The Blow-Up Regime, Marc Bauer, Berlinische Galerie (Eds.)

Posted in art, Artist Book, illustration on July 21st, 2021
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Drawings as Artistic Research

Marc Bauer (b. Geneva, 1975; lives and works in Berlin) is the winner of the 2020 GASAG Art Prize. Working in the medium of drawing, he grapples with themes such as migration, identity, and gender and articulates a critique of the new media or the nexus between religion and violence. Building on extensive research, the artist develops sprawling installations encompassing intimate works on paper, wall drawings, animations, and sound. A suggestive dramaturgy emerges that intertwines historic events and fictions and remains open to a range of interpretations. For his exhibition at the Berlinische Galerie, Marc Bauer has conceived a broad-based inquiry into the history of the Internet and its impact on society and the individual.

The accompanying catalogue presents the entire installation in detail. With texts by Guido Faßbender, Thomas Köhler, Thomas Kuratli / Pyrit, and a conversation between Sibylle Berg and Marc Bauer as well as interviews with Alan Emtage and Luca Maria Gambardella. A greeting was written by Gerhard Holtmeier.

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Terraforma Journal – Issue #1

Posted in art, magazines, music, writing on July 17th, 2021
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The Terraforma Journal is a new editorial project by Terraforma. A biannual publication exploring the intersection of sound, art, ecology and culture at large. Issue #1 focuses on the expanded notion of the festival—intended as a collective, multi-lateral, interconnected manifestation of dynamicity. The theme unfolds through a multiplicity of layers to acquire new and unexpected definitions. Terre Thaemlitz, Fabio Sargentini, Shiraz Arts Festival, Beuys 2021, Alice Bucknell, Angela Rui, 2050.plus — among many others — explore this angle and translate their vision into the printed matter. Every issue of the Terraforma Journal features a specially commissioned cover, starting with a labyrinthine interpretation of Daniel Sansavini and Studio Temp.

Terraforma Journal is an expansion towards a renovated feeling of togetherness and exchange.

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Joachim Perez. désirer, ne pas voir @ Motto Berlin. 16.07 – 07.08.2021

Posted in art, exhibitions, Motto Berlin event on July 16th, 2021
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Joachim Perez | Marc Bauer @ Motto Berlin | Thursday 15 July 2021

Posted in art, events, exhibitions, Motto Berlin store on July 10th, 2021
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désirer, ne pas voir

Joachim Perez

Opening on Thursday 15 July, from 6 pm @ Motto Berlin

Men have always depicted naked women. Joachim Perez took this observation as a starting point,  appropriating a medium codified as feminine — embroidery — to depict male bodies. Working primarily with sewing and embroideries, he began to create large-scale installations that explore masculinity and sexuality in a defined space.

Following his residency at the Musée Jenisch (Vevey, Switzerland), where the classicism of the paintings in the permanent collection clashed with the elasticity of his works, Perez presents a new series of embroideries at Motto, this time on tarpaulin. Limited to the gallery’s glass cabinets, his embroideries stress a back and forth in his practice between the male body displayed in an unaffected manner and the constraints imposed by the space in which it is exhibited. Indeed, Perez’s works speak of our gaze, tensions and the internal dialogue that results from the tendency to both desire and reject eroticism.The partial unveiling of the works engages the visitor to develop a narrative aroused by the latent violence of bodies kept in glass cages.

Stick Your Finger – a Recollection by Marc Bauer

Stick Your Finger – a Recollection

Marc Bauer

Opening on Thursday 15 July, from 6 pm @ Motto Berlin

Another Mobile Gallery is pleased to invite you to Marc Bauer’s exhibition entitled Stick Your Finger – a Recollection which will take place on the 15th of July, hosted by Motto Berlin. Summoning the public to a meditation on the body and the sense of touch, the artist has put together 12 works to express difficult themes such as sexuality and the implied dichotomy of care and abuse, blended with his own personal experiences and memories as a teenager in the 1980s. The artworks will not be displayed in a traditional format, but will be shown as part of a collaborative performance where the public will interact directly, as an homage to the recent reality of the pandemic and the restrictions universally faced for the past year and a half.

Another Mobile Gallery is a dynamic, alternative space thought out as a stand-in for the usual contemporary art gallery. Starting out in the shape of a van, AMG isn’t currently tied to a physical space but it continues with the main purpose of providing pop-up shows which can take place anywhere in the world. Born out of pure passion by making use of minimal resources, this project continues to ensure the promotion of young, up-and-coming artists as well as established creators, while presenting them with the same challenge faced by AMG’s owner in the first place: create something extraordinary from little to nothing; the sky is the limit.

The View From “No Man’s Land”, Firas Shehadeh

Posted in art, Artist Book, books, meme, politics on July 10th, 2021
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“Since 2013, Firas Shehadeh’s conceptual practice has been preoccupied with understanding the human condition through post-internet aesthetics, a tactic calculated towards a larger strategy of tackling the many themes mirrored by our new millennia. The internet and its cultures, video games, virtual communities, and various types of images are key mediums in his work, which helps the artist avoid material limitations and highlights the impact internet life is increasingly having on our offline lives.

Yet if one can trace a unity in Shehadeh’s work, one would find that it’s mainly concerned with images, not purely as form, but for what it absorbs from today’s political realities, conveyed by way of not-so-innocent silliness or abstraction. That is not to say that he deals with images as if they are inherently political. On the contrary, as a puppeteer controlling his marionettes with agility, Shehadeh takes such images and carefully reassembles them in front of us to subtly narrate their stories of origin and the meaning they evolved to carry. By relying on a combination of irony, tragedy, and delicate hopefulness, he ultimately highlights the bitter contradictions of today’s world.

One can easily detect some of Shehadeh’s political interests: history, technology, and aesthetics. He connects all these in today’s Online, the direct descendant from yesterday’s internet. Today’s algorithmically-driven Online is akin to predestination, loaded with ready-made scenarios where you’re trapped in a time loop like a sick joke. Original moves are calculated, preconfigured, and repeated every day; a Punxsutawney-hell from hell where one disaster leads to another. Still, they’re expected, welcomed, normalized, in a made-up history where irony’s reserve has drained to the very last drop.

In The View from “No-Man’s Land,” Shehadeh documents the year 2020 by using online culture’s main currency—memes—to tell stories of crashes, depressions, and violence caused by acceleration and the hyper technologies of control. His position as a Palestinian artist permits him to tell such stories with ease and cleverness. Yet unlike his subjects, he doesn’t convey a post-ironic attitude; his awareness is a tool to decipher post-irony, exposing its contradictions as if fighting fire with fire. That is highlighted best in the book’s cover; a kite strapped with a Molotov cocktail. The contra-drone of the oppressed. A direct, ironic answer to the oppressor’s hyper-tech arsenal.

This book and its artifacts function as a memory theater for an era that doesn’t want to leave, trying to outwit us by employing elements from the past. All the versos and rectos speak of the same story, reiterating after Carl “CJ” Johnson, its undeclared Angelus Novus, “Oh shit, here we go again.””

– Yazan S. Ashqar
Writer, Editor, and Translator, New York City

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@rt_rhyme, Darren Bader

Posted in art, Artist Book, books, curating, photography on July 9th, 2021
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Begun on Instagram in 2017 as part of Bader’s exhibition at Museo Madre in Naples, @rt_rhyme is a series of photographs that pair artworks (identified by artist (sur)name) with various rhyming objects or actions: spoons in front of a Koons, cobble held next to a Schnabel, Sherman matched with some German and a crawl below a Saul. Some rhymes are easy to decipher while others require a good unpacking. @rt_rhyme continued posting on Instagram through the end of 2018 but the project remained incomplete, in part due to an exhaustion of funds as well as some rhymes proving very difficult to photograph. This book collects the @rt_rhyme photographs, the list of unrealized rhymes (two of which have been digitally realized by the publisher for inclusion in the book) and an introduction by Bader.

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Zampa di Leone: Deep Europe, Zampa di Leone, Boris Buden

Posted in art, Artist Book, books, illustration, Motto Books, politics, zines on July 9th, 2021
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For the first time, this publication unites the English language work of Zampa di Leone with two sequences of comic strips and caricatures titled “Deep Europe” and “In the Arse of the Balkans”. Zampa di Leone wanted to offer a radical critique of the colonial tendencies embedded within the discourse of “Balkan” and “Eastern European” contemporary art as it had been articulated during the 1990s and 2000s in global cultural centres, first and foremost in Germany and Austria. The anonymous collective was mostly active in Serbia and Europe between 2001 and 2011, and produced a significant number of comic strips that were circulated at events and through internet forums or mailing lists.

This publication has been printed on the occasion of THE DREAMERS, 58th October Salon, Belgrade Biennale 2021, within the frame of the Reading Room bookshop. The comic strips are accompanied by Boris Buden’s text “The Madman Is Sleeping with the Lunatic”, which was first published in 2003 — a reminder of the historical context and the Balkanist discourse that served as a backdrop to Zampa di Leone’s activities.

Edition: 300

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The Last Acts of Saint Fuckyou, Bern Porter / Alice Dusapin (Ed.)

Posted in art, books, writing on July 8th, 2021
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The Last Acts of Saint Fuckyou by Bern Porter was first published in 1975.

This new edition presents an additional introduction, transcribed from a reading given by Bern Porter on May 19,1985, in Madison, Maine.

Bern Porter wrote this poem, The Last Acts of Saint Fuckyou, which were presented in alphabetical order, with the same number of acts for each letter.

Edition of 500, 2021

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Spike #68 Summer 2021, Rita Vitorelli (Ed.)

Posted in art, magazines on June 29th, 2021
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Spike #68 Summer 2021: Patriarchy

Spike’s summer issue infiltrates enemy territory, probing the patriarchy and exploring the many forms it takes today. From a polemic in favor of anarchy to a takedown of Silicon Valley tech-bro tribalism, our contributors take on the powers that be, igniting debates about privilege and control hotter than Hot Girl Summer. Can women perpetuate the patriarchy? Who are the biggest daddies in the art world today? How do you become a successful artist? Also featuring portraits of the late Jack Smith, Taiwanese-born cyberfeminist pioneer She Lea Cheang, and a group portrait of young artists fighting the extractive identity matrix, alongside a scrumptious hit of Schadenfreude care of “Dum Dum Boys” — because we’re not above the occasional punching up. With contributions by Peaches, Slavoj Žižek, Catherine Malabou, Renate Lorenz, Tea Hacic-Vlahovic, Simone Fattal, and many more, and reviews from Guangzhou to Mexico City. Hate it, or really hate it, the patriarchy is is the target. Aim low.

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GIGER SORAYAMA, Various Authors

Posted in art, books, illustration on June 28th, 2021
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This book accompanies a two-artist exhibition co-curated by Alessio Ascari and Shinji Nanzuka, bringing together for the very first time the work of Japanese artist Hajime Sorayama and Swiss artist HR Giger. Touring from PARCO Museum in Tokyo to PARCO Event Hall in Osaka between December 2020 and February 2021, the exhibition coincides with the 80th anniversary of Giger’s birth and features over 50 works ranging from the late 1960s to the present day.

The catalogue, designed by Swiss-based art direction firm Kasper-Florio with Samuel Bänziger, features a foreword by co-curator Alessio Ascari, a critical essay by Venus Lau, an interview with the late HR Giger by Hans Ulrich Obrist and Patrick Frey, and a recent interview with Sorayama by Ascari. It comes with a 50x70cm two-sided poster, and two 20cm die-cut stickers.

Born and trained at opposite ends of the world, Sorayama and Giger are apparently at odds—one’s bright colors are swallowed by the other’s dark chiaroscuro; one’s enthusiastic outlook on technology borders with the other’s nightmarish dystopia; one’s “super-realism” challenges the other’s surrealism—yet they share more than meets the eye. Both emerged in the 1970s and 1980s, becoming acknowledged masters of airbrush painting and influential creators beyond the boundaries of the traditional art world, blurring the relationship between commercial and personal work. But more importantly, at the very core of their practice lies a similar concern: an obsessive investigation of AI, eternal life, and the fusion of organic and apparatus. Gynoids (female androids) are predominant subjects, conjuring the post-human and the apotheosis of the woman to reveal an underlying tension between life, death, power and desire.

Hajime Sorayama (b. 1947 in Imabari, Ehime prefecture) has established his position as a legendary artist, both within Japan and internationally, for his extensive oeuvre that centers upon an ongoing pursuit for beauty in the human body and the machine. Best known for his precisely detailed, hand-painted portrayals of voluptuous women, obtained through an astoundingly artful use of a wide array of realistic expressional techniques, most prominently airbrush painting, the artist’s international recognition is inextricably tied to his signature series titled “Sexy Robot” (1978-) featuring erotic android figures clad in shiny chrome metal, and to AIBO, the award-winning robotic pet he designed for SONY in 1999.

Hans Ruedi Giger (1940–2014) was a Swiss surrealist painter, sculptor, and set designer known for his biomechanical creatures, extraterrestrial landscapes, and disturbing sexual machines. In a career that spanned more than five decades, he employed a staggering variety of media, including furniture, movie props, prints, paintings and sculptures, often creating exhibition displays and total environments with the immersive quality of a wunderkammer—including, most notably, the HR Giger Museum in Gruyères. In 1979, his concept design for Ridley Scott’s Alien (1979) won an Academy Award for Best Achievement in Visual Effects and catapulted to fame his daunting vision of death and futurism.

Designed by Kasper-Florio
With texts by Alessio Ascari, Venus Lau, Hans Ulrich Obrist

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