Cobra/ Motto – Stand BJ2

18-22.05.2012
La Rural
Avenida Sarmiento 2704, Buenos Aires, Argentina.

www.cobralibros.com.ar
www.arteba.org

Cine Qua Non #5

Cine Qua Non is an arts magazine of the University of Lisbon Centre for English Studies (ULICES) built up by movements in written form that freely crisscross reflections, reviews or essays; movements that relate music to visual arts, dance to theatre, cinema to literature. This publication intends to submit its readers to a unique editorial approach that gathers artists, researchers and teaching staff, Portuguese or foreign, proposing texts of different nature about diverse artistic expressions. Cine Qua Non is, since its first printed issue, an entirely bilingual publication (Portuguese/English) that is presented in both versions: an online edition and a printed one.

INDEX

|| EDITORIAL | WHAT (PRE)OCCUPIES US?
Madalena Manzoni Palmeirim

} {
From Abroad

|| LECTURE
Wolfgang Tillmans

//
Essays

|| MANIFESTO FORM: THE MEDIUM AND THE MESSAGE
Julian Hanna

|| RE-SCRIPTING THE STAGE: PERFORMANCE AND INTERACTIVITY
Johannes Birringer

{ }
Inside

|| THE COMFORT OF STRANGERS: ON MY BLUEBERRY NIGHTS
José Duarte

|| SELF-PORTRAIT, AN AUTOMATIC PORTRAIT
Ana Mendes

|| I’M FROM MOURARIA
Catarina Vasconcelos e Catarina Laranjeiro

|| FROM PERSONAL TO TRANSMITTABLE
Simão Palmeirim Costa

QUID JURIS
|| CULTURE AND THE CRISIS
Pedro Ramos Almeida

SPOILER
|| A WORLD THAT DOESN’T WATCH ITSELF
Jorge Vaz Nande

D 8 €
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Pist Protta 70

PP 70 er et særnummer om skulptur, hvor skulpturbegrebet endevendes og udvides gennem en visuelt generøs og tekstligt nøjsom, overdådig kollision af udklip fra arkivet, sådan som vi kender det fra de gamle tidsskriftdage. Pist Protta 70 er Pist Protta classic!
PP-arkivet har til lejligheden været endevendt, hvilket er en meget omfattende operation, da arkivet er akkummuleret gennem flere årtier, og resultatet er en ukommenteret udklipssamling, sat op i stort format på mange sider, både i sort-hvid og farve.
Alting taler for sig selv, og vi viger ikke tilbage for at betegne udvalget som et bud på en ny skulpturkanon, der langt overgår alle kanoner, der tidligere er lanceret.

D 11 €
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The Aspen Complex. Martin Beck. Sternberg Press.

With essays by Sabeth Buchmann, Felicity D. Scott, Alice Twemlow

Martin Beck’s exhibition “Panel 2—‘Nothing better than a touch of ecology and catastrophe to unite the social classes…’” draws on the events of the 1970 International Design Conference in Aspen (IDCA) and the development of the Aspen Movie Map to form a visual environment that reflects the interrelations between art, architecture, design, ecology, and social movements.

The 1970 IDCA marked a turning point in design thinking. The conference’s theme, “Environment by Design,” brought together venerable figures of modern design in the United States, including Eliot Noyes, George Nelson, and Saul Bass; environmental collectives and activist architects from Berkeley such as the Environmental Action Group, Sim Van der Ryn, and Ant Farm; as well as a group of French designers and sociologists, among them Jean Aubert, Lionel Schein, and Jean Baudrillard. The conference quickly escalated into a site of unresolvable conflict about communication formats and the potential role of design for environmental practices in a rapidly changing society.

The ensuing decade heralded the development of an interactive navigation system, which used the same Colorado resort town as its test site. The Aspen Movie Map—initiated by MIT’s Architecture Machine Group (the predecessor to the Media Lab) and partially funded by the US Department of Defense—is an image-based surrogate travel system using footage filmed in Aspen. Meant to prepare users for quick orientation in places they have never been to, the Aspen Movie Map was a seminal prototype for today’s military and consumer navigation systems.

The Aspen Complex documents two versions of Beck’s exhibition—at London’s Gasworks and Columbia University’s Arthur Ross Architecture Gallery—and brings together yet unpublished archival material and new research on the 1970 IDCA and the Aspen Movie Map.

D 25 €
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Amber.

This catalogue was published on the occasion of Amber, the fourth edition of Arnhem Mode Biennale, that is held from 1 June until 3 July 2011.

Nominated for The Most Beautiful Swiss Books 2011

Publisher: Arnhem Mode Biennale
Art Director: Laurenz Brunner
Design: Laurenz Brunner, Alexander Shoukas, Christopher West

D 15€

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MOTTONEN / Möttönen pies & Motto books

Napa Books will open a courtyard kiosk serving new versions of Möttönen pies, and while enjoying your pies you can flick through a selection of books from the Berlin-based Motto Books. Both the pies & books are available only for one day!

Napa Gallery, Eerikinkatu 18, Helsinki from 12-4pm

www.restaurantday.org
www.mottodistribution.com
www.napabooks.com

Sunday, May 20, 7 pm
Yorgos Sapountzis
Book launch

On the occasion of his two-part solo exhibition at Ursula Blickle Foundation (Videos and
Picnic, May 19 – July 8 ) and at Westfälischer Kunstverein Münster (The Gadfly Festival,
June 16 – September 2) a comprehensive book by Greek artist Yorgos Sapountzis will
be published by Sternberg Press. With texts by Rosalyn Deutsche, Chris Kraus, Veit
Loers and Katja Schroeder as well as an interview by Willem de Rooij with Yorgos
Sapountzis.

Music by no:sler

image courtesy of the artist and Galerie Isabella Bortolozzi, Berlin

http://www.sternberg-press.com/
http://bortolozzi.com/

YORGOS SAPOUNTZIS – TWO EXHIBITIONS

Videos und Picnic
May – 08. Juli 2012
Ursula Blicke Stiftung,
Mühlweg 18,
D-76703 Kraichtal
Opening Saturday, May 19, 7 pm

The Gadfly Festival
16. Juni – 02. September 2012
Westfälischer Kunstverein Münster
Venue soon to be announced
http://www.westfaelischer-kunstverein.de/
Opening Friday, June 15, 7 pm

The Borrowed Gaze – Variations GTB. Karin Hanssen. MER. Paper Kunsthalle.

The Borrowed Gaze/Variations GTB, a series of paintings created by Karin Hanssen, reappropriates the female Rückenfigur (back figure) of the famous work Paternal Admonition (1654) of Gerard ter Borch. Almost identical replications of ter Borch’s paradigmatic image of a woman in a satin dress circulated on the market already in the 17th century. Today, in the era of technical reproduction and digital simulation, this practice acquires new relevance. By transferring the image to the here and now, and by producing new variations, the art of Karin Hanssen critically examines concepts of authorship and appropriation. Moreover, her extensive replication also fundamentally alters the status of ter Borch’s image. The tension between old and new more specifically creates the background against which the iconic woman from the past truly comes alive, for the first time displaying the complexity of her individual identity.

D 32,50 €

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Hands of Time. Johan De Wilde. MER. Paper Kunsthalle.

For many years now, Johan De Wilde’s work has been praised for its meticulous drawing style. The many solemnly applied layers that compose the works also hide in their folds, ever shrinking never to vanish, the Great Irony of our existence and its languages. This first monography presents over 500 drawings, prints and collages from the early nineties to today, concluding with the epic series Hands of Time. The book includes an essay by Hans Theys. A must for those acquainted with De Wilde’s works and a perfect introduction for all others.

D 34,50 €

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‘Success and Uncertainty at San Seriffe in W139, Amsterdam’.

Success and Uncertainty: book presentation + talk with Sandra Kassenaar & Bart de Baets @ Motto Zurich/Corner College on the 19th of May at 5 pm.

Success and Uncertainty

From March till July 2011 Dutch graphic designers Bart de Baets (Knokke, Belgium, 1979) and Sandra Kassenaar (Johannesburg, South Africa, 1982) were resident artists at the Townhouse Gallery in Cairo.
Due to the recent events in Egypt and especially its capitol, their initial date of arrival on the 1st of February 2011 was postponed for a month. Being stunned by the political tidal wave flooding the country, the resignation of Hosni Mubarak and the phenomenon of having a curfew — something they had only heard of in World War II stories — the designers found themselves gazing from the sidelines, not knowing how exactly to react to all of this. They asked themselves ‘Would it be arrogant to con- front the Egyptians with our assumptions? And ‘isn’t it ignorant to pretend to have a nose bleed?’
Their unclear position and the new situation the country found itself in proved to be an inspiring discovery, which eventually lead to the project Success and Uncertainty. The title of this work is an existing headline taken from the 12th of February 2011 front page of The Evansville Courier & Press, a local Indiana newspaper reporting Mubarak’s resignation as the president of Egypt.
On Wednesday June 1st 2011 a lightbox was hung outside the Townhouse Gallery that announced the start of the project and showcased the first of twenty-one posters.
During the month of June 2011, each day a new poster was presented, generating a growing exhibition. The daily changing posters could be seen both in- and outside of the gallery and — just like news- papers — showed bold statements and gruesome facts, next to light-hearted messages, such as casual observations and rumours that caught Sandra and Bart’s attention during their residency. The content provided by both therefore created a clash of information that will influence the way one reads a poster.
It was this constant dialogue between the designers that lead to Success and Uncertainty.