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Amistad
Volumen 666
Lima 2022
Re-edition
Lima Perú 2018
Diosito-jpg

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50-year-olds: they’re hung up in streets, stuck in dull, damp plastic sleeves; they are taped to lampposts, to electricity substations or traffic signs, or they’re attached to trees with drawing pins.

This publication and exhibition explore the typically Dutch tradition of publicly displaying home made photo collages throughout streets and neighborhoods in celebration of a person’s 50th birthday.

Almost reminiscent of missing pet posters, amateur portrait photographs are distributed and displayed by being taped onto lamp posts and stapled to trees by friends or relatives, at the mercy of public opinion. Exposed to judgment and ridicule by friends, family and strangers, due to the usually demeaning nature of the photographs through unflattering holiday photos and the likes, individuals are exposed, raised out of anonymity and placed in the public eye.

To an extent the street becomes an exhibition space for the non art-oriented person. It’s a document of the democratisation of the public domain, through a tradition which allows artistic expression and experimentation for anyone, under the gaze of a watchful even if disengaged audience.

The presented collection of posters, possibly a study of non-intentional art under the scrutiny of the public eye, constitutes an archive and an ode to amateur, home made graphic design, made possible through the democratisation of artistic means and software such as word art, paint and clip art. A non-hierarchical demonstration of taste and aesthetic is catapulted into the streets and now gathered in the exhibition space. Perhaps involuntarily, the posters bear a sense of humour and irony to the rest of the on-looking public.

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Printed on 115gsm grey recycling
paper (Blue Angel), Cover: 300gsm
grey recycling paper (Blue Angel)

1. Edition of 30 (signed, numbered)

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August 26th, 5pm somewhere in Place des fêtes, Paris
Température ressentie 32°.

Edition of 50.

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“All my illustrations on this zine are inspired by Interviews which I contact to my friends who live in South Korea, UK, and Germany. These interviews show me different perspective about this unusual situation after 2020. I think It is more personal thought or feeling compare with dairy news of person-on-the -street interviews which already edited by someone else. I can see (imagine) so much details of their life. It seems to bring me somewhere in this world. Probably under this situation, it was more effective. After I read it, I feel so free. Hopefully, you also feel a little bit chilled out. I would like to say Thank you to my friends again.”

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This collection of incomplete essays is what we call the ecology of everything. We think of complexity like an astrayed arrow hitting no target. Line and dots. A dashing constellation of things. Everything is not directly related to everything, but everything is related to something.

These ideas are a vestige of a fragmented ecosystem. A marginal third nature that manages to live in the interstices of capitalism. They are a recollection of brief awe, not able to finish their growth and already being torn into pieces by social media, memes, podcasts, YouTube videos, video games, and a constant urge for disaster. A little codex sent from planet Earth in times of destruction. And so, we find them. Sporulating at the End of the World is Holobiont; me, you, and everything in between.

Numbered edition of 50.

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“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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Edition Schwimmer’s booklets, Hofter Monthly and TheSchwimmer by Sibylle Hofter are available in Motto.

Hofter Monthly and TheSchwimmer are monthly photography publications drawing from Sibylle Hofter’s work and archive.

With contributions by Wolfgang Hofter, Sophie Holz, Mania Lohrengel, Patricia Nya Njaounga, Sheney Okan, Christian Seidel, Daniel Sellek and Anna Tietz.

Sibylle Hofter is a Berlin based visual artist exploring film, text, site-specific sculpture, installation in public space, and photography, participatory and individual. She is also a curator of various projects, and co-founder with Sven Eggers, of the on-going political, media-critical semi-participatory photo project Agentur Schwimmer (Swimmer Agency), that she currently runs with Daniel Sellek. Hofter process usually includes extensive research on extra-cultural fields. Since 2011 she edits Hofter Monthly booklets and TheSchwimmer booklets on paper. She focuses on emancipatory, post-colonial, collaborative work.

The booklets are sold individually or in a special edition box set.

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