12.12.2025 – 18.01.2026 @ Motto Paris
Łukasz Leja ‘satyriasis’
Curated by Yann Chevallier
08.11.2025 – 04.12.2025 @ Motto Paris
‘D’AMOUR DE PÉTROLE ET DE SANG’
Agir Bizarrement (Featuring: Shayma, Jules Hamdadou, Ambre Vanderstein, Azzedine Saleck, Sacha Teboul, Vava Dudu)
Curated by Yann Chevallier
20.10.2025 – 26.10.2025 @ Motto Paris
‘ÖZIÑSHE’
Ada, Ambujerba, KOKONJA, Lyazzat Khanim, Marat Dilman, Meruyert Kunakova, Kuanysh (Kuba) Bazargaliyev, Sayan Baigaliyev, and Saule Suleimenova
Curated by Yana Kotina and Vladislav Sludski
(In)dependent Contemporary Art Histories
Artist-run initiatives in Lithuania
This is the third attempt (1st volume of the book was published in 2011, the 2nd in 2014) to compile stories about the genesis and evolution of contemporary art in Lithuania from the period of cold 1980s, Revival (1987) and the restoration of Lithuania’s Independence (1990) to this day. History unfolds in the critical texts by art critics and artists themselves, as well as in first-hand accounts – conversations with the initiators of art events. Texts are accompanied by abundant visual evidence – the documentation of forty-two years’ worth of events and works of art. The book offers a captivating kaleidoscope of subjective stories about artists’ and curators’ initiatives in Vilnius and other cities in Lithuania as well as abroad.
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Tai trečias bandymas (I tomas išleistas 2011 m., II tomas – 2014 m.) sudaryti istorijų rinkinį apie šiuolaikinio meno genezę ir raidą Lietuvoje nuo šaltųjų 1980-ųjų, Sąjūdžio ir Nepriklausomybės atkūrimo iki šių dienų. Istorija skleidžiasi kritiniuose menotyrinink(i)ų bei meninink(i)ų tekstuose ir liudijimuose iš pirmų lūpų – įvykius ir meno renginius inicijavusių meninink(i)ų, kritik(i)ų ir kuratorių pasakojimuose. Tekstus gausiai papildo vaizdiniai liudijimai – keturiasdešimt dvejų metų renginių ir kūrinių dokumentacija. Knyga patraukia subjektyviomis istorijomis apie menines ir kuratorines iniciatyvas ir savivaldas įvairiuose Lietuvos miestuose ir užsienyje.
Conversations with artists, curators and art critics /
Pokalbiai su menininkais, kuratoriais ir menotyrininkais
Česlovas Lukenskas, Rūta Drabavičiūtė-Lukenskienė, Ramūnas Paniulaitis, Arūnas Kulikauskas, Aleksas Andriuškevičius, Darius Čiuta, Redas Diržys, Sigitas Krutulys, Benas Šarka, Juozas Milašius, Audrius Šimkūnas, Armantas Gečiauskas-Arma Agharta, Vita Zaman, Mantas Kazakevičius, Tomas Danilevičius, Reda Aurylaitė, Rolandas Marčius, Skaistė Marčienė, Ignas Gleixner, Saulius Paukštys, Rytis Bartkus, Stasys Banifacius Ieva, Inesa Brašiškė, Gerda Paliušytė, Lina Rukevičiūtė, Laurynas Skeisgiela, Milda Dainovskytė, Justina Zubaitė, Tomas Lučiūnas, Simonas Nekrošius, Živilė Lukšytė, Marius Juknevičius, Vilma Fiokla Kiurė, Aistė Kisarauskaitė, Aistė Ulubey, Kristina Savickienė, Robertas Narkus, Evelina Šimkutė, Juozas Laivys, Lina Praudzinskaitė, Jurgita Žvinklytė, Tomas Karklinis, Laura Garbštienė, Elena Juzulėnaitė, Stanislovas Tomas, Gintaras Čaikauskas, Sabina Daugėlienė, Margarita Kaučikaitė, Matas Šiupšinskas, Šarūnas Petrauskas, Svetlana Šuvajeva, Ilja Budraitskis, Vytautas Michelkevičius, Kęstutis Šapoka, Karolina Rybačiauskaitė
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Catalogue published on the occasion of the retrospective exhibition devoted to the artist Mike Kelley, Ghost and Spirit, presented at the Bourse de Commerce (Paris) from 13 October 2023 to 19 February 2024, in collaboration with the Tate Modern (London).
One of the most influential artists of the late 20th century, Mike Kelley is an unclassifiable visionary who has explored notions that are still at the heart of contemporary debates: collective and individual memory, gender and social class relations, conflicting tastes, etc. The Detroit-born artist is interested in the way in which individual subjectivity is shaped by family and institutional power structures in post-modern capitalist American society.
In his performances, drawings, sculptures, paintings, installations and videos, he has consistently portrayed the role of the artist and the way in which the artist appears and disappears, like a ghost or spirit whose influence persists through the ages.
With texts by John C. Welchman, Laura López Paniagua, Cauleen Smith, Suzanne Lacy, Catherine Wood, Jean-Marie Gallais, Glenn Phillips, Fiontán Moran, Jack Halberstam, Marie de Brugerolle and Hendrik Folkerts.
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The works in this publication were commissioned by Fredi Fischli and Niels Olsen. I was asked to remake each of artist’s work as ‘posters’, with the direction that they should be at least 85% ‘Dan Mitchell’. The joke was to appropriate the appropriators. Additionally I included, as subjects, the architect of the show’s design, Petra Blaisse / Inside Outside, and also the curators themselves.
Things got a little confusing between 2020 and 2021 as there were 3 book projects on the go at the same time – the official catalogue for Theft is Vision, the book ‘Dan Mitchell Posters’* (both designed by Teo Schifferli and an unofficial lolz style book/ catalogue of the posters now published here. Only the book of my posters made it to print. Cultural fashion shifts and Covid put paid to the desire to produce a physical publication, appropriation, as a subject didn’t seem to be cool anymore.
Pocket Guide: Dan Mitchell Posters
With: Casima von Bonin. Maurizio Cattelan, Maria Eichhorn, Marie Louise Eman, Syvie Fleury, Isa Genzken, Richard Hamilton, Charline von Hey, Pierre Joseph, Valentina Liernur, Dan Mitchell, Mathieu Malouf, Malcolm Morley, Albert Oehlen, Betty Tompkins and Gili Tal.
Exhibition architecture by Petra Blaise / Inside Outside
The notion of ‘Theft’ establishes a site of investigation. This exhibition examines the desire to appropriate – a fundamental theme in the production of art. Throughout art there are typologies that ensue from the appropriation of motifs or of other works of art. As just one form of aggressive theft, the act of citation was already a cultural strategy long before Appropriation Art manifested itself.
At Luma Westbau the following questions are posed from a contemporary perspective:
What are the genres established through appropriation today? What does stealing mean for artistic production? Is it an act of removal and subtraction? Or can it be a productive strategy as suggested by the art history of Appropriation Art? In the context of this exhibition, ‘Theft is presented as dialogues and translations between artists. In essence, the exhibition confronts two opposing concepts in appropriation: the desire to appropriate as the idolization of sources or as an attack on and subversion of the established.
The typology of the enfilade a suite of rooms in grand architecture – is reconfigured in translucent plastic inthe exhibition design by Petra Baisse / inside Outside and inserted into the White Cube spacent encloses formative typologies of works of art productively used by numerous artists. The investigation leads to a wild variety of iconic and unexpected results: reconfigurations of Marcel Duchamp’s readymades, Kazimir Malevich’s Black Square, Lucio Fontana’s Concetto Spaziale, Jasper John’s Target, Fra Angelico’s Annunciation, Jacques-Louis David’s Napoleon Crossing the Alps, book illustrations by Bernard Buffet, and Courbet’s L’Origine Du Mode or variations on shopping-bag installations. By gathering these typologies together, the exhibition reveals and contrasts different appropriation strategies in art, and invites to discern and encounter sources, counterparts, and sundry partners in crime.
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All shots taken in New York City, in the summer of 2023, by Sara Hirayama.
[Sara Hirayama]
Creator of SP∞CE Magazine. Born in 2000, from Tokyo. In her photography, she excels in capturing the beauty of simplicity and the harmonious interplay of colors in everyday life.
@sp8cemag
@sarahhirayama
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Zerofeedback presents a collective publication that delves into the transformation and paradox of our hyper-connected yet fragmented world. A collective effort exploring the theme of The Annihilation of Space and Time. It features the work of 78 photographers, designers, and artists capturing the essence of our changing world, from the physical spaces we inhabit to our perceptions of time. An investigation into the human experience, our ability to adapt, transform, and create new possibilities.
Bruno Silva, Maja Renn, David Bard, Clare Stimpson, José Witteveen, Jeong Hur, Marie Michalikova, M. A. Dubbs, Daniela Dib, Sunniva Hestenes, Franziska Ostermann, Giacomo Infantino, Maria Makridis, Gerasimos Platanas, Stijn Terpstra, Valeria Arenda, wimpy af, Diana Fedoriaka, Katharina Siegel, Laura Sperl, Axelle VM Philtjens, Gabrielle Hall-Lomax, Valerio Figuccio, Alejandra Vacuii, Italo Ferrante, João Salgueiro Baptista, Grant Beran, Andrea Soverini, Johan Brooks, Julie Calbert, Micael Dias Afonso, Federico “Monty” Kaplan, Karol Szymkowiak, Aga Zdziabek, Eleonora Scoti Pecora, Thalles Piaget, Francesca Macis, Till Rückwart, Shota Tsukiyama, Maria João Salgado, Magda Pacek, Jenny Papalexandris, Darnia Hobson, Matteo Capone, Sviatlana Stankevich, Nikos Kapetanios, Marta Mengardo, Özge Ertürk, Bénédicte Blondeau, Antonio Rodriguez, Cian Burke, Marcus Reistad, Vitaly Severov, Valerie Kabis, Konrad Juściński, Jenni Toivonen, Marco Rocha, Thea Josefin Cedervall, Charlotte Mariën, Sam Evans, Nicola Toffolini, SingaSongontheGround, Violeta Morano, Diego Drudi, An Ting Teng, Javier Talavera, Oleg Tymchii, Alison Lubar, Leon Gallo, Yannis Konstantinos, Hanna Moritz, Antoine Grenez, Louisa Boeszoermeny, Carin Iko, Luis Barbosa, Mizue K, Frédéric Rennes
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À la mort de son père, Juif d’Oran naturalisé français puis israélien, Ariella Azoulay découvre dans un document que sa grand-mère portait le prénom Aïcha. En deux récits mêlant autobiographie et théorie politique, l’autrice serpente entre les catalogues de bijoux, les photos trouvées et les collections d’objets pillés, pour déployer par fragments l’histoire de sa famille et mettre en parallèle les colonialismes français en Algérie et sioniste en Palestine. Entre ces projets impériaux, elle saisit bien des continuités, à commencer par la volonté obstinée de détruire l’enchevêtrement séculaire des mondes juifs, arabes et berbères, un entrelacs qu’elle revendique pour mieux le restaurer.
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Ariella Aïsha Azoulay est écrivaine, chercheuse, cinéaste expérimentale et commissaire d’archives anticoloniales. Née en 1962 dans la colonie sioniste de Palestine, elle est professeure à l’université Brown où elle enseigne la théorie politique, la résistance aux formations impériales et les imaginaires anticoloniaux réclamant le retour, la restitution et le tikkoun olam, la réparation du monde. Autrice d’une dizaine de livres parus dans de nombreux pays, elle a publié entre autres Potential History: Unlearning Imperialism (Verso, 2019) et From Palestine to Israel: A Photographic Record of Destruction and State Formation (Pluto Press, 2011). Inédit, La Résistance des bijoux est son premier livre traduit en français.
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Dear friends,
We are happy to invite you to Cults and Culture on Thursday, July 13th from 7:00 PM, a talk by Alex Head in which the author will discuss his book Ricochet – Cultural Epigenetics and the Philosophy of Change (Ljå Forlag, Oslo, 2021).
Reflecting on discoveries and debates that have occurred in the two years since its publication, artist Alex Head will read from current works in progress to highlight specific aspects within his ambitious book
Ricochet to discuss the architecture of power.
It is now well documented that cults have been used to disseminate disinformation. For example the extremist cults of MAGA, The Oath Keepers and Proud Boys who’s recruitment pipeline has been funded by Big Oil and crypto libertarians in an attempt to overthrow the United States and
crash their and the world’s economy.
But what about the arts more widely, is there a form of culture that is transparent about its ideology, particularly in today’s hyper-accelerate media vortex? Are all cultural institutions not also in some way cultish? The cult of patriarchy being just one obvious example that transcends both religious and cultural institutions.
Focussing on specific evidence of how cults have been used to spread disinformation and other historical data the artist will discuss the central motif to his work Ricochet, – the Sacred Date Palm Tree – as a expression of the anti-rhizome. Are we, the unwitting public being continuously gaslit by Sacred Date Palm tree’s in the form of neoclassical architecture? And if so, what can we do to review and
refocus personal and political objectives as users navigate the web architecture of the app?
Join us at Motto Berlin on Thursday, 13th of July for an insightful talk where we will explore the profound themes of Ricochet and run across topics like January 6th, Classical Architecture, White Supremacy, BND Building Berlin, Mental Health, Libertarianism, Bitcoin, Gold Standard, Going Offline, Art, Publishing, Design, Cultural Epigenetics, Memory, Witnessing and Social Media.
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