A speculative book reflecting on design and architecture centred LARPs (Live Action Role-Play) organised by the Trojan Horse collective. The book is an exploration of Live Action Role-Play as a design and architecture research tool. By inviting the reader to try on different characters, switch roles and reconsider their everyday practices, the book aims to approach issues such as identity, performativity, gender, colonialism, care and fear in the context of architecture, design and urban planning.
May 3rd at 7pm @ Motto Berlin Skalitzer Str. 68 10997, Berlin
Stationed around an art freeport megaproject in the Persian Gulf, and hopping across numerous locations real and fabricated, the book spins off into shadow-histories of synthetic colour production, abstruse citizenship schemes, nuclear warning signs, and syndromes leaking back from the future. During their idiosyncratic philosophical debates, the project employees gradually begin to sense a manic sensorium operating beneath their seemingly sterile financial and logistical systems. Troubles erupt while discussing works of art; futurist imaginaries of financialisation stumble upon the deep inertia of historical time preserved in museums and tombs. Monumental works of art pleasantly rotting in history enter into messy partnerships with volcanoes, hadopelagic planktons, and whimsical vibes of rich people. Stakes are endless while smiles are fake, as the debates swerve into the discreet horror of corporate gleefulness.
Mochu works with video and text arranged as installations, lectures, and publications. Techno-scientific fictions feature prominently in his practice, often overlapping with instances or figures drawn from art history and philosophy. Recent projects have explored mad geologies, psychedelic subcultures, and Indian Modernist painting. Mochu is a recipient of the Edith-Russ-Haus grant for Media Art and his practice has previously been supported by Ashkal Alwan, India Foundation for the Arts, and The Sarai Programme. Exhibitions include the 9th Asia-Pacific Triennial, Sharjah Biennial 13, 4th Kochi-Muziris Biennale, and Transmediale BWPWAP. He currently lives in Delhi and Istanbul.
Published by Reliable Copy in collaboration with Kiran Nadar Museum of Art. Order the book here
We are pleased to invite you to “Mind The Gap”, the three-days-opening of the Cazul101 group show featuring works of Dan Perjovschi, Anca Bucur, artistic duo SABA (Silvia Amancei and Bogdan Armanu), Nicoleta Moise, Adriana Preda, Ioana Gheorghiu and Megan Dominescu.
28 April, at 6pm @ Motto Berlin Skalitzer Str. 68 10997, Berlin
Regularly using the subversive and progressive message in their practice, the artists are invited to reflect on the current political situation due to the high rise of extremist regimes in Europe and build a bridge between past and present, personal and political, highlighting the historical events that endangered the freedom of the individual.
The group show “Mind The Gap” is an alarm signal where image and text communicate to question and eradicate the toxic extremist behaviours experienced by the artists in the geographical space they develop their work.
After the three opening days, on 1st of May, from 7pm, the artist Dan Perjovschi will be present for an artist talk about the synthesis of the last years and the current situation in Europe.
With an afterword by Rosi Braidotti, an introduction by Cristiana Perrella and Elena Magini and selected words by the photographers.
The book has been published in collaboration with Centro per l’arte contemporanea Luigi Pecci which hosted the eponymous show.
Soggetto nomade (Nomadic Subject) gathers, for the first time in one volume, shots taken by five Italian photographers between the mid 60s to the 80s. The photographs are giving glimpses on the way female subjectivity was lived, represented and interpreted back in the days, in a time of great social change in Italy. Years of transition from political radicalism to hedonism, the lead years were also years of great participation and civil conquests, mostly due to the feminist struggle. This book is a visual reflection on identity and representation departing from the extraordinary portraits of the trans community in Genoa by Lisetta Carmi (Genoa, 1924), followed by the portraits of actress, writers and artists by Elisabetta Catalano (Rome, 1941-2015); the feminist movements’ shots by Paola Agosti (Turin, 1947); women and young women captured by Letizia Battaglia (Palermo, 1935) in a Sicily disfigured by the mafia; to end with the photos of men who used to turn into women for a day, during carnival, in the small towns of Campania captured by Marialba Russo (Naples, 1947).
Contributors: Philippe Van Cauteren, Pieter Vermeulen, Grace Ndiritu, Rafaela Lopez, Roberto dell’Orco, Jana Haeckel, Katleen Vermeir & Ronny Heiremans, Nathalie Boobis, Shayla Perreault, Edward Ball, Guadalupe Martinez, Stacy Suy, Ezra Fieremans.
Being Together: A Manual For Living falls in the lineage of publications such as The Journal of the Society for Education Through Art, which throughout the 1960s provided British art schools a window into experimental education. By contrast, Grace Ndiritu’s experience in creating radical pedagogies arose from a connected, yet unorthodox system of ‘self education’. In 2012, she decided to spend time living in cities only when necessary. She thus lived in rural, alternative and often spiritual communities, while expanding her research into nomadic lifestyles and training in esoteric studies, which she began after graduating art school. This research led her to visit Thai and Tibetan Buddhist monasteries, permaculture communities in New Zealand, forest tree dwellers in Argentina, neo-tribal festivals such as Burning Man in Nevada, a Scottish Hare Krishna ashram, and the Findhorn Spiritual Community in Scotland. Such lifestyles forever transformed her ideas of education and have proven critical for her art, whether conducting teaching experiments with students, peers and the general public; some of whose voices appear in this publication. Ndiritu posits, “What does (art) education mean today?” and specifically, “What does an embodied (art) education mean in a time of pandemics and social unrest?”. Being Together: A Manual For Living attempts to answer these complex questions.
Provides the facts on how AIDS can and can’t be transmitted, and how to prevent the spread of this disease, in the form of a letter from a mother to her son.
Condition: fine. Minor shelf wear and signs of age.
Spell-poems take us into a realm where words can influence the universe.
Spells brings together thirty-six contemporary voices exploring the territory where justice, selfhood and the imagination meet the transformative power of the occult. These poems unmake the world around them, so that it might be remade anew.
Contributors: Kaveh Akbar, Rachael Allen, Nuar Alsadir, Khairani Barokka, Emily Berry, A.K. Blakemore, Jen Calleja, Vahni Capildeo, Kayo Chingonyi, Elinor Cleghorn, CAConrad, Nia Davies, Kate Duckney, Livia Franchini, Will Harris, Caspar Heinemann, Lucy Ives, Rebecca May Johnson, Bhanu Kapil, Amy Key, Daisy Lafarge, Dorothea Lasky, Ursula K. Le Guin, Francesca Lisette, Canisia Lubrin, Karen McCarthy Woolf, Lucy Mercer, Hoa Nguyen, Rebecca Perry, Nat Raha, Nisha Ramayya, Ariana Reines, Sophie Robinson, Erica Scourti, Dolly Turing, Jane Yeh.
Featuring contributions by Grossi Maglioni, Christian Egger, Michiel Huijben & Harriet Foyster, Brittany Tucker, Gong Zhang, Geoffrey Garrison, Michaela Eichwald, Eugenia Lai, Alix Eynaudi, Monika Grabuschnigg, Carina Luksik, Steven Warwick, Mirjam Thomann.
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Edited and published by: Christian Egger, Christian Kosmas Mayer, Yves Mettler, Magda Tóthová, Alexander Wolff.
Chicago, Times, Plotter, Helvetica, DIN, Techno, Löhfelm, RR_02, Univers, Tiffany, Circuit, Memphis, Gringo, Zeus, The Mix, Princess Lulu, Pigiarniq, Paper, Libertine, Trixie, Déjà Vu, Auto, Rediviva, Acid, Wanda, Loraine, Hallo, Korpus, Spiegel, Zeitschrift, Fig, Museo, Lisa Fittko and Dyslexie are the 34 issues of the magazine founded in 2002 in Vienna by a group of Austrian, German and Swiss artists.
With 2 to 3 issues a year, the members of the team publish their magazine around their personal encounters and artistic interests.
Each issue present around fifteen contributions, in both texts and images. Artists, writers, scientists and specialists in all kind of fields are invited to contribute and intervene in a sober and efficient layout already acknowledged by the London Design Museum in its exhibition Best European Design 2005.
The focus of the editorial activity is organizing and assembling the contributions, including works and found footage by the editors, in order to create for each issue a strong and beguiling unity, amplified by the use of a different font for each issue. Each issue printed in black and white in an edition of 300 copies, is completed with a color centerfold poster by an internationally recognized artist (Kai Althoff, Elke Krystufek, Daniel Pflumm, Ayse Erkmen, Richard Hawkins, Amelie von Wulffen, Cameron Jamie, Renée Green, Jennifer West, Art & Language, etc…).
Apart of the publishing work, the team organizes for each issue a release party in a specific space, such as a panoramic bar, a wax museum, project spaces, other magazine’s editorial spaces, etc… inviting artists to perform or exhibit.
Broadening its network, the magazine gets invited into art spaces to which the team respond contextually: Multiple author wallpainting for a magazine fair, teamshow at Flaca in London, curated groupshow in Circuit, Lausanne, artists-in-residence in Copenhagen, lectures in galleries and workshops in universities, etc..
In October, 2021. Tomite temporarily returned to Tokyo from Berlin and wrote his thoughts and feelings during his three-month staying in Tokyo in his diary and photographs, and Tokyo-based photographer Aizawa took photographs of Tokyo after his return from Berlin. He also spent a full month in Sapporo from before Christmas in December to January, just before the outbreak of Corona. This book is a compiled edition of writings and photographs during that period.
The titles “Vacance” and “VACANCY” are derived from the same etymology, and are ironically translated into positive words for the era of the corona pandemic.
