720 (two times around) by Andrew Phelps.
100 signed and numbered copies

Out of print

Buy: orders@mottodistribution.com

Motto Storefront Events update (VANCOUVER!)

Avalanche Launch and Screening: June 5, 2pm
Publication Studio Talk (Matthew Stadler and Patricia No): June 12, 2pm

Talks and Workshops
Motto Storefront provides the context for a series of related public programming intended to create a sustained dialogue within Vancouver on issues related to the production and consumption of art publishing. Formed around an ongoing, ad hoc residency program with international publishers, designers, artists, and booksellers, this series will take the form of weekly talks, workshops, and launches investigating alternative retail models, self-initiated design practices, and small scale publishing initiatives.

Avalanche Launch & Screening: Saturday, June 5th, 2pm
Motto Storefront is proud to host the Vancouver launch of the complete facsimile edition Avalanche magazine published by Primary Information, New York. Originally produced between 1970 and 1976, Avalanche focussed on art from the perspective of artists rather than critics. Aside from an 8-page news section, the editorial content included only interviews, artists’ texts and documents of art and art making. Nearly all interviews were conducted by founding editors Willoughby Sharp and Liza Béar. Among the featured artists were Vito Acconci, Joseph Beuys, Philip Glass, Sol LeWitt, Gordon Matta-Clark, Bruce Nauman, Dennis Oppenheim, Robert Smithson, Lawrence Weiner, amongst many others. Limited quantities of the edition are available and preordering is strongly encouraged. Email office@fillip.ca for details.

The launch will be accompanied by a screening of an informal videotaped interview (or “videoview”) between artist and Avalanche founder Willoughby Sharp and Vito Acconci recorded in 1973. The video runs about an hour, and will begin promptly at 2:30, followed by a reception.

Publication Studio Talk: Saturday, June 12, 2pm
Publication Studio is an ongoing project of Portland, Oregon based writers Matthew Stadler and Patricia No. It is an experiment in sustainable publication that prints and binds books on demand, creating original work with artists and writers. Publication Studio is a laboratory for publication in its fullest sense-not just the production of books, but the production of a public. This public, which is more than a market, is created through deliberate acts, the circulation of texts, discussions, and gatherings in physical space, and the maintenance of a digital commons.

Publication Studio is in residence at READ Books, Vancouver (June 9 – 12, 2010) and is operating from 12-5pm. Visit READ Books to discuss publication strategies and have your items printed (b/w duplex printing), perfect bound (from 20-500 pages), and trimmed (from 1/2″x1/2″ to 8 1/2″x11″) for reasonable fees!

Upcoming Events
June 19: Andjeas Ejiksson (Geist, Sweden) talk at 2pm

www.artspeak.ca
www.fillip.ca

Onomatopee #39
Gert-Jan Prins. A cavity: the capacitive version
D 30€

Buy it
Available for distribution

Susan Philipsz: You are not alone book launch and presentation.
Sunday 06.06.2010
Start: 3pm

Modern Art Oxford, Isabella Bortolozzi Galerie and Motto invite you to the launch of a new publication by the Turner Prize 2010 nominated artist Susan Philipsz. Designed by Fraser Muggeridge Studio, the publication documents a recent commission made with Modern Art Oxford entitled ‘You are not alone’, specially created for the Radcliffe Observatory, Green Templeton College, University of Oxford. The publication features an introduction by Director of Modern Art Oxford, Michael Stanley and text by Joerg Heiser. For the event Philipsz will also install a special presentation of the work, ‘You are not alone’.

Taking the original function of the building as her starting point, Philipsz developed a new sound work that, with remarkable potency, engaged with the uniqueness of this historical site. Built in the 18th century, the Radcliffe Observatory was modelled on the Tower of the Winds in Athens, a first-century BC clock tower embellished with sundials and crowned with a weather vane.

In her work, Philipsz recalls Guglielmo Marconi’s suggestion that sounds, once generated, never die; they fade but continue to reverberate as sound waves around the universe. A pioneer of radio technology later used in radio telescopes, Marconi may have been driven by this thought to investigate the potential of wireless telegraphy; to literally tune into the universe. In her evocative new commission, Philipsz elicits something of the existential and philosophical concerns present in Marconi’s proposition and in the nature of the Observatory itself, as metaphorical frontier to the stars.

The artist has recorded herself playing radio interval signals (brief musical sequences typically played before or during breaks in radio transmission) sourced from around the world, on vibraphone. In a new departure for the artist, Philipsz, for the first time used radio transmission as the audio source for her work. Four distinct recordings are broadcast from separate FM transmitters on the rooftop of Modern Art Oxford to receivers, placed at the Observatory, which picked up the individual transmissions and relayed them to visitors through four speakers on the inside. Adding a distinct sculptural device in her use of time and space and the physical journey of sound across the city of Oxford, visitors to the Observatory experienced a lament of sound, given a distant, ethereal and haunting quality by the use of the vibraphone.

The commission was made possible through the generous collaboration and support of Green Templeton College and is the first in a series of three proposed commissions for the Radcliffe Observatory.

Modern Art Oxford
Isabella Bortolozzi

Unit : Design / Research 02
Space and structure

Unit Editions

D10€

Buy: orders@mottodistribution.com

Available for distribution

Candy Apple Grey. Julia Pfeiffer
Published by Montgomery, Berlin
D 10€

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Book presentation:
»LIGHT IS A KIND OF RHYTHM« BY ALENA WILLIAMS

Time travel: 1929, 2009. An interval of approximately 80 years exists between the films of the 1920s and those of the present moment that are discussed in this book. LIGHT IS A KIND OF RHYTHM began as a series of screenings at the Institut im Glaspavillon der Volksbühne am Rosa-Luxemburg-Platz in Berlin, which was lead by Heike Föll with Philipp Ekardt, Matt Saunders, Jan Kedves, and Katarina Burin. It traces the relationship of light to the moving image from an early moment in the history of film – seen in the work of Viking Eggeling, László Moholy-Nagy, Man Ray, Hans Richter, and Ralph Steiner – to that of the present day. The featured contemporary artists – Jan Hammer, Jutta Koether, Andreas Wutz, Die Tödliche Doris, and Matthias Müller – return to an earlier aesthetic engagement with cinema; in their films, videos and digital slides, the moving image offers an alternative mode for thinking through abstraction. Static paintings, collages, and walls are reconstituted as animate, reflective objects, while transient light effects are extracted from life and assigned entirely new meanings.

Keyed to a wider international audience with interests in critical theory, film/media studies, and contemporary art, LIGHT IS A KIND OF RHYTHM includes an essay setting out a theoretical background for the analysis of the interrelation of cinema and aesthetic reception, as well as three new English translations of seminal articles by the film theorist Siegfried Kracauer (1889-1966) and interviews with each of the contemporary artists.

Book design by Schroeter und Berger and Christian Werner
Published by merz&solitude, Stuttgart, December 2009

http://www.merzundsolitude.de/projektiv/light-is-a-kind-of-rhythm
http://millecompany.com/light-rhythm/

On sale among others at Motto, Berlin; Pro qm Berlin; bbooks, Berlin; Printed Matter, New York; and at selected events.

EVENING PROGRAM
Readings and the following Film Projections:

* Ralph Steiner H2O, 1929, 35 mm, b/w, silent, 9 minutes
* Jutta Koether Metalist Moment, 2006/2007, digital slide show, 7.30 minutes, loop
*Conservation on Kracauer, Expressionism, and Living Time with Wolfgang Müller: Die Tödliche Doris Die Gesamtheit allen Lebens und alles Darüberhinausgehende (The Sum of All Life and Everything Beyond), 1987 Super-8, 1.83 – 2.44 seconds (variable)

Total run time: 30 minutes

AUTHOR
Alena Williams is an art historian and curator who lives in Berlin. She is currently completing her dissertation »Movement in Vision: Cinema, Aesthetics, and Modern German Culture, 1915–1930« at Columbia University in New York, and is a fellow in the research group »Media of History« at the Bauhaus-Universität Weimar. Previously, she was a fellow within the art, science & business program at Akademie Schloss Solitude, Stuttgart. Her upcoming traveling exhibition on the land art, films, video, and site-specific installations of the American artist Nancy Holt will open at the Wallach Art Gallery at Columbia in Fall 2010.

+ Other Akademie Schloss Solitude publications will also be on display

Motto Storefront @ Artspeak, Vancouver.

May 15 – July 22, 2010

Organized by Artspeak and Fillip, with Motto.

Upcoming Events
May 15: Opening and talk by Alexis Zavialoff at 2pm
May 22: Talk by Stuart Bailey at 2pm
May 29: Talk by Rob Giampietro at 2pm

233 Carrall Street
V6B 2J2 Canada
Vancouver, BC
info@artspeak.ca

Tel. 604.688.0051
Tuesday – Saturday, 12-5pm
Admission is free

http://artspeak.ca/
http://fillip.ca/
http://nieves.ch/
http://www.shopstandingup.us/

On the Self-Reflexive Page
An essay by Louis Lühti about book pages.

Priè d’insérer (by Louis Lüthi) – The subject of this book is the page, and the pages reproduced in it are taken from works of literature (or, in some cases, art books that derive specifically from literature). I have chosen to present them thematically, resulting in a typology of self-reflexive pages: Black Pages, Blank Pages, Drawing Pages, Photography Pages, Text Pages, Number Pages, and Punctuation Pages. The repetition this entails is somewhat deceptive (for a start, the reader will observe the slight but not insignificant differences between the visual and verbal presentations); in literature, such devises are often used as a counterpoint to what has preceded or what will follow in the narrative. And the same means may evidently be used to different ends. For these reasons, and because the book attempts only to trace an isolated theme through numerous and often otherwise unrelated works, the reader is in all instances referred to the original publications, which are listed in the bibliography.

160 pp softcover
13 x 20 cm
ISBN 978 90 77459 47 8
€ 15,-

Gastronomica Issue 10.2 is now in stock.

D 16€

Buy: orders@mottodistribution.com
Available for distribution.