Open daily
15th — 22nd October 2017
2 — 8pm

DOC
‪26 Rue du Docteur Potain‬
75019 Paris

Motto is pleased to install a temporary bookshop at DOC Paris during FIAC. During its week of operation, the display of publications from all around the world will be accompanied by an extensive programme of events, including exhibitions, performances and concerts.

The bookstore will present a full range of backlist titles, including projects co-published with partners such as Bergen Kunsthall, CAC Geneva, ChertLuedde, Compagnia, Harun Farocki Institut, HEAD Geneva, MAO Ljubljana, Museo Fundacao Berardo, New Documents, Supportico Lopez, Terremoto, WIELS and zweikommasieben.

Next to these publications, artist’s editions by Sara MacKillop, Simon Popper, Erik Steinbrecher, and Jean-Michel Wicker will also be on display.

Motto Books’ main bookstore is based in Berlin-Kreuzberg, with a selection of more than 15,000 titles ranging from artist’s books, design, photography, poetry and theory. In recent years, Motto’s publishing activities have developed into releasing over 20 titles a year, with many books made entirely by the artists themselves.

The extra bookstore will be open daily at DOC Paris ‪from 2pm until 8pm‬, ‪from the 15th to 22nd of October‬.

Events:
Concert:
Martina Lussi (Live)
ZWEIKOMMASIEBEN DJs
‪Präsens Editionen book display
19.10.2017 6 — 10pm

Launch:
Rosie Ruiz Shortcuts to Fame
Lisa Guedel-Dolle
Motto Publishing
21.10.2017 4 — 8pm

Further programming:
http://doc.work/project_category/evenements/

Edition Nord is launching a series of publications called “para/log”, presenting an aspect of an exhibition and/or the attitude of an artist through the form of flexible and conceptual artist’s books, unlike heavy and comprehensive ‘catalogues’. The first publication is Yuki Okumura’s “YUKI OKUMURA”.

“… This book is a testament against the immaculately quaffed cunts who live their lives on social media networks hoping to score big points because they manipulated the perfect lie via filters and apps, that ape artifice and exaggeration. It is a much needed example of the down and dirty, the all to real, the in your face – fuck you – to false standards of an unattainable beauty that is based on bullshit and deceit that dominates Western culture and acts as just another consumer con, preaching conformity and product placement as it tries desperately to erase the individual.” — Lydia Lunch

Risograph + slipcase silk-screen printed
500 copies (Numbered)

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This small publication is an edited reprint of the essay ‘The Book in Intermediary Form’ written by Kasper Andreasen. It was originally published by Wintertuin, Nijmegen as part of a compilation about the future of the book. Turning the Page also contains a script for the audiovisual book Tomorrow, which is a collaborative work between Hanne Lippard and Kasper Andreasen reflecting on the status of the (photography) book in audiovisual form.

Designed by Toni Uroda. First edition of 140 copies. © The authors, Motto Books 2011/2017.

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In Autumn and Winter 2013/2014, Christa Blümlinger and Harun Farocki worked on the dialogical “ABCs of the Essay Film,” which is published here for the first time in its original German version. In 26 short paragraphs, reacting to key terms suggested by Christa Blümlinger (from “A for Adorno” to “Z for Zidane”), Farocki explores his proximity, but also his distance to filmmakers like Chris Marker, Jean-Luc Godard, Artavazd Peleshian, or Alexander Kluge and speaks about specific operations in his films, TV programs, and installations.

The text is complemented by a short text by Farocki which was published in 1987 to accompany a film program at the Berlin Akademie der Künste, where the essay film is described as a film “that is useful without being subservient and without standing to attention.”

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‘An essay about every copy of S,M,L,XL I’ve ever seen, featuring plastic foil salesmen, first jobs, the letter ‘K’, books, bookshelves and details of where a family’s passports are hidden. ‘Every copy of S,M,L,XL I’ve ever seen’ is published as a series of bumper stickers, each one depicting the spine of a different S,M,L,XL edition.’

The publication is part of “Catalog”, an ongoing series of publications about cataloging, written by Lieven Lahaye and designed by Ott Metusala. This is issue #8. Previous issues have dealt with vertical organization (with a strong preference for ‘the stack’, as opposed to ‘the pile’) , functional rocks in Amsterdam, desperate measures (by way of the metric system), etc.

The making of this publication is supported by the AFK (Amsterdams Fonds voor de Kunst)

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Minna Henriksson’s artist book Works on Paper is a graphic story with forty linocuts on the political history of paper industry in Finland. The book has two chapters; one of which focuses on the role of the paper industrialist’s support of the right-wing movements in Finland, and the other on controversial paper trade with the South African apartheid regime, and the boycott initiated by the worker’s unions. Designed by New Collectivism, the book is printed in the edition of 300.

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Faraway, So Close
25th Biennial of Design, Ljubljana
Published by Museum of Architecture and Design (MAO) & Motto Books

Faraway, So Close presents seven investigations through the concept of time – time as a key with which to identify new patterns that can connect design with the phenomenological world and the myriad consequences of such an interrelation.

Acting in various dispersed territories across Slovenia, Faraway, So Close seeks out “low-intensity” places in which to test the possibility of changing our notions of economic progress and which could work toward and in the name of such fundamental aspirations as stability, community and a better future. Design is, or at least can be, a vehicle for exploring basic new metaphors. It is a dialogic procedure. This break from the strictly disciplinary approach of design creates space for an expansive investigation of various interdisciplinary intersections and engagement with a markedly different production of knowledge.

By presenting the seven investigative episodes developed within BIO 25 and their interchange with both local archives and broader paradigms, the book works to explore ways of changing the goals of design culture; of turning away from the urgent need to solve problems and instead opening up new frontiers for observation and experimentation, to look at our inhabited and habitable world for what it is and what it is becoming, and not simply what we think it should, ideally, be.

Contributions by
Nabil Ahmed
Andrea Branzi
Tony Côme
Brendan Cormier
matali crasset
Domitilla Dardi
Odo Fioravanti
Didier Fiúza Faustino
Studio Formafantasma
Thomas Geisler
Rory Hyde
Alexandra Midal
mischer’traxler studio
Dimitrij Mlekuž
Point Supreme Architects
Emanuele Quinz
Renata Salecl
Anna-Sophie Springer
Studio Folder
James Westcott
Elia Zenghelis
and many others

Photographic Essays by
Delfino Sisto Legnani
and Marco Cappelletti

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Lies and Diet Coke is a collection of notes and poems written over the period of one year. It relates to failures in representation, the night time and how technology affects notions of distance and proximity.

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Elisabeth Molin (1985) is a visual artist based between London and Copenhagen, working with video, performance and storytelling. She studied at Chelsea College of Art and Royal College of Art in London. She has shown work at Sixty Eight Institute and Charlottenborg Kunsthal in Copenhagen, The Danish Institute in Edinburgh, Art Current Institute in New York and CCA Scotland. She has been awarded residencies at Cite des Arts in Paris, Danish Cultural Institute in Rome and Athens and at CCA Andratx in Mallorca. In 2013 she was shortlisted for the Tenderflix Award at Tenderpixel Gallery and in 2017 she was awarded a fellowship from Hasselblad Foundation at ISCP in New York.

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A hybrid attempt at coming to terms with a particular amnesia of the West German left in the late 1970s/early 1980s, Harun Farocki’s 1982 feature film BEFORE YOUR EYES – VIETNAM combines ideas about the distant, image-guided participation in the war in Vietnam with speculations on Vietnam as a laboratory of advanced modes of capitalist production, whilst reflecting intensely on the dyad of love and work.
This publication assembles selected material produced in 1982 to promote the film and make it accessible discursively. It includes the facsimile of a promotional leafleat that provided not only factual information but also directions for reading, a selection of unseen photos from the set and from a tiny piece of film (excavated in the archives of the Harun Farocki Institut), documenting a performative trailer put on an improvised stage by Farocki and actor Ronny Tanner during the Berlin Film Festival in 1982. The brochure is introduced by a commentary penned by the Harun Farocki Institut.

Harun Farockis spielfilmlanger Film ETWAS WIRD SICHTBAR von 1982 ist der hybride Versuch, mit dem in den späten 1970er/frühen 1980er Jahren spürbar schwindenden Gedächtnis der westdeutschen Linken umzugehen. Der Film verbindet Überlegungen zur bildgeleiteten Teilnahme am Krieg in Vietnam aus der geografischen Distanz mit Spekulationen über Vietnam als einem Forschungslabor für neue Methoden kapitalistischer Produktionsweise, während er gleichermaßen kontinuierlich über das Verhältnis von Liebe und Arbeit reflektiert.

Die Publikation versammelt ausgewählte Materialien, die 1982 entstanden sind, um den Film zu bewerben und ihn zudem diskursiv zugänglich zu machen. Sie enthält das Faksimile einer Werbebroschüre, die nicht nur Fotos oder Besetzungsliste, sondern auch Lektürehinweise und ein Interview (das Farocki mit sich selbst geführt hat) bereitstellte, sowie eine Reihe von bislang kaum bekannten Fotos vom Dreh und einer performativen Werbeaktion, die Farocki während der Berlinale 1982 gemeinsam mit dem Schauspieler Ronny Tanner zur Aufführung brachte (und die in einem kurzen Film, der 2016 im Archiv des Harun Farocki Instituts aufgetaucht ist, dokumentiert wurde). Das Heft wird eingeleitet durch einen Kommentar des Harun Farocki Instituts.

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