Nobody Owns The Beach
David Horvitz

White tote bag with inside pocket
38 x 42 x 12 cm

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Terremoto 5
Winter 2016

COLOPHON

FRANCESCO PEDRAGLIO’S PÁJARO PIEDRA. MANUEL CORREA IN DIALOGUE WITH WADE DAVIS AND RAYMOND BOISJOLY. SOL CALERO IN CONVERSATION WITH ELISE LAMMER. DIEGO DEL VALLE RÍOS ON CLEMENTE JACQS. NAOMI FISHER IN CONVERSATION WITH DOROTHÉE DUPUIS. PEDRO NEVES MARQUES ON PAULO TAVARES AND BETO SHWAFATY. LAURA HUERTAS MILLÁN ON PATRICIO GUZMÁN. JOSÉ ARAMBURO CLIMBS THE SUMMIT. FRANÇOIS CUSSET AFTER THE UTOPIAN SLEEP. TERENCE GOWER ON CONVERSATION WITH NATALIA VALENCIA. HERIBERTO YEPEZ ON TIJUANA’S BORDER ART [1992-2014]

INDEX


Pájaro piedra: En retrospectiva, esto te parecerá hermoso / Pájaro piedra: One day you’ll find this beautiful
Por / by Francesco Pedraglio

En ningún lugar, hoy: internet, oralidad e historiografía. Manuel Correa en diálogo con Wade Davis y Raymond Boisjoly / Nowhere, today: internet, orality and historiography. Manuel Correa in conversation with Wade Davis and Raymond Boisjoly
Por / by Manuel Correa

¿Cuál es la esencia del Caribe? Elise Lammer y Sol Calero hablan sobre la crítica de la exotización tropical y caribeña en la práctica de la artista / What is the essence of the Caribbean? Elise Lammer and Sol Calero discuss the artist’s critique of tropical and Caribbean exoticization
Por / by Elise Lammer & Sol Calero

Clemente Jacqs no es una salsa catsup: sobre un laboratorio de experimentación visual que operó en Guadalajara en los 2000’s / Clemente Jacqs is not a brand of ketchup: about a visual experimentation laboratory in 2000’s Guadalajara
Por / by Diego del Valle

Mujeres caídas: Naomi Fisher sobre el lugar de la feminidad, la celebración y la naturaleza en su obra, en conversación con Dorothée Dupuis / Fallen Women: Naomi Fisher on femininity, celebration and nature in her work, interviewed by Dorothée Dupuis
Por / by Dorothée Dupuis

Brasil, medio ambiente mortal: sobre el trabajo del artista Beto Shwafaty, el arquitecto Paulo Tavares, la amazonía y el desarrollismo. / Brazil, Deadly Environment: about the work of artist Beto Shwafaty and architect Paulo Tavares, “developmentism” (desinvolvimentismo) and Amazonia.

Por / by Pedro Neves Marques

Cuerpos celestes: Laura Huertas Millán sobre la obra del director chileno Patricio Guzmán Celestial Corpses: Laura Huertas Millán on Chilean filmmaker Patricio Guzmán

Por / by Laura Huertas Millán

Escalando la cima: triunfos y derrotas de una resaca bogotana / Climbing the summit: triumphs and defeats of a Bogotá hangover

Por / by José Aramburo

Después del sueño utópico: resistiendo la resaca de la pesadilla ideológica de nuestros tiempos neoliberales / After the Utopian Sleep: an attempt to resist the hangover born from the ideological nightmare of our current neoliberal times

Por / by François Cusset

Terence Gower y Natalia Valencia hablan sobre la abstracción y la resaca arquitectónica /Terence Gower and Natalia Valencia discuss abstraction and the architectural hangover
Por / by Natalia Valencia

Productores mutantes: El arte fronterizode Tijuana 1992-2014 / Mutant productors : Art from the border in Tijuana 1992-2014

Por / by Heriberto Yépez

EDITO
SPANISH

Todas las Fiestas del Ayer
11 de enero – 28 de marzo de 2016
La resaca es un estado alterado, tan absorbente y alucinante como la embriaguez. Ambivalente e impredecible, puede producir depresión u optimismo irracional; puede liberarnos del temor y prolongar la euforia de una celebración, o simplemente aumentar la paranoia de Esta Inminente Fatalidad. A medida en que el mundo se vuelve cada vez más injusto, intolerante y amnésico, abordaremos preocupaciones relacionadas con los giros cada vez más conservadores de nuestras sociedades por medio de múltiples aproximaciones a los recuerdos borrosos de las fiestas del ayer.
Con esta edición celebramos un año de supervivencia en el mundo editorial independiente, permitiéndonos una cierta complacencia en este estado alterado de euforia culpable, anticipando el inevitable fracaso de algunos de nuestros planes y utilizando la resaca como metáfora de la desilusión generada por los ideales rotos. Si, como evoca Clarice Lispector, “La belleza de Brasilia son sus estatuas invisibles”, queremos enfatizar precisamente en el aspecto más real de la utopía: su dimensión imaginaria.
A través de una variedad de voces, historias y conversaciones que reflejan este bucle mental de placer y ansiedad, esta edición discutirá las posibles motivaciones que harán que valga la pena la próxima celebración, así nos produzca resaca una y otra vez.

EDITO
ENGLISH

All Yesterday’s Parties
January 18 — March 28, 2016
The hangover is an altered state, as absorbing and mind-bending as drunkenness. Ambivalent and unpredictable, it may depress you or, on the contrary, infuse you with irrational optimism. It can free you from fear, prolonging the euphoria of a celebration, or it might just increase the paranoia of this impending doom. As the world becomes increasingly more unjust, intolerant, and amnesiac we’ll address current concerns related to the conservative turn of society by means of manifold approaches to the hazy memories of yesterday’s parties.
With this issue, the magazine celebrates one year of survival in independent publishing by reveling on this altered state of guilty euphoria, anticipating the inescapable failure of some of its future plans–using the hangover as a metaphor for the disillusion brought by broken ideals. If, as Clarice Lispector evoked, “The beauty of Brasilia is its invisible statues”, we will emphasize the imaginary dimension of utopia, which is by definition it’s most real aspect.
Through a variety of voices, tales, and conversations reflecting on this mental loop of pleasure/ withdrawal the issue will discuss the possible drives that make the next celebration still worth it, may it have us wake up hung-over, time and again.

TERREMOTO
Contemporary Art in the Americas
.
Baja California 64-F, Roma Sur 
06760 Ciudad de México, México, 
Tel. + 52 55 70364603. 
terremoto.mx / magazine@terremoto.mx.
Terremoto es una publicación trimestral bilingüe sobre arte contemporáneo en las Américas, publicada y distribuida por / Terremoto is a quarterly, bilingual publication about Contemporary Art in the Americas, published and distributed by:
En México, Latinoamérica y Estados Unidos:
Temblores Publicaciones S.A. de C.V. Baja California 64-F, Roma Sur, 06760 Ciudad de México, México Tel. +52 55 70364603. distribution@ terremoto.mx.
En Europa, Nueva York y Canadá:
Motto Books: www.mottobooks.com www.mottodistribution. com stores@mottodistribution.com.
Impreso a 4000 copias el 25 de febrero de 2016 por / Printed in 3000 copies by: Realización Gráfica Torquemada 103B Col. Obrera, México D.F. Derechos reservados. Se prohíbe la reproducción total o parcial del contenido por cualquier sistema o método incluyendo electrónico o magnético sin previa autorización del editor. No nos hacemos responsables por material no solicitado. / All rights reserved. Without the explicit authorization of the editors, no text published in Terremoto can be reproduced. Terremoto is not responsible for any material delivered by its writers without the consent of their authors. www.mottobooks.com

Published by Terremoto and Motto Books
ISBN: 978-2-940524-42-6

Foto de portada / Cover image:
Naomi Fisher, You know that it’s real if you feel that it’s real, 2013. Cibachrome, 50 x 60”. © Naomi Fisher.

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This book titled ‘The Cure’ is edited by the three curators Benjamin Jaubert, Sofie Van Loo and Stefaan Willems who programmed the year 2015 in Komplot. This book is the result of a collaboration in three chapters : ‘There Is No Cure’, ‘The Rape – Stiff Hip Gait – The Catwalk’ and ‘Passion and Romance’. This book is the affirmation of three subjectivities through their choices and thematics. The designers Uberknackig put together the contributions of artists, thinkers and poets invited by the curators in a kind of spiritual user guide like the one you find in the drawer of your hotel room to coach you through the night…

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Reasons to Be Cheerful by Chloë Delanghe deals with the problematic of portraiture and the supposed weight of image making. The book is a fragmented portrait of the artist’s mother Sally Kovacsik. The first chapter, composed of portraits made by Sally’s husband Geert Delanghe, shows her just before and after childbirth. The second chapter, on the contrary, juxtaposes family portraits with objects, rooms, letters and notes. Each image of the book functions as contained gestures, seeking both remoteness and closeness. Moreover, photographs of Welsh castles repeat this conflicting movement. Reasons to be Cheerful is a disorientation of images, a fragmented portrait.

Editor: Chloë Delanghe
Graphic Designer: Dylan Van Elewyck
Photography: Chloë Delanghe and Geert Delanghe
Text: Sally Gabrielle Kovacsik
Published by WIELS, Brussels and Motto Books, Lausanne/Berlin

€20.00

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Artist / Title : Nicola Ratti ‘Pressure Loss’
Format : LP + Download Card.
Cat : WTNLP04

Tracklist;
A1. W9
A2. W12
A3. W10
A4. W11

B1. W6
B2. W5
B3. Decrease
B4. W4

———————————————

Mixed by Nicola Ratti, additional mix and mastering by Giuseppe Ielasi.

Sleeve Photograph by Allegra Martin.
Design by Studio of the immaculate heart.

LP + Download card. limited to 500 copies.

———————————————

Nicola Ratti holds a rich history in the world of experimental and minimalist composition, having released music under his own name on labels such as Kning Disk, Anticipate, Preservation, Holidays, and Senufo Editions and in recent times concentrating his energy into his collaborative project ‘Bellows’, work which has seen the light thanks to Entr’acte Records and most recently Boomkat Editions. His latest solo work ‘Pressure Loss’ finds Ratti at a potential turning point in his musical career, exploring rhythm and tonality with a new vigour, in a way which embraces the fluid and consistently evolving modern world of electronic music, yet still references a history of electronics, limiting his sound palette to work only using the Serge and ARP Modular Synthesizer.

Bass, rhythm and melody, those basic ingredients of musical composition, are always present throughout the 8 compositions Ratti presents here, although it is almost like this balance was only briefly explained to someone who had never heard a conventional music piece before and was then left alone to improvise with the recipe with deep curiosity. A devastating pulse runs throughout, acting as a basin for a world of strange syncopated rhythms caught amid sonar blips, ghostly serrated hi-hats and dripping stalactites. The fluttering melodies that creep around the compositions’ edges sound like a tentative and childlike version of grime’s simple but visceral paranoid hooks. Bass, rhythm and melody, those basic ingredients of musical composition, are always present throughout the 8 compositions Ratti presents here, although it is almost like this balance was only briefly explained to someone who had never heard a conventional music piece before and was then left alone to improvise with the recipe with deep curiosity. A devastating pulse runs throughout, acting as a basin for a world of strange syncopated rhythms caught amid sonar blips, ghostly serrated hi-hats and dripping stalactites. The fluttering melodies that creep around the compositions’ edges sound like a tentative and childlike version of grime’s simple but visceral paranoid hooks.

17.80€
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CURA. No. 21
Cover by Zoe Williams, INSIDE THE COVER
 Zoe Williams. Bodily Landscapes by Florencia Chernajovsky, PORTRAITS IN THE EXHIBITION SPACE, The Curator as Muse: Kynaston McShine, the Artist and the Museum by Lorenzo Benedetti, EXHIBITION LITERATURE: The Exhibition as Poem by Jean-Max Colard, POP-UP SECTION: DISPLAY ISSUE 02, Haim Steinbach. A Grammar of Nonsense by Frances Loeffler, ARTIST’S PROJECT: Mystical Substitution by Slavs and Tatars, ABOUT
Andra Ursuta by Myriam Ben Salah, ARTIST’S PROJECT by Puppies Puppies, SPOTLIGHT: A Transcribed Conversation between
Simon Denny and Hans Ulrich Obrist, ABOUT: Cecile B. Evans by Martha Kirszenbaum, A VISIT TO: Emily Roysdon. Comedy of Margin, Theatre, Secession, Vienna with Joao Mourao & Luis Silva, ABOUT: Charlie Billingham by James Cahill, ABOUT: Mira Dancy by Sam Korman, HOT! Andrea Crespo by Kari Rittenbach, Dora Budor by Noah Barker, Emily Mae Smith by Laura Phipps & Elisabeth Sherman, Melanie Matranga by Deborah Laks

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Martin Zet
Obituary / Nekrolog
1959 – 2015

25€
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In The Nine Eyes of Google Street View (2008–), Jon Rafman employs a new approach to the strategy of artistic appropriation, extracting screenshots from Google Street View’s vast online archive to create singular photographs that range from the lyrical to the abject. Selected from the larger collection of images that comprise his ever-expanding project, the images in this volume illuminate in multiple dimensions our mutually constitutive relationship with images and testify to the importance of Nine Eyes in an increasingly codified, image-saturated world.

Rafman’s photographs appear alongside essays on the work by editor Kate Steinmann, Joanne McNeil, Sohrab Mohebbi, and Gabrielle Moser, as well as a text by the artist himself, written in collaboration with Sandra Rafman.

Edited by Kate Steinmann. Designed by The Future.

45€
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MANY OF THEM – VOL. IV

COSMIC WONDER, LOUIS VUITTON, ISSEY MIYAKE, HERMÈS, SAINT LAURENT, LOEWE, YOHJI YAMAMOTO, IRÈNE SILVAGNI, LIMI FEU, UNDERCOVER, DRIES VAN NOTEN, LEMAIRE, CHANEL, BERNHARD WILLHELM, JUNYA WATANABE, COMME DES GARÇONS, MAURIZIO AMADEI, ALAÏA, PAZ DE LA HUERTA, DANIELA GREGIS, SYBILLA, GEOFFREY B. SMALL, EATABLE OF MANY ORDERS, SACAI, PLY, RAGNE KIKAS, STEVE MONO, JAN-JAN VAN ESSCHE, SUSAN CIANCIOLO, KOCHÉ, BLESS, ORIOLE CULLEN, KAAT DEBO, AKIKO FUKAI, HAROLD KODA, OLIVIER SAILLARD, VALERIE STEELE, PEDRO COSTA, JIA ZHANG-KE, AMAT ESCALANTE, ISAKI LACUESTA, LISANDRO ALONSO, NATHALIA ACEVEDO, LAV DIAZ, MOIRA LANG, CHARLOTTE GAINSBOURG, MIA HANSEN-LØVE, JONAS MEKAS, TODD HAYNES

35€
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Railway Flora. Ernesto Schick.
Third Edition published by Florette and Humboldt Books.

Schick devoted a decade of his life (1969-1978) to observing, classifying and illustrating the wild vegetation that infests the grounds of the international railway marshalling yard in Chiasso. First published in 1980, Railway Flora has maintained all its original charm. Its bond with the territory and with the history of one of the symbols of its economic development, the painstaking research of an all but common man and his scrutiny of the complex relationship between human beings and their environment offer a testimony which remains as intriguing as it ever was.
The new edition features writings and original illustrations by the author, as well scientific updates by Nicola Schoenenberger and a literary contribution by the poet Fabio Pusterla.

25€
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