ED4M Presentation

Posted in Art, Artist Books / Monographs, Editions, Events, Film, music, newsprint, poetry, Zines on November 6th, 2024
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ED4M
Zine presentation and Screening ‘Making of ED4M’

November 8th, 2024
Screening starts 7 pm

+conversation with the artist with K1NO1
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Motto – 38 rue du Vertbois – 75003 Paris
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The main character is the electric train type ED4M, one of the most common in Russia since the mid-90s. This small detective story unfolds on newsprint, featuring carriage vestibules, doors, handles, and wanted persons. It immerses the audience in the realm between the living and the dead, accompanied by the sound of wheels clattering, exploring space, ritual, collective recognition, and personal experience. The Tbilisi weekly sports newspaper served as the prototype for this book.

ED4M (Electric train Demikhovsky, type 4) is a series of Russian DC electric trains produced from 1996 to 2016 at the Demikhovsky Machine-Building Plant. The first batch with increased comfort was manufactured for the Moscow Railway between 1999 and 2000. During this period, ED4 and ED4M models became the most significant electric trains for local purposes.

Zine features photographs by Ivan Anisimov taken between 2019 and 2022 before he left Russia. Further shooting was continued by his son Danila, who took four rolls of 35mm film in winter 2023. Zine design by Aeona Melnikova.

Screening is a documentation of the printing process of a zine in a print facility, Tbilisi.

Ivan Anisimov was born in Pereslavl-Zalessky, Russia, in 1988. For more than 10 years, he has been engaged in documentary film and photography, collecting archives from lost photographs and videos. He has carried out several photographic projects and is now based in Paris, France.

The event is organized within the framework of the cinema club and Film Association K1NO1 Paris.

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ED4M

Posted in Art, Artist Books / Monographs, Editions, history, Monograph, music, newsprint, Zines on November 6th, 2024
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ED4 (Electric train Demikhovsky, type 4) is a series of Russian DC electric trains produced from 1996 to 2016 at the Demikhovsky Machine-Building Plant for the railways of Russia and the states of the republics of the former USSR.
In the period from 1999 to 2000, the first batch of electric trains with an increased level of comfort were manufactured. This batch was by order of the Moscow Railway, and was necessary for the implementation of local flights. In 2000, the first set of AC electrical equipment for ED9M electric trains was supplied by Electrosila OJSC. It was from these deliveries that the active introduction of the equipment of this company into production began. During this period, trains of the ED4 and ED4M models were the most significant and widespread electric trains used for local purposes.

The book features photographs by Ivan Anisimov taken between 2019 and 2022 before he left Russia. Further shooting was continued by his son Danila in accordance with the list provided by his father. In total Danila took four rolls of 35mm film in winter 2023.

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ARTMargins Vol. 13.1 – Socialism In Contemporary African Art

Posted in Art, Journal, politics, Uncategorized on September 1st, 2024
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ARTMargins Vol. 13.1 ; Socialism In Contemporary African Art

This introductory essay and accompanying special issue of ARTMargins explore the role of African socialisms in contemporary art. Artists looking at Africa’s radical history face the challenge of responding to a generalized amnesia about the continent’s protagonism on intellectual and political radicalism after 1945. Working with under-researched themes, scarce historical records, and apprehensive oral sources, these artists are often tasked to amplify forgotten pasts while simultaneously critiquing the political contingency of historical investigation in global contemporary art. Global contemporary art—largely shaped by the neoliberal transition that followed the very histories explored by these artists—is often shown in its limitation to engage with socialist history critically. Through the authors’ analyses, many artworks nuance discussion of the erasures, fixed narratives, and nostalgia for Africa’s socialist past. Looking to this past, artists attempt to reorganize contemporaneity and its typical disregard for history beyond romanticization. Talho (2014), a work by Mozambican photographer Filipe Branquinho, is analyzed as a case study raising central questions on contemporary artists’ engagement with Africa’s socialist past.

by Álvaro Luís Lima.

February 2024.

Introduction
Socialism in Contemporary African Art: Butchering the End of Time
Álvaro Luís Lima

Articles
“We Need a Lighthouse Philosopher”: Filipa César and Louis Henderson’s Sunstone (2018) and the Portuguese Genealogy of Lens-Based Media
Delinda Collier

Make Me a Picture of the Future: Massinissa Selmani’s 1000 Socialist Villages (2015)
Natasha Marie Llorens

The Mythography of Socialism in Contemporary Angolan Art
Nadine Siegert

The Politics and Aesthetics of Liberation: Revolution and Its Aftermath in Contemporary Artistic Practice from and about Lusophone Africa
Ana Balona de Oliveira

Abstract States: Modernism in Lebanon, Syria, and Turkey
Gemma Sharpe

Artist Project
As the Nile Flows or the Camel Walks
Dawit L. Petros, Black Athena Collective

Document
Introduction to “Cultural Offensive of the Working Classes”
Polly Savage

Cultural Offensive of the Working Classes
Tempo, Polly Savage

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Andy Warhol. abstrakt. Kunsthalle Basel . 1993

Posted in Art, Artist Books / Monographs, Monograph on July 27th, 2024
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Between 1977 and 1986, Andy Warhol created six series of paintings of various sizes, which even today are little known. Rather than featuring mass-produced photographic reproductions of well-known personalities, products, and events, these six series reveal a bent for painting in abstract patterns. Thirty-six examples of Warhol’s abstract paintings, together with a selection of stills from his early films, are presented for the first time.

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WOLFSKO – SHADOW PLAY, VOLUME II, PUPA – EDITION DE POCHE

Posted in Art, Editions, Exhibitions, Zines on May 18th, 2024
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Author: WOLFSKO

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The Conditions of Being Art

Posted in Art on April 10th, 2024
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The Conditions of Being Art is the first book to examine the activities of groundbreaking contemporary art galleries Pat Hearn Gallery and American Fine Arts, Co. (1983–2004), and the transnational milieu of artists, dealers and critics that surrounded them.

Drawing on the archives of dealers Pat Hearn and Colin de Land—both, independently, legendary players on the New York art scene of the 1980s and ’90s, and one of the great love stories of the art world—this publication illustrates their distinctive artistic practices, significant exhibitions and events, and daily business. Hearn and de Land championed art that challenged the business of running an art gallery; artists like Renée Green and Susan Hiller, Andrea Fraser and Cady Noland, who employed conceptualism and installation, social and institutional critique.

Contributing to the history of exhibitions, institutions and curating, The Conditions of Being Art addresses a significant gap in this literature around experimental commercial spaces in recent art history. This publication is the first book-length critical account of the alternative commercial gallery practices of the 1990s, a moment and a scene that is extremely influential to many of today’s art dealers, curators and artists.

Hearn and de Land’s gallery practices explored new experimental and ethical possibilities within the selling of art, testing the relationship of contemporary art to its markets. In this volume, full-color images, in-depth scholarly investigations and detailed gallery histories vibrantly document how Hearn and de Land tested new notions of what an art gallery could be.

Publisher: CCS Bard; Dancing Foxes Press

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Komplaint Dept.

Posted in Art, music on April 1st, 2024
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The latest volume of writing by influential New York–based critic and curator Bob Nickas collects his 2012–14 column for Vice magazine’s Komp-laint Dept. This column unleashed the full omnivorous range of the author’s interests. There are essays on musicians such as Neil Young, Sun Ra, Royal Trux and Lydia Lunch, which look at their biographies and the history of Nickas’ personal relationship with their music; there are lengthy and often very funny “complaints” about, among other things, two different presidents, Jeff Koons, New York architecture, the meeting of fashion and punk, religion in general, nostalgia and the problem with contemporary graffiti. Additionally, there are meditations on filmmakers such as David Cronenberg and Nicolas Refin. The book is rounded out by perhaps the definitive (two-part) examination of how and why Richard Prince uses appropriation.

Author: Bob Nickas

Publisher: Karma

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Starship 20

Posted in Art, magazines on March 27th, 2024
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This is the 20th issue of Starship and we are proud and very happy to present it, and mainly want to thank all the artists, the contributors, the columnists, and the people who helped us gather images of exhibitions past, and gave us texts from books not yet published. Starship never starts with a clear concept about its future content, or what could be called a theme, but always with a sort of attentive interest. The theme may develop through its columnists—we now think it is easy to distinguish lines of thoughts, images, and texts answering each other. But it surely does so out of this editorial interest that wanders, and finds, and collects, is enthusiastic about artworks, and texts, and people, and then, well, brings this all together in a magazine. This was our working mode during the past year, and the responsiveness of those who regularly write for Starship (the columnists) has shown us that out there others are involved in thoughts that run very much in parallel. It is a strange form, a magazine like this, not getting funded, appearing irregularly, but still following a sort of conventional form that shows its consistency. It is at its core an excess of producing something that might prove itself valuable and liberating in the future.

—Ariane Müller, Henrik Olesen

Contributors to Starship № 20:

Rosa Aiello, Terry Atkinson, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, David Bussel, Jay Chung, Eric D. Clark, Caleb Considine, Hans-Christian Dany, Albert Dichy, Nikola Dietrich, Martin Ebner, Ruth Angel Edwards, Stephanie Fezer, Jean Genet, Simone Gilges, Julian Göthe, Michèle Graf, Selina Grüter, Ulrich Heinke, Toni Hildebrandt, Beatrice Hilke, Karl Holmqvist, Stephan Janitzky, G. Peter Jemison, Charlotte Johannesson, Julia Jost, Julia Jung, Jakob Kolding, Nina Könnemann, Lars Bang Larsen, Anita Leisz, Norman Lewis, Elisa R. Linn, Sebastian Lütgert, Vera Lutz, Chloée Maugile, Robert McKenzie, Ariane Müller, Christopher Müller, Robert M. Ochshorn, Henrik Olesen, Kari Rittenbach, Nina Rhode, Ulla Rossek, Cameron Rowland, Mark von Schlegell, Ryan Siegan Smith, Philipp Simon, Valerie Stahl Stromberg, Josef Strau, Vera Tollmann, Eleanor Ivory Weber, Camilla Wills, Amelie von Wulffen, Florian Zeyfang

Thanks to: Hollybush Gardens, L’Institut du monde arabe, L’Institut mémoires de l’édition contemporaine, Paris, and Albert Dichy, Michael Rosenfeld Gallery, Friederike Gratz, and Galerie Buchholz, Kunsthalle Friart and Nicolas Brulhart, Richard Sides and The Wig, Galerie Emanuel Layr, Canal 47, Kevin Space, Hannes Schmidt and Galerie Schiefe Zähne, Timo Schröder and Edition Nautilus, Cameron Rowland. Thank you to everyone from freier magazine, especially Nina Rhode for organizing and clarifying with all the artists and contributors, as well as KM Galerie, and Martin Eberle for their kind support.

Spring 2024

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