, St. Georgen (2009). He is represented by Galerie Karin Guenther in Hamburg; Galerie Meyer Kainer in Vienna; Casey Kaplan in New York and Galerie Johann König in Berlin.

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Drawings by Adrien Chevalley, made in Argentina between July 2014 and January 2015 during an artist residency supported by CVC and the city of Vevey. 

éditions TSAR n°12

Edition of 130, risograph

€25.00

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Jean-Luc Manz’s paintings, which he has been making since 1977, could be described as geometric abstractions. However, they share very little with the Swiss Concrete art tradition. They refer instead to the practices of John M Armleder and Helmut Federle. Their geometric vocabulary is infused with expressive stances and appropriation, as if they wanted to recreate, through the act of painting, a relationship with the world. Manz’s notebooks, published here for the first time in this 1,000-page volume, prove that his compositions are anchored in a system of correspondence with the art of the past—from Islamic decorative art to Egyptian memories, everyday encounters, and his personal life.

€60.00

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Ting Cheng, Ling Yu Tai, Hai Hsin Huang, Po Tsung Cheng, Son Ni

34 pages
Folder size : 22cm × 30.3cm
Paper size : 20cm × 28.8cm
b/w laser on tracing paper, riso color on paper, Binding with file clips.
Limited 300 copies, numbered.

There is a dog. When he sees his tail, he spins around chasing it. He sees with the eyes, and has forgot to smell to know the world.But then someone brings him something, to his nose. He realizes his sense of smell again, and stops chasing his tail.

If we realize our instinct, we can fly.

(Part of the current exhibition at Motto Berlin)

€33.80

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