The ‘Heartaches’ series – sculptural boxes made of mixed collages and arrangements of photographs, prints and various objects – was made by Monir Shahroudy Farmanfarmaian in New York in the Nineties. These twenty-five intimate small-scale sculptures were primarily made after the loss of her husband, and draw inspiration from all the places, faces and paraphernalia that at some stage in her history were associated with a happy family life.
Edition Schwimmer’s booklets, Hofter Monthly and TheSchwimmer by Sibylle Hofter are available in Motto.
Hofter Monthly and TheSchwimmer are monthly photography publications drawing from Sibylle Hofter’s work and archive.
With contributions by Wolfgang Hofter, Sophie Holz, Mania Lohrengel, Patricia Nya Njaounga, Sheney Okan, Christian Seidel, Daniel Sellek and Anna Tietz.
Sibylle Hofter is a Berlin based visual artist exploring film, text, site-specific sculpture, installation in public space, and photography, participatory and individual. She is also a curator of various projects, and co-founder with Sven Eggers, of the on-going political, media-critical semi-participatory photo project Agentur Schwimmer (Swimmer Agency), that she currently runs with Daniel Sellek. Hofter process usually includes extensive research on extra-cultural fields. Since 2011 she edits Hofter Monthly booklets and TheSchwimmer booklets on paper. She focuses on emancipatory, post-colonial, collaborative work.
The booklets are sold individually or in a special edition box set.
Second edition of the short story by Chilean writer Romina Reyes about female love and friendship in a public school of Chile during student protest. Includes drawings by Chilean artist Violeta Cereceda.
Hambre Hambre Hambre is a lesbian initiative from Santiago, Chile, that amplifies the work of women and dissidents in Latin America. We experiment from a feminist perspective with economic publications, unconventional formats and propaganda. Each fanzine is a unique recipe, cooked intimately with its collaborators. Our editions include similar interventions that value manual trades. Among the authors are the artists and writers Oni88, Fernanda Ivanna, Lucia Reissig, Romina Reyes and Paz Ortúzar.
Dolce Stil Criollo is the sweet, creole style. Its 4th issue, published between New York and Berlin, is about “border theatrics.” The issue dramatizes the ways interpretation and performance create, destroy, sustain, and even entertain a border. Works of poetry, theater, essay, illustration, photography, and more comprise the publication in Spanish, Portuguese, English, and Arabic. Martinica especially collaborated on the design. Our fourth issue is our largest issue yet at 380 pages in an edition of 450.
Dolce Stil Criollo 4 “Border Theatrics” features the remnants of a play on Caligula that never was; a visual essay on salsa album cover art and the Puerto Rican imaginary of space travel; thoughts on Frantz Fanon’s medical and revolutionary work; an original script for a docu-play on a queer bloco in Brazil illustrating micropolitical camps and artistic organizing; poems on Brazil’s genetic modification of mosquitoes and questions of gender, plus much more.
Along with the publication of our “border theatrics,” Dolce Stil Criollo is also launching a new website, where a visitor can draw and deface several captured, live streams of borders between Brazil and Paraguay, the United States and Mexico, the U.K. and Spain, and Russia and Poland, by using specially-designed stamps that are based on the visual iconography of our 4th issue. We invite visitors to rethink and remake what takes place at borders by illustrating what else can be staged at them. At our new website, you can also find information about our previous issues and find a link to purchase our latest issue.
Contributions by Andrea Cassatella, Andrés Paniagua, the late Barbara Ess, Deena al-Halabieh, Eduardo Kac, Gabriel Carle, G Paim, Ícaro Lira, jjoaoapaes, José Acosta, Lucía Hinojosa Gaxiola, Natalia Lassalle-Morillo, Pedro Koberle, Pedro Neves Marques, Rolando Hernández, Tony Cruz Pabón and Varias Tatu Designed by Martinica.Space, Gabriel Finotti Design assistance by Ian Scheufler
A leading voice in Lebanon’s cultural diaspora, Rabih Mroué’s acclaimed body of work addresses the contested memory of historical events that include the Lebanese civil war, the Arab Spring, and the Syrian Revolution. Spanning theater, art, and literature, his diverse oeuvre is situated at the intersection of personal and political imaginaries, media critique, and concepts of authorship: Through scripted conversations, confessions, reports, and questions, Mroué ceaselessly interrogates ways of speaking.
Published to coincide with his major solo exhibition at KW Institute for Contemporary Art, marking his receipt of the 2020 Schering Award for Artistic Research, this anthology of interviews frames the past 20 years of Mroué’s practice. Additionally, a suite of newly commissioned interviews and an introductory essay by the curator Nadim Samman draw a portrait of the artist.
In Alex Anyaegbunam’s work, photographs don’t just document moments, they manifest memory. In “Ugly Duckling,” Anyaegbunam’s show with Otto Resource c/o Adam Barnard, Polaroid portraits of the artist from childhood to young adulthood explore the formation of his identity at the same time that they convey how these captured moments made him feel.
Instances of double-exposure and visual distortion combined with illustrations in paint and Sharpie imbue each photo with an emotional realism, which gives insight into the subjective experience, sometimes of the photographed subject, sometimes of reflective artist, sometimes of both.
The recurring motif of a red, flaming, shonen-anime wig becomes a symbol of sorts for, among other things, creativity and boyhood. Polaroid portraits of intimate others — at times alongside the artist, at times alone — also demonstrate the relationship that experiences with and memories of others can inform notions of selfhood.
‘Agency’ is a document of the hold music for a Canadian Government helpline, and a text about quantum mechanics and the notion of free will seen through the lens of Miles Davis’ 1959 album Kind of Blue.
Hand-numbered edition of 100
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Recorded live 22/05/18 on hold to the Canadian Government agency ‘Service Canada’ Social Insurance Registration Office.
Side A (20’22”) Freddie Freeloader (part) Blue in Green All Blues (part)
Side B (18’16”) All Blues (part) Flamenco Sketches Flamenco Sketches (alternate take) Die Kleine Kneipe (part) *
asterism – | ˈastərɪsm | (noun) a group of stars that form a pattern in the night sky.
Asterisms – a new map reinterpreting the celestial sphere with 35 new star patterns.
Much like the 88 constellations that make up the officially recognized map of the celestial sphere, this new map is composed of recognizable shapes that reference people, animals and inanimate objects, expanding across the sky. In the tradition of Hellenistic astrology, each asterism is based on viewable celestial formations and references our continuous hope in the stars. All star formations have been complemented with a modern myth, each based on a verifiable certainty (i.e. a fact) that addresses modern concerns.
NAOMI B. COOK (b. 1982) lives and works in-between Montréal and Paris, studied art and philosophy at Concordia university, Montréal and received a Master 2 / Diplôme des Beaux-Arts de l’ESADHaR, Le Havre, France. Her work consists of research into large data sets as a way of creating visual representations that reveal embed patterns and poetry. She will be exhibiting in the NOVA_XX Biannual and NEMO Biannual as part of the exhibition at the Canadian Cultural Centre in Paris – “Decision Making: The Decisive Instant”. Her next solo show is December 10th at Christie Contemporary – Toronto who represents her. She has been a member of CLARK since 2014.
*Perdu LP by Piezo After releases on Idle Hands, Version, Wisdom Teeth and his own Ansia label, Piezo lands on Hundebiss Records for his first full length. Perdu is all about stark contrasts: raw & dirty sub–frequency pulsating beats VS crystal–clear digital sounds and atmospheres. Piezo’s non-synthetic approach to sound design conveys a sense of ‘realness’ of the displacement, a dust blow cut by razor blade FM synths, pervaded by a sense of restless hypnosis.
*Kamil Manqus كَامِل مَنْقوص by Muqata’a ‘Kamil Manqus’ means “whole imperfect” or “perfect imperfect” in Arabic, referencing Muqata’a’s way of working that incorporates mistakes into the fabric of his work. The concept for the album’s construction is Simya’, an ancient Arabic science of combining numbers and alphabets to communicate with the unseen.
