INGO GERKEN – O F F E N E S B U C H @ Motto Berlin. 22.10 – 21.11.2020.

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
 
22. Oktober – 21. November 2020
bis Samstag, 22.10.2020
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:
 
– Andreas Gursky – Werke/Works 80-08, Kunstmuseen Krefeld, Haus Lange und Haus Esters, Moderna Museet, Stockholm, Hatje Cantz Verlag, Ostfildern 2008
– Naoya Hatakeyama, Kunstverein Hannover / Kunsthalle Nürnberg / Huis Marseille, Amsterdam Hatje Cantz Verlag, Ostfildern 2002
– Hello World – Revision einer Sammlung, Nationalgalerie Staatliche Museen zu Berlin, Hrsg. Udo Kittelmann & Gabriele Knapstein, Hirmer Verlag, München 2018
– Candida Höfer / Rui Xavier – Silent Spaces, Hrsg. Uta Grosenick u. Herbert Burkert, Distanz Verlag, Berlin 2015
– Hubert Kiecol, Kunsthalle Nürnberg, Verlag für moderne Kunst Nürnberg, 1991
– Kunst ist Kunst – Werke aus der Kunstsammlung des Neuen Museum Nürnberg, Verlag für moderne Kunst, Nürnberg 2007
– Germaine Kruip – Works 1999-2017, Oude Kerk, Amsterdam, KW Institute for Contemporary Art, Koenig Books, London 2018
– Michaela Meise – Ding und Körper, Badischer Kunstverein, Verlag der Buchhandlung Walther König, Köln 2012
– Sexy and Cool – Minimal goes Emotional, Kunsthalle Tübingen, Kerber Verlag, Bielefeld 2017
– Wolfgang Tillmans – Abstract Pictures, Hatje Cantz Verlag, Ostfildern 2015
– 100 Jahre Rupprecht Geiger, Nationalgalerie, Staatliche Museen zu Berlin, Hrsg. Fritz Jacobi und Melanie Wilken, Berlin 2008
 
 
* * *
 
 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

 

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

“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.

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/

Booked. Hong Art Book Fair at Tai Kwun. Jan 16-19. 2020

Posted in events on January 9th, 2020

booked

https://www.taikwun.hk/en/programme/detail/booked-hong-kong-art-book-fair-at-tai-kwun-contemporary/454

Happy Potato Press, Martijn in’t Veld @ Motto Berlin 11.12.2019

Posted in art, events on December 7th, 2019

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Happy Potatoes and Sad Silkscreens at Motto Books

As the Happy Potato Press, Martijn in’t Veld has been publishing books, prints and other printed matter since 2019. Please join us for a wintery-xmas-drink and the presentation of various potatoes on December 11th, 18:00h. Among the things on display will be a severed arm, the weather report from the day Richard Brautigan died, a young girl stealing fishes and the ever expanding city of New York.

www.happypotatopress.com

Hiroshi Takizawa. Criminal Garden. Motto Berlin. 16-22.11.2019

Posted in Artist Book, events, exhibitions, Motto Berlin event, Motto Berlin store on November 28th, 2019
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Criminal Garden

Hiroshi Takizawa at Motto Berlin

Criminal Garden

Project01: “Assumption”
Criminal profiling is used as an investigation technique to hypothesize on a suspect figure. An assumed portrait is inferred and emerges from what is left of a particular setting or crime scene. I am intrigued by the development of such assumed figures, as well as the fact that these profiles are fictional and nonexistent unless replaced by an asserted criminal.

“Assumption” consists of scanned images of objects found in ordinary surroundings. Instead of shooting or scanning a flat surface, I chose to scan objects with uneven surfaces as a method to emphasize the distortion of the outcome. As a result, the images are highly detailed, yet far from the objects’ original shapes and forms. The method also allows me to illustrate that the process of reproduction can result in a fictitious representation of an object. To me, there is a similarity in the process of profiling and scanning in the sense that both processes creates a fictional and imaginary image. In this work, I aim create an image of a fictitious profile, although there may not be any criminal context to it. What interests me is that the scanned objects gain a fictional character that reveals the possibility of an additional dimension to its existence, and furthermore, a suggestion that the fictional existence is in fact closer to reality.

Find more of Hiroshi Takizawa’s works here