MAD

Dmitry Paranyushkin @ Motto Berlin. 08.05.2015
7pm (sharp)

Way to Russia Book is a 780-page guide to the deepest crevices of Russian subconscious as well as the surface phenomena.

In this book presentation I will present the book itself as well as the strategies and methodologies used when making it.

Made as a guidance, Way to Russia attempts to be both practical and divinational, material and immaterial, Russian and not Russian at all.

Signed books will be available at Motto after the presentation.

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More information:

I will talk about Polysingularity as a strategy for understanding complex phenomena, using the context of writing a book about Russia, which I will be presenting at this talk.

Polysingularity is essentially a practice of dynamic variability. The approach is in taking different perspectives, which are sufficiently distinct from one another, to form certain points of view that are connected on the global level to produce mutually coherent simultaneous narratives.

The book is structured in a networked way to allow for several such simultaneous narratives – mainly the Crudes (oil, gas, attitudes) and the Cosmos (space technology, idealism, faith).

A page on Sputnik – the first satellite – is followed by the page on Kalashnikov – both very well-known Russian exports. This same page links to the Cosmonautics museum in Russia and to Terletskoe lake in Altay mountains where parts of space launch rockets fall to produce amazing lighting effects in the sky and to contaminate the nature around… A page on the concept of hybrid warfare utilised in Ukraine links to the Russian martial art Systema, which utilises this concept as a physical practice.

The book also has numerous portals into the digital realm where the subject matter is augmented with additional information, images and links for further exploration (often guiding back into the book).

The book was published by Special Agency on behalf of http://waytorussia.net/ – the most popular travel guide to Russia online with an audience of 1.5 Mln readers, which also helps travellers arrange trips to Russia: visa, train tickets, hotels and such.

If a guide book is normally made to guide, this guide book is made to be more like a guidance, helping the readers inscribe multiple narrative fantasies into the real. A certain persistence that erupts with the crude force into the polysingularity of Cosmos – something that has a lot to do with faith, belief, idealism and passionate naivete.

Henning Bohl / Bom Dia Books @ Motto Berlin. 2.5.2015
from 5pm

After Namenloses Grauen and Kadath Fatal, Fatal Kadath Fatal is the third publication for Henning Bohl by Bom Dia Boa Tarde Boa Noite.

A sequel to Kadath Fatal, Fatal Kadath Fatal takes up a slower pace in narration. Conceived as a leporello the book gathers a succession of 18 drawings that circle around one single motive: Two maiden’s cornets glide along through space. Only light and contrast change, and the veils of the cornets take up peculiar shapes despite the supposed absence of gravity and friction. On the will of their own the maiden’s cornets return in their present form as a medley of elements from former works by Bohl. The title of the book is inspired by H.P. Lovecraft’s The Dream Quest of Unknown Kadath (1926/27), an epic tale that examines the realm of human dreams by combining elements of horror and fantasy.

170 × 230 mm
36 pages
oftcover

published by BOM DIA BOA TARDE BOA NOITE,
designed by Henning Bohl
in collaboration with Studio Manuel Raeder,
ISBN 978-3-943514-41-4
EUR 16

The release is accompanied by an installation at MOTTO and a limited edition will be available through Bom Dia books and Motto.

Kulturamas Högre fotografiska utbildning (Higher photographic education) @ Motto, Berlin
from 6pm

The presentation consists of a display of photo books produced by the students, in presence of professor Misha Pedan.

Rick Buckley @ Motto Berlin. 25.04.2015
from 7pm

Four Corners Books Familiars series
The Nose by Nikolai Gogol art by Rick Buckley

Q&A: Rick Buckley, The Nose

In 1997 you anonymously fixed to-scale sculptural nose forms to buildings around central London. What was the idea behind this?

I was inspired by reading about the antics of the International Situationists operating in Paris during the late 1960s, carrying out sporadic artistic pranks as political gestures. The intervention involving the cast nose forms applied to specific interior / exterior locations within and around Central London, was a political gesture responding to a long running political debate over the obtrusive and ever growing numbers of CCTV surveillance cameras being installed within public spaces in and around the capital. This excess of surveillance was criticized as an infringement upon the rights to privacy of the individual citizen.
It was an afterthought whilst carrying out the intervention, that by integrating an applied form to a specific location, would over a period of time, become part of the structure it had been applied to. With the emergence of social network forums on the net, the small number of remaining nose forms have since become part of urban myth making. One such myth entitled The London Nose’, is centered around a Nose form located at Admiralty Arch. Various versions exist, but the first to appear was on a London Cab Driver’s blog, where he made numerous speculations for the nose’s existence. One explains that because of its position, it enables mounted horse guards to stroke it for good luck whilst on military duty whilst passing through the arch. It is now believed to feature in the London Cab Drivers examination (The Knowledge), thus prompting fledgling cab drivers to touch the nose for good luck before taking the exam and enabling them to receive their hard earned London Hackney Carriage License.

How does this street intervention fit in with the rest of your practice?

I’ve always been interested in the concept of myth making, which I often use as a conceptual pretext for my artistic practice.
 
How do you feel the project has changed now that it also exists in the form of photographs accompanying text?

It’s many years since I carried out the intervention and therefore I have a distance to it. It’s now out there on its own, belonging to the public, and therefore the book publication is extension of that public sphere.
 
How do you think the experience of reading this edition might compare with reading a version without images?

Well the human imagination is far more inventive than what already exists out there, but juxtaposing a 19th Century novella with a contemporary setting, may make the absurdity and pomposity of power more vivid.
 
Were there any challenges in working in response to a story by such an influential author?

No, because both works were responding to absurdities of authority and criticising the powers that be. And there are certainly no challenges in regards to the obstacles relating to copyright law, as it’s outside the 70 years remit. Actually, current Russian copyright law stipulates that all copyrights to works published prior to October Revolution (7th November 1917) are believed to have expired.
 

Downing Street. John Moseley, Titus Kroder, Eva Weinmayr @ The Showroom. London. Sat March 14th
(performance starts at 2.30 pm)

Part farce, part madcap caper, Downing Street responds to the dilemma created when art is appropriated as “radical chic.”
Written by John Moseley, Titus Kroder, Eva Weinmayr.

A sketch of a performance by seven actors, with the audience. Directed by Hester Chillingworth

Published by New Documents, Los Angeles.

The Showroom, 63 Penfold Street, London NW8 8PQ

European Tour for Yes, But Is It Edible?
The music of Robert Ashley, for two or more voices

New Documents is pleased to announce a series of seven launch events in conjunction with the recent release of Yes, But Is It Edible? The music of Robert Ashley, for two or more voices, edited by Will Holder and Alex Waterman.

For the launches, Holder and Waterman will read duets from Dust and Celestial Excursions, two of Ashley’s later operas. Please join us as we celebrate what has been a book seven years in the making!

March 6: Glasgow
Friday, 7 pm
Tramway (w/ LUX Scotland)
25 Albert Drive, G41 2PE

March 7: Leeds
Saturday, 2 pm
Leeds Library (w/ Pavilion)
18 Commercial St

March 8: London
Sunday, 3.30 pm
Café Oto
18-22 Ashwin St
£5 / £4 Advance

March 10: Paris
Tuesday, 7 pm
Fondation Lafayette
46 rue Sainte-Croix-de-la-Bretonnerie

March 11: Brussels
Wednesday, 7 pm
La Loge
Kluisstraat / Rue de l’Ermitage 86

March 13: Amsterdam
Friday, 7 pm
De Rode Bioscoop (w/ Kunstverein Amsterdam)
Haarlemmerpln 7

March 15: Berlin
Sunday, 7 pm
Motto Books
Skalitzer Straße 68

Vajiko Chachkhiani / Bom Dia Books @ Motto Berlin. 26.02.2015
from 7pm

With a conversation between the artist, Vajiko Chachkhiani and the curator Ory Dessau.

“BOTH” is an artist book published on the occasion of Vajiko Chachkhiani’s 2014-2015 exhibition at the Museum für Gegenwartkunst Siegen.

Divided into ten chapters, the book reflects the circular
course of the Siegen exhibition which is divided into ten rooms.
Each chapter of the catalog corresponds to a room.

Chachkhiani’s poems are printed on a different paper and have
been inserted into each chapter, unbound, underscoring the
unique quality of this publication.

Vajiko Chachkhiani, born 1985 in Tbilisi, Georgia,
lives and works in Berlin. He is represented by Daniel Marzona.

Ory Deassau, born 1979 in Tel Aviv, is a curator
and art critic based in Berlin.

Published by Bom Dia Boa Noite Boa Tarde
with texts by Rein Wolfs, Ory Dessau, Ines Rüttinger
150  × 215 mm, 184 pages, hardcover
ISBN 978-3-943514-32-2
designed by Studio Manuel Raeder
24€

PALATTI AR AI (Moving Multiples & Palatti 2015) @ Motto Berlin
February 7th, 7pm

+ from 9pm @
Kotti-Shop Adalbertstr. 4, 10999 Berlin, Neues Kreuzberger Zentrum
www.kotti-shop.net

PALATTI AR AI (new publication!)

It is late summer, together we stroll over the hill at Birli, along the Moosbach and the Goldach, we converse in various languages, and wander through the forest. We meander. We find mushrooms in the undergrowth, stones and snake sticks. We climb over fences, cross brooks and gaze into the water. We arrive at the Chastenloch, this mystical meeting point of trails, and we drink cider. Then we go our separate ways, taking the explorations and findings of the day to the next stage (…) From: Moving Palatti by Ursula Badrutt

The artist network Palatti proudly presents a new publication – a follow-up project to the 2013 residency at the Birli. From May-October Palatti was working in East Switzerland at the house of Dr. René und Renia Schlesinger Foundation in Wald, Appenzell in the framework of the 500 years anniversary festivities and the culture project Ledi – The Traveling Stage. The artists took the experience and their individual project as starting points for the artist booklets that have been developed for this publication.

Content:
Aurelio Kopainig – Wald (some kind of forest)
Julia Mensch – Bibliothek
Musquiqui Chihying – The Political Brain Constitution
Nicolas Novali – Incubatio
Betty Ras – Peek Mountain
Barbara Signer – Mi Casa Es Tu Casa
Paul Steenberghe – Appenzeller Metzgete
Text by Ursula Badrutt – Palatti bewegen/Moving Palatti

Edition: 720.
Published by Moving Multiples, Amsterdam & Palatti, 2015. ISBN/EAN 9789078020004
With the support of: Ledi – The Traveling Stage of AR◦AI 500, Stiftung Kunstfonds, Innerrhoder Kunststiftung, Hof Weissbad, GOBA AG
http://www.palatti.net/