INGO GERKEN – O F F E N E S B U C H @ Motto Berlin. 22.09.2020.

Posted in art, events, exhibitions on October 14th, 2020

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INGO GERKEN
O F F E N E S  B U C H
 
16. Oktober – 21. November 2020
Donnerstag, 22.10.2020
18 Uhr
MOTTO BERLIN 
 
Mit der Doppelausstellung OFFENES BUCH schlägt Ingo Gerken ein neues Kapitel seiner Werkserie BIBLIOSCULPTURES auf. Geöffnete Ausstellungskataloge, Monografien und Kunstmagazine werden zum komplexen Spielfeld für strategische Sinnverschiebung, poetische Erweiterung und systemkritischen Kommentar. Ganz banale Gegenstände mischen sich als skulpturale Arrangements in die bestehenden Bild- und Sinnzusammenhänge ausgewählter Kunstpublikationen und untersuchen hier das Kräfteverhältnis zwischen Buch, Text, Bild und Ding. Unscheinbare Alltagsobjekte werden zu offensiven und subversiven Elementen, die der ikonischen Wucht zeitgenössischer Kunstproduktion und -reproduktion wertneutral entgegentreten. Auf entwaffnend leichte Weise durchstoßen sie die Matrix der Bücher und erzeugen eine neue Ordnung. Sie verlagern den Schwerpunkt der Betrachtung aus dem Buch heraus in den realen Raum, in dem sich der symbiotische Diskurs zwischen künstlerischer Realität und allgemeiner Lebenswirklichkeit weiterdenken lässt.
 
Für die zwei Ausstellungen hat Ingo Gerken ortsspezifische Installationen entwickelt, die parallel im RAUM FÜR ZWECKFREIHEIT und bei MOTTO BERLIN zu sehen sind.
 
 
 
Folgende Bücher werden u.a. geöffnet sein:
 
– Hello World – Revision einer Sammlung, Nationalgalerie Staatliche Museen zu Berlin, Hrsg. Udo Kittelmann & Gabriele Knapstein, Hirmer Verlag, München 2018
– Art of our Time – Ten Years of the Premium Imperiale, The Japan Art Association, 1999
– Fondation Beyeler – Die Sammlung, Hrsg. Theodora Vischer, Hatje Cantz Verlag, Berlin 2017
– An Anthology of Concrete Poetry, edited by Emmett Williams, Something Else Press 1967, re-edited by Rachel Simkover, Motto Books 2013
– Sexy and Cool – Minimal goes Emotional, Kunsthalle Tübingen, Kerber Verlag, Bielefeld 2017
– Ellsworth Kelly, Hrsg. E.C. Goosen, The Museum of Modern Art, New York Graphic Society, Greenwich, Connecticut 1973
 Fred Sandback / Luis Barragán, The Properties of Light, Hatje Cantz Verlag, Berlin 2018
– Anish Kapoor, Svayambh, Hrsg. Rainer Crone & Alexandra von Stosch, Prestel Verlag, München 2008
– Alicja Kwade, Kestnergesellschaft Hannover, Westfälischer Kunstverein Münster, Distanz Verlag, Berlin 2010
– Jason Dodge – a hole through speaking., LENTOS Kunstmuseum Linz, Verlag für moderne Kunst Nürnberg, Nürnberg 2013
– Ann Veronica Janssens – An den Frühling, a book made by Hans Theys, Museum Morsbroich Leverkusen, DuMont Literatur und Kunst Verlag, Köln 2007
– Michaela Meise – Ding und Körper, Badischer Kunstverein, Verlag der Buchhandlung Walther König, Köln 2012
– Erika Hock – Functionality and Fiction, with an Essay by Vanessa Joan Müller, published by Lugemik, 2019
– Gerhard Richter – Bilder aus privaten Sammlungen, Hrsg. Götz Adriani, Stiftung Frieder Burda, Hatje Cantz Verlag, Berlin 2018
– Was ist ein Bild?, herausgegeben von Gottfried Boehm, Wilhelm Fink Verlag, 4. Auflage, München 2006
– Modern Matter Magazine, published by OMO inc., a creative agency for conceptual art & design, London 2020
 
 
* * *
 
 16.10.2020 – 1.11.2020
RAUM FÜR ZWECKFREIHEIT 
Adalbertstr. 71
10997 Berlin-Kreuzberg
Sa+So 15–19 Uhr 
U8/U1/U3 Kottbusser Tor
 
 22.10.2020 – 21.11.2020
MOTTO BERLIN
Skalitzer Str. 68
10997 Berlin-Kreuzberg
Mo–Sa 12–20 Uhr 
Die Außenvitrinen im Durchgang und im Hinterhof sind auch außerhalb der Öffnungszeiten durchgehend frei zugänglich.
U1/U3 Schlesisches Tor

 

‘Nu Qui Marche’. Julien Carreyn. Motto Berlin 09.09-19.10.2020

Posted in art, exhibitions on September 12th, 2020

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Julien Carreyn. Nu Qui Marche. Opening: Sept. 8, 2020 @ Motto Berlin.

Posted in art, events, exhibitions on August 20th, 2020
Tags:

Julien_Carreyn_Motto

Nu Qui Marche
Julien Carreyn

Opening reception: Sept. 8, 2020, from 7pm
Exhibition Sept 9-Oct 19, 2020.

Full vitrines and new publications display.

1.      Schlafwandler au Sacré Cœur
2.      Une librairie à Berlin
3.      Archi_éro_tektonisch
4.      Nu qui peint poreux
5.      Unexpected joy
6.      Pierrette, Pauline et Jacques
7.      Ist denn hier ein Schloß?
8.      Voyage tumultueux
9.      Shelves and frames
10.    Winzige Bilder
11.    Tu te mires
12.    Kisten voller Bilder
13.    Nu à deux, nu qui lit
14.    Das schwarze Auto
15.    Lutte de chiots
16.    Spielkarten
17.    The bathroom was a kitchen
18.    Krimi in der Provinz
19.    Sofortbilder
20.    Amateur
[…]

Notizen: R.Regnery

MOTTO BERLIN
Skalitzer Str. 68, im Hinterhof
10997 Berlin
U1 Schlesiches Tor
Open Monday – Saturday: 12h-20h

Calla Henkel & Max Pitegoff @ The Downer. Opening June 18, 2020

Posted in art, events on June 15th, 2020

Downer_Calla_Max

Raw Material Company. On Art History in Africa. Crowdfunding Campaign. (until June 1st, 2020)

Posted in art, history on May 7th, 2020

RAW_Kickstarter

Please support our presale campaign for our upcoming publication with Raw Material Company.

De l’histoire de l’art en Afrique / On Art History in Africa

https://www.kickstarter.com/projects/mottobooks/de-lhistoire-de-lart-en-afrique-on-art-history-in-africa

“Reality Companions” @ Motto Berlin

Posted in events, exhibitions on April 14th, 2020

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Bertrand Flanet: Pale Habits, 2017, installation view, Reality Companions, Motto Berlin

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Gina Folly: Don’t worry about your Future, 2020, installation view, Reality Companions, Motto Berlin

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Becket MWN: Seven-Oh-Six, 2015, installation view, Reality Companions, Motto Berlin

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Inga Danysz & Becket MWN: +4915215142816, 2020, installation view, Reality Companions, Motto Berlin

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Inga Danysz: The End is always at the Beginning, 2019, installation view, Reality Companions, Motto Berlin

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Inga Danysz: Untitled, 2019, installation view, Reality Companions, Motto Berlin

Photos: Yudith Heinemann

 

Reality Companions
Feb 21 – April 30, 2020
Motto Books Berlin

with works by Inga Danysz, Bertrand Flanet, Gina Folly, Becket MWN

curated by Dennis Brzek

In 2002, German car manufacturer VW opened their so called “Gläserne Manufaktur” (meaning both glassy and transparent factory) as a simulacrum for granting an undisturbed view into its production processes. The glass factory’s promise of full transparency is enmeshed in an array of showcases devoid of human activity, in which tasks are performed for an audience solely by an interplay of automatic gestures. Leading the viewer’s eye from the assembly of individual parts towards the wholeness of the finished product, their performance is—next to government apologias of stability, craft, and expertise—a testament to its belief in a scratch-free experience by way of steering the mechanical arms in safe distance from the glass surface. The luminous airspace lying in between the machinic extremities and their transparent cube is a border of the mind being kept firmly monosemantic.

Fast forward a few years and we are at Elon Musk’s presentation for the Cybertruck, a bulky desert buggy clad in a retro-futuristic shell including dramatically blacked out windows made from the company’s certified armor glass. This product showcase is made out to become the prime denominator for innovation, all the while being drenched in an upside-down baroque aesthetic of all things black and shiny. About half way into the spectacle, lead designer-cum-stage assistant Franz von Holzhausen hurls a metal ball into the truck’s hushed glass outlooks for demonstration of their promised permanence in the face of force. The ball hits and makes the glass crack. A dull thud serenades this banal action, framed underneath bright spotlights and the audience’s chuckled gasps and awkward laughters. In the moment of collision, the ball created a suspended drawing mapping its own meteoritic field of impact located somewhere within the thick outer sheet of the transparent metal. The lines of destruction that were drawn by the unfortunate performer create a spiderweb that becomes a gothic prop in this story’s haunted narrative. The signature left by the metal ball is both concrete and abstract, sketching a caricature of the visual organization of our present where what cracks is never the glass but only its very before. Famously, the only things that ever hits the view of those hyper valued subjects hidden behind bulletproof glass are the raw eggs thrown by protestors trying to make a pointed take, mostly in vain.

SUPERBEE SPIX COLA 139 KOOL GUY CRAZY CROSS 136 DUKE SPRIT SUPERKOOL KOOLKILLER ACE VIPERE SPIDER EDDIE KOLA are only some of the protagonists mentioned in Jean Baudrillard’s vision of New York of the 1970s in his essay “Kool killer ou l’insurrection par les signes” published in 1976. Here, the neurotically semiotic French philosopher describes the city as a vessel for signs and graffiti, abundant signifiers and empty words. The plane of production of these symbols is not just walls of buildings and underground stations but also the more irreducible surface of windows. Today, these scratchings seem to hover in between layers of glass, making them appear suspended in time and place like intractable and incomprehensible signs of another age. Workers who will travel to Grünheide in Brandenburg via S-Bahn for their shifts at Tesla’s Gigafactory 4 will see those engravings and believe them to be hieroglyphs of a time in which semantics were something created instead of endured.

Special Offers. Spring 2020.

Posted in Uncategorized on March 21st, 2020

Motto_Books_Promo

For the next weeks, we’ll try to send online orders as efficiently as possible. (some information here)

Order 2 books and get 1 surprise book for free.

Order 5 books, and get 2 surprise books for free.

Every order above 50€ gets a free Erik Steinbrecher ephemera or poster.

We offer free delivery in Berlin, within reasonable distance, until we can’t do it.

Write us with any requests to: support (at) mottodistribution.com

Bader Motor + Zabo Chabiland (+Nicolas Moulin) @ Motto Berlin. 07 March 2020

Posted in events on March 2nd, 2020

bader_motor

Bader Motor. (live)
7pm (sharp)
+
Zabo Chabiland. Sleeping Odyssey. (live)
(Grautag record release)
8pm
+
And Nicolas Moulin will also play records with friends and ghosts
+
Drinks

Reality Companions. Motto Berlin. 20.02.2020

Posted in events on February 12th, 2020

Reality Companions

Reality Companions
opening: Feb 20, 7-10pm
Feb 21 – Mar 17, 2020
Motto Books Berlin

with works by
Inga Danysz
Bertrand Flanet
Gina Folly
Becket MWN

curated by Dennis Brzek

In 2002, German car manufacturer VW opened their so called “Gläserne Manufaktur” (meaning both glassy and transparent factory) as a simulacrum for granting an undisturbed view into its production processes. The glass factory’s promise of full transparency is enmeshed in an array of showcases devoid of human activity, in which tasks are performed for an audience solely by an interplay of automatic gestures. Leading the viewer’s eye from the assembly of individual parts towards the wholeness of the finished product, their performance is—next to government apologias of stability, craft, and expertise—a testament to its belief in a scratch-free experience by way of steering the mechanical arms in safe distance from the glass surface. The luminous airspace lying in between the machinic extremities and their transparent cube is a border of the mind being kept firmly monosemantic.
Fast forward a few years and we are at Elon Musk’s presentation for the Cybertruck, a bulky desert buggy clad in a retro-futuristic shell including dramatically blacked out windows made from the company’s certified armor glass. This product showcase is made out to become the prime denominator for innovation, all the while being drenched in an upside-down baroque aesthetic of all things black and shiny. About half way into the spectacle, lead designer-cum-stage assistant Franz von Holzhausen hurls a metal ball into the truck’s hushed glass outlooks for demonstration of their promised permanence in the face of force. The ball hits and makes the glass crack. A dull thud serenades this banal action, framed underneath bright spotlights and the audience’s chuckled gasps and awkward laughters. In the moment of collision, the ball created a suspended drawing mapping its own meteoritic field of impact located somewhere within the thick outer sheet of the transparent metal. The lines of destruction that were drawn by the unfortunate performer create a spiderweb that becomes a gothic prop in this story’s haunted narrative. The signature left by the metal ball is both concrete and abstract, sketching a caricature of the visual organization of our present where what cracks is never the glass but only its very before. Famously, the only things that ever hits the view of those hyper valued subjects hidden behind bulletproof glass are the raw eggs thrown by protestors trying to make a pointed take, mostly in vain.
SUPERBEE SPIX COLA 139 KOOL GUY CRAZY CROSS 136 DUKE SPRIT SUPERKOOL KOOLKILLER ACE VIPERE SPIDER EDDIE KOLA are only some of the protagonists mentioned in Jean Baudrillard’s vision of New York of the 1970s in his essay “Kool killer ou l’insurrection par les signes” published in 1976. Here, the neurotically semiotic French philosopher describes the city as a vessel for signs and graffiti, abundant signifiers and empty words. The plane of production of these symbols is not just walls of buildings and underground stations but also the more irreducible surface of windows. Today, these scratchings seem to hover in between layers of glass, making them appear suspended in time and place like intractable and incomprehensible signs of another age. Workers who will travel to Grünheide in Brandenburg via S-Bahn for their shifts at Tesla’s Gigafactory 4 will see those engravings and belief them to be hieroglyphs of a time in which semantics were something created instead of endured.

Reading Material. CDMX. Feb 7-9 2020

Posted in events on February 6th, 2020

MATERIAL7_RM-00

https://material-fair.com/