02.07: « Retro » – Robert Brambora  | Show Opening @ Motto Berlin

Posted in exhibitions, Motto Berlin event on July 1st, 2022
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Dear friends,

Motto and Sans titre (2016) are pleased to invite you to the opening of

« Retro »
a solo show by Robert Brambora

Saturday 2nd July, 2022
from 6pm

Motto Berlin
Skalitzer Str. 68 (im Hinterhof)
10997 Berlin



*The exhibition will be on view until 31.08.2022

Nafas (Isolation Diaries). Arshi Irshad Ahmadzai. blueprint.12

Posted in art, books, exhibition catalogue, exhibitions on June 15th, 2022
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Curator and Editorial Advisor: Amit Kumar Jain
Design: Shruti Chamaria
Translation: Kadamboor Neeraj

Stranded in Najibabad (Uttar Pradesh) during the lockdown, Ahmadzai like others was uncertain about what the future held, and if she would be able to visit Kabul to be with her husband. It was during this time, confined in her barsati (terrace) studio room at her parents home that Ahmadzai delved into a practice of writing letters to her husband, revealing to him in a one-sided communication her anxieties, daily routine, loss of loved ones and their marriage.

Titled Nafas, or the Isolation Diaries, the letters include references from poetry and writings of Rabia Basri, Jalauddin Rumi Balkhi, Bedil Shanaz, Jaun Elia, Faiz Ahmed Faiz, Ghalib, T.S.Elliot, Virginia Woolf, Hermann Hesse, Dostoevsky and Nietzsche, each having their own impact on Ahmadzai’s life and her thought process as a contemporary artist.

These letters highlight the concerns of a woman, who is unable to come to terms with her life in flux- one with its roots in a country where religious isolation, propaganda and intolerance have become a norm, and the uncertainty of life and political instability in the other. The series, as well as an earlier series titled Lihaaf, comments on the state of the marginalized societies, such as Muslim women, where many such voices are never heard or spoken of.

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Arshi Irshad Ahmadzai’s (b. 1988) works are deeply connected to the experiences of women that rarely find a voice and are subdued under societal and political pressures or are bound within religious orthodoxies. Her works, though narrate a personal experience, are inspired by a much larger community of women who have been marginalized in history. Working within a disciplined studio practice and through collaborative community projects such as Lihaaf (Quilt), Arshi has struck a powerful chord with contemporary feminist art theory.

Her prolific art practice finds its foundation in the history of stitching by rafoogars (darners) of Najibabad. Surrounded by a large community of women who share their embroidery over songs, compassion and sisterhood, it was only natural for Arshi to turn to the fabric as her canvas. These exchanges have led to large scrolls as well as smaller works, where she juxtaposes image and text to comment on women and their roles, their sexuality, their freedom and their desires- some in love and some victims to political terrorism. An avid reader of poetry and philosophy, she not only questions patriarchy, but demands that her voice is heard and accepted.

Arshi Irshad Ahmadzai graduated with a Bachelors in Fine Art from the Aligarh Muslim University, 2011 and a Masters in Fine Art from Jamia Millia Islamia, New Delhi in 2013. Her first solo titled Nafas (Isolation Diaries) was held at Blueprint12, New Delhi, 2021. Her group exhibitions include ‘May we meet again’, a collaborative project for Noor Riyadh light festival, Saudi National Museum, 2021; ‘Head in the Clouds’ at Chatterjee & Lal, 2021; ‘Seeds are being sown’ at Shrine Empire Gallery, 2020; The India Art Fair, 2020; ‘Out of your shadow’ by Blueprint12 at Gallery Espace, 2019 and a solo presentation at 1Shanthi Road Gallery in 2019. She is one of the recipients of the Five Million Incidents grant from the Goethe-Institut, New Delhi and the Inlaks Fine Arts Award in 2019.

She lives between Kabul and New Delhi.

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HAWAPI 2017 – El Triángulo Terrestre. HAWAPI

Posted in art, Artist Book, books, exhibition catalogue, exhibitions, geography, photography, politic, politics on May 28th, 2022
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In the space where the Perú-Chile border meets the Pacific coastline, lies a triangle of approximately 3.7 hectares. Known as the “Triángulo Terrestre”, this piece of land has been causing diplomatic disputes between the two nations since the middle of the 20th century. Despite its relatively small size (equivalent to Parque Kennedy in Lima or Madison Square Park in New York) and having no agricultural, commercial or strategic value the Triángulo Terrestre has been in dispute since the signing of the 1929 treaty between Perú and Chile. The disputed land has acquired a symbolic value employed at different times by the governments of each country for political purposes.​

In April 2017, HAWAPI, in partnership with Galería Metropolitana (Chile) took a group of 13 artists (5 Peruvians, 5 Chileans, 1 Bolivian, 1 Israeli and 1 North American) to camp in Santa Rosa—the closest village to the “Triángulo Terrestre”. During four days camping on site, the group generated a series of artistic interventions and actions to contemplate in situ the social, political, economic and physical impact created by this dispute; before moving to Tacna where they staged an exhibition of their work in the independent cultural centre, Laramamango.

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28.04: “Mind The Gap”, Cazul101’s group show | Exhibition Opening @ Motto Berlin

Posted in events, exhibitions, Motto Berlin event on April 27th, 2022
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Image by Adriana Preda.


We are pleased to invite you to “Mind The Gap”, the three-days-opening of the Cazul101 group show featuring works of Dan Perjovschi, Anca Bucur, artistic duo SABA (Silvia Amancei and Bogdan Armanu), Nicoleta Moise, Adriana Preda, Ioana Gheorghiu and Megan Dominescu.

28 April, at 6pm
@ Motto Berlin
Skalitzer Str. 68
10997, Berlin

Regularly using the subversive and progressive message in their practice, the artists are invited to reflect on the current political situation due to the high rise of extremist regimes in Europe and build a bridge between past and present, personal and political, highlighting the historical events that endangered the freedom of the individual.

The group show “Mind The Gap” is an alarm signal where image and text communicate to question and eradicate the toxic extremist behaviours experienced by the artists in the geographical space they develop their work.

After the three opening days, on 1st of May, from 7pm, the artist Dan Perjovschi will be present for an artist talk about the synthesis of the last years and the current situation in Europe.

Looking forward to seeing you!

« Outro », a solo show by Robert Brambora | Vernissage & Book launch | Sans titre (2016) and Motto Books | Milan, Italy

Posted in art, Artist Book, exhibitions, Motto Books on March 28th, 2022
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Dear friends,

We are pleased to invite you to the opening of

« Outro »
Robert Brambora
’s first solo exhibition in Italy.

Wednesday 30th March
6 – 9pm

Via Vincenzo Gioberti 1 – Milan, Italy

Organized by Sans titre 2016

The exhibition will be on view until April 9th, 2022

During the opening, the artist’s monograph published by Motto Books and Sans titre 2016 will be presented.

Robert Brambora – Images, Texts, Ceramics

with contributions by Susanne Mierzwiak, Moritz Scheper and a conversation between Lucie Sotty and Robert Brambora

Graphic design: Paul Bowler

Published by Motto Books

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Robert Brambora (born in 1984, Germany) lives and works in Berlin, Germany. He completed his studies in the class of Rebecca Warren at the Kunstak.

The work of the artist takes as its subject the current neoliberal system and its impact on the individual, as measured under Marxist analysis. It particularly approaches issues such as working conditions, school dropouts, stress-related illnesses, anxiety and loneliness, the housing crisis, and overpopulation as so many causes leading to alienation in our contemporary societies. Also at the heart of his questioning is the analysis of a sense of loss of points of reference, of a form of time distortion generated by these stress conditions. The artist seeks to extract the waking hallucination – the onirism – from these crisis situations.
Robert Brambora practice primarily develops itself in two ways: he creates on the one hand paintings and ceramics, in the realm of traditional techniques and media, and on the other hand large format panels upon which texts are laser-engraved. The most recent text works address issues such as the real estate market crisis and financial speculation. These texts are based on political journals, excerpts of conversations and comments from internet forums, as well as personal notes. The artist draws equally from scientific articles from medical journals, evoking afflictions related to anxiety, as well as theoretical essays on the economic competition faced by individuals. These extracts are then reworked, superimposed on each other to create a three-dimensional pictorial space, which sometimes evokes the outlines of architecture.

Laura Owens & Vincent van Gogh. Bice Curiger, Mark Godfrey, Julia Marchand (Eds.). Verlag der Buchhandlung Walther König

Posted in art, exhibition catalogue, exhibitions on November 20th, 2021
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Laura Owens (b. 1970) is one of the most celebrated American artists working today. For 25 years she has asked probing questions about the parameters of painting.

In this exhibition, her works responded to Van Gogh’s last paintings. Throughout 2020 Owens lived in and around Arles, and her new work came out of meticulous research into the history of the city and of Van Gogh’s connections there.

Like most artists, Owens has known Van Gogh’s work since she was a child, and she has looked at his art in various ways throughout her career.

The seven actual Van Gogh paintings shown at the Foundation in Arles included loans from museums with which Owens has a deep connection.

Laura Owens has often addressed the spaces where she has exhibited. For this exhibition she created a vast painting, in the form of a unique hand-painted and silkscreened wallpaper installation, which covered the entire walls of the rooms where the Van Gogh’s works were exhibited.

Many of the motifs in the wallpaper come from designs made by Winifred How, who worked in London as an artist and designer shortly after Van Gogh was alive. The installation drew a suspended universe between premodern and contemporary, inspired by How’s work.

Co-curated by Bice Curiger (artistic director of the Foundation Vincent van Gogh Arles) and Mark Godfrey (British art historian, critic, and curator), the exhibition shared how Laura Owens explores the images, colours and methods of Van Gogh, creating a conceptual framework for her investigations.

Published after the exhibition at Foundation Vincent van Gogh Arles, France (19 June – 31 October 2021).

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Psicoenciclopedia possibile: Une exposition de Gianfranco Baruchello au Centre d’Art Contemporain Genève. Gianfranco Baruchello. Motto Books

Posted in art, Artist Book, exhibition catalogue, exhibitions, Motto Books on September 27th, 2021
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 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-1  psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-3 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-4 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-5 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-6 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-8 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-9 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-10 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-11 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-12 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-13 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-14 psicoenciclopedia-possibile-une-exposition-de-gianfranco-baruchello-au-centre-d-art-contemporain-geneve-motto-books-9782940672325-backcover

Gianfranco Baruchello (1924, Italy) is an artist, filmmaker and writer who has experimented with the transversality of artistic languages since the late 1950s. He has in particular created short-circuits between apparently irreconcilable domains and fields like art and agriculture, or the regulations of governance of a fictitious company and economics. His painting contends with uncertainty and uses white as a field of the possible. In these spaces, he imagines the coexistence of essences of images and words, which he organises in all directions. Thus, writing is present in one way or another in all his practice and constitutes the very essence of the work presented at the Project Space (4th floor).The Psicoenciclopedia possibile is an impressive and complex project that Baruchello began in 2017 and finished in 2020. It is a sort of deconstruction of the encyclopaedia system presented in the form of an imposing book of 816 pages. Commissioned and published by the Istituto dell’Enciclopedia Italiana, founded by Giovanni Treccani, the book in fact subverts the structure used by an encyclopaedia and creates a complex system that links, through unexpected convergences, 1200 entries (in the first section) and 200 plates (in the second). The entries are taken from texts (some published, some not), notes and transcriptions of Baruchello’s dreams, while the images are the result of a long process of selection and editing from various sources.

Baruchello thus puts to the test, this time in a book, the systems of organization (causes, effects, narrative sequences, links) of seeing and knowing. Like in all his other works, from painting to objects and even installations, the encyclopedia also dismantles the most solid and anchored links to venture into the uncertain and the possible, into the “pleasure of thinking”, by means of an ars combinatoria that does not exclude the different or insignificant. Overall, the artist analyses the 21st century, entering into the multiplicity of possible viewpoints and pointing up the fact that, in the end, knowledge is something subjective and always open to interpretation.

In parallel, the Cinema Dynamo is showing a series of films made by Baruchello between 1968 and 2008 on the subject of processes of classification, archiving and inventory, the editing of which has similarities with the procedure used in the Psicoenciclopedia.

Lastly, as an adjunct to the exhibition, the Genevan artist Ambroise Tièche — who is also the author of an encyclopaedic work, to which he has devoted more than ten years: the Dictionnaire encyclopédique lacunaire — has organised a programme of performances and readings that “will give a voice” to the Psicoenciclopedia, with the participation of Cléa Chopard, Alix Debraine, Gilles Furtwängler, Federico Nicolao and Leonardo Pellicanò.

The exhibition project has been conceived as an organic whole, embracing a catalogue, the exhibition at Project Space, the Cinema Dynamo film programme, and the readings and performances aimed at celebrating, in spite of its obvious and — perhaps — necessary incompleteness, this umpteenth colossal effort by this legendary Italian artist.

This exhibition is part of a cycle of presentations of the Psicoenciclopedia possible undertaken by the Fondazione Baruchello, which benefits from the support of the Italian Council (7th Edition, 2019), program to promote Italian contemporary art in the world by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture. After Geneva, Baruchello’s Encyclopaedia will be presented at the Bibliothèque Kandinsky – Centre Georges Pompidou in Paris (25 September–24 October) and at CIMA in New York (6–12 December).

The first edition of the Psiconeciclopedia possibile is being published in French by Motto Books for the occasion of the show. It includes an extract translated from the entries as well as essays that offer a French-speaking public a fundamental introduction to Gianfranco Baruchello’s colossal project.

The exhibition, on view from 14 September until 17 October 2021, is curated by Andrea Bellini and Carla Subrizi, with the collaboration of Ambroise Tièche.

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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.

Lisa Jo, KAYA (Kerstin Brätsch & Debo Eilers), Lukas Quietzsch, Pádraig Timoney @ The Downer. Opening 16 May 2021

Posted in art, exhibitions on May 14th, 2021
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Lisa Jo, KAYA (Kerstin Brätsch & Debo Eilers), Lukas Quietzsch, Pádraig Timoney

Opening Sunday 16 May 2021, 3-7pm

at The Downer – Skalitzer Straße 68, 10997 Berlin

The exhibition will be on view from 16 May until 26 June 2021