Show, Demonstrate, Exchange. Performance – Art – Academy, Discoteca Flaming Star and John Paul Raether (Eds.). State Academy of Fine Arts Stuttgart.

Posted in art, books, exhibition catalogue, performance, writing on January 29th, 2014
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Show, Demonstrate, Exchange. Performance – Art – Academy, Discoteca Flaming Star and John Paul Raether (Eds.).  State Academy of Fine Arts Stuttgart.

A publication by the department of Fine Arts / Intermedia Arts of the State Academy of Fine Arts in Stuttgart.

Edited by Discoteca Flaming Star and John Paul Raether.
Contributions: Jeremiah Day , Felix Ensslin, Sabrina Karl, Karolin Meunier, Yorgos Sapountzis, Ute Waldhausen, and others.

Johannes Paul Raether and Discoteca Flaming Star document the performances and discussions of the first two organised events in Berlin and Stuttgart. In addition, texts by the artists Karolin Meunier and Jeremiah Day, specially written for the publication, deepen the immediate impressions of the evenings and reflect from their own practice problems developed in the field of performance, art and academy.

Deutsche / English
164 pages, b/w illustrations

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GIRL ON CANVAS. Pola Dwurnik, Izabela Kaszyńska (Eds.). Apolonia Dwurnik

Posted in art, books, distribution, painting, writing on January 29th, 2014
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GIRL ON CANVAS. Pola Dwurnik, Izabela Kaszyńska (Eds.).

GIRL ON CANVAS is an artbook project by Pola Dwurnik about painting and its reception. It will show a new life of Dwurnik’s paintings, one completely uncontorlled by the artist ? life born in minds and hearts of over 30 various personalities, who wrote texts for the publication. The book will be both openly personal and bravely intimate. Subversive, rascally and girlish. A subtle riot.

Painting is not dead. It is the viewers who are lifeless or stunned. Though not all and that is precisely what this book is about. It is about how a girl, painted on a canvas, can communicate with us.
I have long noticed that visitors to my studio discover interesting and surprising aspects and narratives in the paintings; often far from what I had intended. Motivated by a desire to preserve such unusual interpretations, I decided in December 2011 to create a collection of stories based on a selection of my works. I commissioned the texts from friends, artistic collaborators, people that think about the world much as I do, or simply those with whom I share a passion and respect for the art of painting. I deliberately chose not to invite other painters for their professional and technical perspective merits a separate publication. The various authors of Girl on Canvas hold different values and subscribe to a variety of worldviews, which means this book does not represent any single milieu. Rather, it brings together people from various walks of life through my paintings. Girl on Canvas is also a review of the first dozen or so years of my painting practice. Here, using the words of others, I am looking at my work from a distance so that I can continue developing as an artist in a conscious and responsible way. P.D.

Concept and graphic design: Dagny & Daniel Szwed (
Print run: 1000 (100 numbered and signed)
356 pages
Paper: Panta Alto 130 G

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Shadow Architecture / Architektura Cienia. Aleksandra Wasilkowska (Ed.). The Other Space Foundation / Fundacja Inna Przestrzeń

Posted in architecture, distribution on January 27th, 2014

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Shadow Architecture / Architektura Cienia. Aleksandra Wasilkowska (Ed.)

The economy shapes both architecture and the ethics of its creators. A city focused only on profits may turn into nothing more than an Excel graph. However, the architects who design buildings without taking into account their future maintenance costs can create monsters that would pray on institutions’ budget and could slowly drive them into bankruptcy. The alternative economies which are being invented at times of crisis such as time banks, cashless exchange of goods and services, alternative currencies or expanding the informal economy, will surely influence both the architecture and organisation of the cities of tomorrow.

In many countries the shadow economy reaches up to 40% of the market share. The prognoses predict an ongoing increase in informal transfer of the capital. According to the Organisation for Economic Co-operation and Development almost half of all the working people in the world, which is around 1.8 billion people, are involved in the shadow economy. It is estimated that by 2020 this number will rise to two-thirds of all working people. More and more customers decide to go shopping at the street markets. This phenomenon is so common that many big corporations decide to launch their products also onto the stalls.

The traditional economy still denies the existence of informal economy because it is hard to examine and the boundary between the formal and informal circulation is rather blurry. Most of the economists ignore the influence it has on the world economy and describe it as a marginal or pathological phenomenon. The whole notion of a term ‘informal shadow economy’ is stigmatising. The journalist Robert Neuwirth in his book ‘Stealth of Nations. The Global Rise of the Informal Economy’ calls for a change in the language and finding a new name for the phenomenon. Instead of ‘shadow l economy’ or ‘black market’ he proposes a different name, ‘System D’.

The spontaneously developing shadow economy, called also the grey economy or System D will become an important element of global economy as well as of the city landscape in the 21st century. The street markets and space occupied by street vendors very often create local informal centres and a real alternative at the times of crisis. Together with the advance of System D we can expect to see the development of architecture and infrastructure related with it. Street stalls, collapsible tables, carts and other architectural forms of System D will have a more important role in our everyday life. As we change the language and the name of the alternative economy we should also coin a term of Shadow Architecture.

Shadow Architecture consists of objects, which were created without participation of any architect, as a side effect of the processes driven by the shadow economy. The awareness of Shadow Architecture has been denied by urban planners and architects although this kind of architecture has its regular users: petty traders and serious street vendors. The Shadow Archetype in Carl Gustav Jung’s analytical psychology stands for an element which has been denied from the individual and collective consciousness. Shadow Architecture is a kind of spatial structure which eludes central planning, just like street stalls.

The space around street trade creates local informal city centres. Marketplaces or stalls are something more than just places of direct exchange of goods and services. They form local and open meeting places, community performances, incarnation of contacts where real money is being confronted with real merchandise. The energy of community which is created by market places can be compared to the energy of public gatherings such as holy masses, sports games, parades or general protests. The movement of buying and selling masses builds a certain kind of fervour, a social exchange. Street trade is always close to the human, the city dies without him.

Street vendors of System D should be treated as an important social group. The shadow architecture: stalls, carts and stands can complement the so-called ‘high’ architecture and should be considered in official projects regarding important intersections, bus stops, metro stations, railway stations entrances and in all places which generate traffic. Local plans should provide solid areas which would allow street trade because a city without a street trade looks like an unfinished model.

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Malicious Damage. Ilsa Colsell (Ed.). Donlon Books

Posted in art, collage on January 27th, 2014
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Malicious Damage. Ilsa Colsell (Ed.). Donlon Books

In 1962, a then unknown couple, John (Joe) Orton and Kenneth Halliwell, were tried at Old Street Magistrates Court, London, charged with, ‘larceny, malicious damage and wilful damage’, involving hundreds of Islington Library’s book stock. Over the previous three years the pair had been secretly stealing these books, removing what amounted to thousands of valuable art plates and either using them to create alternative dust jackets for other books, (which were then returned quietly to the library’s shelves for unsuspecting browsers to find), or pasting them directly into a large and uninterrupted collage spanning the interior walls of their one-roomed flat on nearby Noel Road. The pair would receive a six-month custodial sentence for these actions. The reconfigured dust jackets were part of a decade of often shared creative endeavour; the two had written, collaged and entertained themselves with the combined fragments of Arts history and contemporary culture. This small flat their studio and living space, and where they enacted a loving relationship at a time when homosexuality was forbidden by law ‘in public and in private’. Their arrest and trial would be an abrupt curtailment of this private idyll and a turning point in their lives, setting them separately (though never entirely separated) on a path which would lead John to become Joe Orton, one of the fashionable playwrights of sixties London. Halliwell pursued his own creative path with further collage — but did so without fully finding an audience for his artwork to match Orton’s rapid theatrical success. Their deaths at Noel Road five years later in 1967 became the sensationalised end to what had largely been a private, enclosed life together; Orton murdered by Halliwell who then took his own life. Now, fifty years after the trial, Malicious Damage looks closely at the collaged dust jackets still remaining within the archive at Islington Local History Centre and focuses on the early collaborative nature of Orton and Halliwell’s relationship. Using the changing collage that had consumed such a large part of their lives in Noel Road as its frame, Malicious Damage underlines the visual and performative nature of their collaborations, as well as using the process of collage itself to investigate Halliwell and his work in greater detail.

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Mathew Hale & Misha Hollenbach. Book launch and screenings @ Motto Berlin. 23.01.2014.

Posted in art, books, collage, events, film, Motto Berlin event on January 21st, 2014
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Mathew Hale & Misha Hollenbach. Book launch and screenings @ Motto Berlin. 23.01.2014.

Please join artist Mathew Hale, designer/publisher Misha Hollenbach and Motto Berlin for the book launch of CUT IN CANNES (Pambook, 2013).

To accompany the launch, Mathew will present the screening of his slide projected piece TAXI STOP FIJI (2008), and also the first ever screening of his super8 film TAXI STOP FIJI IN COLOUR (1999).

Drinks will be served.

Thursday 23rd January.
7pm start. First screening at 7.45pm.

Motto Berlin
Skalitzer Str. 68
im Hinterhof
Berlin 10097

„Show, Demonstrate, Exchange. Performance – Art – Academy“. Discoteca Flaming Star @ Motto Berlin . 22.01.2014

Posted in art, events, performance on January 21st, 2014

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„Show, Demonstrate, Exchange. Performance – Art – Academy“
Wednesday, January 22nd @ Motto Berlin
7.30 pm

For the occasion Jeremiah Day presents the PERFORMANCE:
“The Frank Church – River of No Return Wilderness”

Show, Demonstrate, Exchange. Performance — Art — Academy.

„Who is your work for?,” asks Amiri Baraka, in Jeremiah Day ‘s text, the students of the Naropa University. “In what ways does a search for one´s own artistic means stand in relation to an already classical vocabulary – in our case the classical period of modern performance art?” reads Felix Ensslin’s question to the performers after their performance of Esther Ferrer ‘s “Intimo y personal” at the Heusteigtheater. And Karolin Meunier reports how Ulrike Mueller questioned her own paintings and attempts to clarify with them to “How to leave behind the space of representation and move into the here and now of production and reception”. 

Issues that may not be answered with words but also in actions. Questions that do not want to be treated in the format of a conference. Questions that can lose themselves in the rush of the events of a performance festival. Questions, in need of constant revision and of new production, that are beyond simply exhibiting them. Instead, a perpetual Show, Demonstrate, Exchange. In the MoMA, in the library or alone in the bathroom. An event format with the goal to think performance, conversation, teaching and the event in conjunction.

The recent volume is edited by the organizers Johannes Paul Raether and Discoteca Flaming Star and documents in examples the performances and discussions of the first two organised events in Berlin and Stuttgart. In addition texts by the artists Karolin Meunier and Jeremiah Day, specially written for the publication, deepen the immediate impressions of the evenings and reflect from their own practice problems developed in the field of performance, art and academy.

A publication by the department of Fine Arts / Intermedia Arts of the State Academy of Fine Arts in Stuttgart .
Edited by Discoteca Flaming Star and John Paul Raether.
Contributions: Jeremiah Day , Felix Ensslin, Sabrina Karl, Karolin Meunier, Yorgos Sapountzis, Ute Waldhausen, and others

Layout: Sarah Baumann and Antonia Terhedebrügge at the Institute for book design and media development of the State Academy of Fine Arts, Head Prof. Uli Cluss.
164 pp., numerous b/w illustrations
ISBN: 978-3-942144-29-2
Price: EUR 10

Jeremiah Day will perform part of “The Frank Church – River of No Return Wilderness”, his long-term project dealing with old-fashioned and uncomfortable questions of “truth,” understanding and factuality. With its point of departure in the 1970′s Church Commission – an investigation into the US intelligence agencies and the legacy of the man who led the hearings, Senator Frank Church – the work’s evolving forms seem to have a new relevancy against the backdrop of recent disclosures of wide-spread surveillance.

Dérive #54 – Zeitschrift für Stadtforschung. Christoph Laimer, Elke Rauth (Eds.)

Posted in architecture, distribution, magazines on January 20th, 2014
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Christoph Laimer, Elke Rauth
- Public Spaces. Resilience & Rhythm:
Resilience, rhythm, and public space. Shaping robust environments
Aglaée Degros, Sabine Knierbein, Ali Madanipour
The role of users in processes of urban resilience : the career of Manhattan’s Pier 84
Stéphane Tonnelat
The Polykatoikia – Resilience and variability in space and time
Richard Woditsch
Im Reich der Wunder. Tempelhofer Feld, Berlin
Nikolai Roskamm
And the Street Goes on: Everyday Acts of Resilience in Budapest
Ian Cook
Istanbul – City of Risk. Public space planning for risk mitigation
Susanne Prehl, Senem Zeybekoglu Sadri
Prishtina: shifting experiences of places in a ‘post-conflict’ city
Karin Norman
- Kunstinserts:
World´s End
Martin Krenn, Barbara Holub, Paul Rajakovics
- Magazin:
Lob der Brandstifterin
Thomas Ballhausen
Physical Disorder oder Urban Culture? Ein ethnographischer Essay über Architektur, Graffiti und Überwachung
Robert Rothmann
Straßenbeobachtungen: Das Smartphone im Stadtalltag
Peter Neitzke
- Serie: Geschichte der Urbanität:
Die Stadt als Archipel der Kapseln (Teil 2)
Manfred Russo
- dérive – Radio für Stadtforschung:
S.O.S ST. PAULI – Die Essohäuser und das Recht auf Stadt

- Besprechungen:
… „hinter dem nylonvorhang“? Architektur und Urbanismus Südosteuropas
Iris Meder
Der Raubzug in Berlins Mitte
Claudia Krieg
Los Angeles oder das Ende der Vergangenheit
Nicole Theresa Raab
Haltung und Handlung zugleich
Elisabeth Haid

Language: English-Deutsch
Pages: 68
Size: 28 x 21 cm
Binding: Softcover

Price: €8.00

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Inch by Inch, House by House, Alley by Alley. Giovanna Silva (Ed.). Mousse Publishing.

Posted in distribution, photography, politics on January 20th, 2014
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Giovanna Silva, ed.
Text by Angelo Del Boca and Giovanna Silva

The book Libya: Inch by Inch, House by House, Alley by Alley is part of a series of publications about nations at war, or in crisis; conceived by Giovanna Silva, they tell the stories of different countries through photographs of their multifaceted landscapes. In the case of Libya, Silva has attempted to outline the architectural structures built by Muammar al-Gaddafi’s regime that were demolished during the recent revolution. Her journey started from Benghazi—the first epicenter of the revolt, as a city that had always been hostile to Colonel Gaddafi—and culminated in Tripoli, inside the bunker-barrack of Gaddafi’s residence. In this construction and de-construction of Gaddafi’s personality, Silva creates a parallel narrative relying on archival pictures she has collected over the years, depicting everything from a young Gaddafi surrounded by the politicians he did business with for years (who would later turn their backs on him), to images of his death, when he lay bleeding and knocked to the ground just like the architecture that embodied his ideals. The publication includes a conversation between Giovanna Silva and Gaddafi biographer Angelo Del Boca, who knew, inside out, just who the real Gaddafi was.

Language: English / Arabic
Size: 11 x 15 cm
Binding: Softcover
ISBN: 9788867490929

Price: €20.00
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Editionshow. Raster, Chert, Motto. Berlin. 05.12.13-15.02.14

Posted in exhibitions, Uncategorized on January 20th, 2014
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Editionshow. Chert, Raster & Motto, @ Chert / Motto. 06.12.2013 – 15.02.2014

Frozen Chicken Train Wreck. Laurence Hamburger. Chopped Liver Press / Ditto Press.

Posted in books, distribution on January 18th, 2014
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These posters exist for a day. They are conceived in the newsrooms of our tabloid dailies – The Star, The Sun, The Times and others – in the late afternoon, as the paper is being put to bed. Just hours later they are visible along the roadside of every major arterial road in the city.
These tabloid posters – candid and often outrageous epigrams of news – have been displayed along this road since the First Anglo-Boer War. They live momentarily in the minds of passing drivers and pedestrians, and by midnight they are already defunct.

I began collecting South African tabloid posters in 2008 with no other purpose than to preserve them. I thought they were funny, clever and true. Composed in a local vernacular of shebeen English, these statements are part of the texture of our urban fabric; so familiar as to almost disappear. Loud and colourful, tough and sharp, replete with a droll wit and blunt gallows humour, their blatant iconoclasm and muscular use of language is invigorating and oddly reassuring. The newspapers themselves were not keeping an archive, and however ephemeral they might seem I thought there was a relevance in them that was not being recognised; something uniquely South African.

Driving down Louis Botha Avenue, the rhythmic flash of passing headlines reads like a journalistic version of the surrealist game Exquisite Corpse. It’s an alternative history of the city, a tabloid summary of our age. Constructed from political sound-bites, public innuendos, colloquial bon-mots and hard, bitter truths, they read like an everyman’s state of the nation address, full of comedy and antagonism.

“They are,” as one of the copy editors remarked, “the perfect marriage of a corrupt society and a progressive constitution.”

- Laurence Hamburger

Language: English
Pages: 208
Size: 19 x 27 cm
Binding: Hardcover
ISBN: 9780957161221

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