“The soft invisible weight of your absence takes so much space” is a zine and an installation compiling photographs, paintings, prints, fabrics, visual poems, and texts exploring and diving in the themes of absence and grief.

Delving into what seems insignificant at first, such as unreadable notes, blurry photos, missed shots and faceless portraits, Aimé threads different multi-layered attempts to grasp the space that remains where absence begins. Haunted by the influence of writers such as Marguerite Duras, Sarah Kane, Jean Luc Lagarce and Fabrice Melquiot, they explore the different feelings tied to absence and grief relating to the concepts of identity, gender, relationships, family, the body and collective imaginaries. The result is visions of paradoxes, in-betweens and nonplaces, suspended outside of time and space, flying out of a stranger’s hands.

2nd limited edition of 40 copies

@emptymindscanfillagain

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A leading voice in Lebanon’s cultural diaspora, Rabih Mroué’s acclaimed body of work addresses the contested memory of historical events that include the Lebanese civil war, the Arab Spring, and the Syrian Revolution. Spanning theater, art, and literature, his diverse oeuvre is situated at the intersection of personal and political imaginaries, media critique, and concepts of authorship: Through scripted conversations, confessions, reports, and questions, Mroué ceaselessly interrogates ways of speaking.

Published to coincide with his major solo exhibition at KW Institute for Contemporary Art, marking his receipt of the 2020 Schering Award for Artistic Research, this anthology of interviews frames the past 20 years of Mroué’s practice. Additionally, a suite of newly commissioned interviews and an introductory essay by the curator Nadim Samman draw a portrait of the artist.

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28.04.2022 – 30.06.2022 @ Motto Berlin

Mind The Gap

Cazul101’s group show with Dan Perjovschi, Anca Bucur, artistic duo SABA (Silvia Amancei and Bogdan Armanu), Nicoleta Moise, Adriana Preda, Ioana Gheorghiu and Megan Dominescu

Pages Magazine Set

Pages, the bilingual, Farsi and English, artist magazine since 2004.

Edited by Nasrin Tabatabai and Babak Afrassiabi.

– Pages #1: Public & Private
– Pages #2: Play & Locations
– Pages #3: Desire & Change
– Pages #4: Voice
– Pages #5: On the Verge of Vertigo
– Pages #6: Eventual Spaces
– Pages #7: In Translation
– Pages #8: When Historical
– Pages #9: Seep
– Pages #10: Inhale

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A Female Gaze explores the paintings and drawings of contemporary artist Caroline Walker through the lens of Laura Knight, arguably Nottingham’s most famous artist and the first woman to be elected a Royal Academian.

Seperated by 100 years, both artists are united through their observations of women in everyday life, from moments of motherhood to women at work and the mundanity of domestic life.

With essays by Jennifer Higgie and Tristram Aver, this book contributes to rebalancing the gender bias legacy within art history, while celebrating the powerful artistic qualities of two extraordinary painters.

This book was published to accompany a major Nottingham Castle Trust exhibition, ‘Laura Knight and Caroline Walker: A Female Gaze.

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bloom

/bluːm/ noun

The flower of a plant.

Flowers collectively: The bloom of the cherry tree. State of having the buds opened: The gardens are all in bloom.

A flourishing, prospering condition.

To bloom, blooming, bloomed. What does “bloom” mean to you?

BLOSSOM is the accumulation of work from 30 artists from around the world who were asked what the word “bloom” means for them.

1/3 of revenues earned from BLOSSOM will be donated to @REDCOMUNITARIATRANS, a community-based organization led by transgender women that work to defend the rights of trans people in Colombia. During the last six years, they have worked hand in hand with trans women who are victims of the armed conflict, deprived of liberty, homeless people, sex workers and drug users.

Featuring Aguacero – She/Her @aguacerito0o, Raisa Alava – She/Her @raisalava, Chaz Aracil / Aza – They/Them (trans/ NonBinary/two-spirit) @azamorxx / @chaz_aracil, LEE BULLITT @mooodyblack, Kyle Canyon @kyle_canyon, Coco Latex – They/them @Cocolatex_tattoo, Irene Fernandez Arcas @irene_f_arcas, Momo Gordon – They/them @slippypeach, Paula Grenouille – She/her @paulagrenouille, Anna Hoffman – She/her @annahofm_nn, Dana Kearley – She/they @danakearley, Annabelle Theresa Kuhm – They/she @not_buff_enuff, Clare Lewis – She/Her @clarelewlew, S Lister-Hernández @obscuredself, Stefhany Y. Lozano – She/Her @stefhanyylozano, Lony Mathis – she/her @_lony_mathis, Kaja Meyer – She/her @_kajameyer_, Nina Muro – She/her @nninamuro, Amy Palmer, MOONSIE @pigratdog, Daniela Restrepo @darares_93, Sophia Prieto – She/Her @sophiaprieto.v, Kitty Short – She/Her/They @kittyshortsh, Alexandra Šliková – She/Her @pu.uf, Gaja Vičič – she/her @happyplantsberlin / @gajavicic, Oasis of Hate (Anna) – She/her @oasis_of_hate, Nico Wilting – They/he @Babysbabybaby, Weishan Yang – she/they @mass_97_, Madiza Zalewa – She/her @zalevajka, Inka Zivana Torvund – She/They @oceanpebble.

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When starting to work on the 25th issue of our magazine, we were discussing whether there should be some sort of content to celebrate this milestone and the past ten years leading up to it. But, as further reading will indicate, there are no texts praising past issues or reflections on the musical developments we documented over the years. However, the anniversary helps in presenting the underlying theme of this issue. As loyal readers might know, zweikommasieben started out as a fanzine and aspired to keep this character somewhat alive. Therefore, in zweikommasieben #25, we would like to reflect on various aspects of what fandom entails.

As fans, the authors, editors, and photographers of this magazine are dependent on artists ­— niche or mainstream ­— to be willing to have their practice documented. To put it bluntly: if they don’t want to speak to us, there is not much we can do. Likewise, and without overestimating the impact of our small publication, it might have positive consequences for artists to be featured in zweikommasieben, which is not simply a unidirectional channel between fans and artists: over the years some artists highlighted their own fandom, interviewing other artists they admire for this very magazine, while some contributors developed artistic practices which led them to having fans on their own.

Such an ever-changing web of dependencies is highlighted on the following pages. This edition features a text by media theorist and artist DeForrest Brown Jr. dedicated to the multiple talents of singer-songwriter Dawn Richard: an exploration of why fans could be drawn to her practice over the past 15 years. Jasmin Hoek visits a new museum in Amsterdam that is dedicated to techno and club culture to investigate whether such an institution can be true to something we all have been fans of. In Anna Froelicher’s interview with Price, the artist elaborates on how he plays with both institutions’ and fans’ conceptualization of his music. The complexities of being a fan not only relate to other people and institutions but also to oneself and one’s personal development. In a new essay, Friedemann Dupelius uses his ever-evolving fascination with trance to reflect on the genre’s current status quo.

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“Panoramas: everything is connected. All PANORAMAS photos were taken with iPhone 6s and 7. When I first used iPhone in 2017 I accidentally took a picture with the panorama function. Thereafter I’ve been recording panoramas of every scenery I want to remember. This book is my iPhone panorama records for the past five years. While working on this project I realized that everything was connected. Scenes and time that flow into small memories eventually connect with each others and are part of my persona.”
–Lee Hyewon

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In the space where the Perú-Chile border meets the Pacific coastline, lies a triangle of approximately 3.7 hectares. Known as the “Triángulo Terrestre”, this piece of land has been causing diplomatic disputes between the two nations since the middle of the 20th century. Despite its relatively small size (equivalent to Parque Kennedy in Lima or Madison Square Park in New York) and having no agricultural, commercial or strategic value the Triángulo Terrestre has been in dispute since the signing of the 1929 treaty between Perú and Chile. The disputed land has acquired a symbolic value employed at different times by the governments of each country for political purposes.​

In April 2017, HAWAPI, in partnership with Galería Metropolitana (Chile) took a group of 13 artists (5 Peruvians, 5 Chileans, 1 Bolivian, 1 Israeli and 1 North American) to camp in Santa Rosa—the closest village to the “Triángulo Terrestre”. During four days camping on site, the group generated a series of artistic interventions and actions to contemplate in situ the social, political, economic and physical impact created by this dispute; before moving to Tacna where they staged an exhibition of their work in the independent cultural centre, Laramamango.

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27.02.2022 – 30.03.2022 @ Motto Berlin

Red Novels / Rote Romane

Ina Wudtke