Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code. Limited to 40 copies.
1st self-released EP of Tot Onyx, T.O.1 is a collection of fragments of Onyx’s live performances from recent years (mainly 2023), recorded in her studio as part of her creative process during the preparations. While her albums are highly conceptual and revolve around specific subjects, this EP serves more as her annual report, in which she aims to share with the public how her thoughts are shaped by time through the practice of performing live. credits released February 2, 2024
Recorded and mixed by Tot Onyx in Berlin, DE. Mastered by Koshiro Hino in Osaka, JP. Artwork by Tot Onyx.
1.kuru 01:36 2.hedge 02:03 3.le départ 01:13 4.lagno 01:02 5.machine sex 01:05 6.surge 02:51 7.anthropophage 01:38 8.scherben 03:10 9.happier than the morning sun 02:04 10.glasmensch 05:20 11.vanishing twin 00:48 12.brume 01:53 13.candor,my tepid friend 03:29 14.uruk 01:53 15.hinken 02:05 16.kiki watt 02:42 17.topor 01:13 18.tiqqun 02:47 19.day is done 01:24 20.daliah 02:08 21.restructured II 02:53 22.decapitated forms 02:57 23.lidschlag 01:55 24.second coming 01:26 25.gehende berge 01:09 26.metanoia / k-hole 03:10 27.leisesprecher 02:28 28.detruire 02:06 29.fear of heights 01:44 30.vapeur 04:32 31.nissodia 01:18 32.zufall und notwendigkeit 01:03 33.hekatombaion 01:04 34.niurgun bootor 02:35 35.last dream 02:35 36.owl 02:01 37.purge 02:26 38.the sun goes down 01:24 39.mars bar 96 nyc live 04:32 40.kauai’O’o 01:25 41.body doubles 04:10
released December 25, 2023
all tracks claudius 2023 cover art by edgar degas featuring franckDavid on restructured II lazara rosell albear plays sheng on glasmensch recorded and mastered at e12 studios berlin
This book is my record of the stories that took place from the summer of 2022 to the early spring of 2023. This was me taking a break from school during my study abroad in Germany, and these photos helped me to remember the happy and indecisive times of finding mysel!. I have been on the road in Berlin, Hirschaid, Frankfurt, Cologne and Italy, thanks to my friends Long, Junye, Selin, Andreas and Dagmar, as well as my friends in China, for giving me answers when I was lost. Hope this book can bring calmness and strength to those who are struggling and confused.
Rent increases In current tenancies the landlord can increase the rent to the local comparative rent. The rent increase must remain unchanged for 12 months. The rent can only be increased by 15% over a three year period. The landlord has to justify this rent increase. Following modernisation, the landlord can increase the rental on a apartment. This rent can increase by 8% annually, only from the cost of the modernisation, but maximum 2 or 3 Euros/sqm monthly, depending rentlevel before modernisation. Special ru- les apply to rent increases for social housing. Attention: On 15.4.2021, the Federal Constitutional Court declared the Berlin rent cap unconstitutional, which was getting into force since February 23rd of 2020.
Handmade numbered edition 03/10, including an original 10 х 15 cm C-print
Lukas Panek’s Inner, Outer, Paintings, Friends is an archive, a collection of everyday photographs, moments of intimacy, anonymous images from the internet, and the artist’s own work sessions. Through this exploration, which constitutes his playground, he documents the variety of representations in today’s online culture. Registers intermingle and create ambiguous narratives.In the process, familiar forms of narrative are deliberately undermined and the reader is immersed and drawn into the flow of images. Inner, Outer, Paintings, Friends thus gathers more than 500 images and presents in its second part the paintings of Lukas Panek. Selected from this flow, they are both extracts of a global experience common to all, and a reflection of a personal world. This book plunges us into the abundant, vibrant and playful work of this young Berlin artist, a graduate of the Dusseldörf school, and offers us an extremely current vision of contemporary photography.
Pyeonsik (Picky Eating) refers to the act of not eating a specific food or eating only a specific food for various reasons or problem of taste.
It’s up to you to decide what food you eat. Strangely, the idea that you should eat well is prevalent in Korea. Perhaps it can be said that it is related to Korean food culture. In Korea, there is a culture of rice mixed with various kinds of side dishes and eaten little by little. In this culture, picky eating will be a habit that is difficult to see in a good perspective. If you don’t eat many kinds of side dishes evenly, there will be leftovers, which is an act that adults don’t like. Also, mechanical egalitarianism, which says, “What I eat should be eaten by others,” plays a part. Because Korean think homogeneity is too important, they often cannot accept the fact that others can’t eat what I eat. And also say “Why don’t you eat this?” and “Why don’t you eat this delicious thing?”
So, it is not easy to proudly say that you are a picky eater in Korea because of this view. However, there is nothing more painful than forcing yourself to eat something you don’t want to eat. I don’t have enough time to eat only what I like, but I wonder if I have to eat food that I hate while enduring this pain.
After you read it up to here, you’re like, “Oh, this person has a picky taste.” “Isn’t it just an excuse?”‘ I saw it exactly if I thought so. I’m a picky eater. Also, writing such a long article about picky eating is because I think the world is too harsh for a person who is suddenly picky.
Anyway, this book is a collection of ingredients that I don’t eat. If you look at the ingredients in it, you may wonder this man even don’t eat this? But first, I have to make it clear that I don’t eat this unconditionally. If the ingredients lose their original taste and play a good role in certain foods, I tend to eat. It may be a little embarrassing not to eat something, but through this book, I want to proudly reveal that I am a picky eater.
In conclusion, what I’m trying to say through this book is that I just want the world to be a little generous with people who are picky. Wouldn’t it be better to just understand rather than point your finger at picky eaters? It is possible that others may hate what I like or others may like what I hate. Just as each person has a different face, their eating habits are different. I have a very pleasant diet even though I have a lot of food that I don’t eat, so I want you to admit that it’s different sometimes. It’s just my little wish. Anyway, if you have read up to here, I hope you will accept this book with a generous heart. We are now starting to talk about the ingredients we saw from the perspective of a picky eater.
The harsh realities of life in Berlin are laid bare in this short novel. From the piss drenched corners of the club scene, to the inevitable slide into madness. This is not therapy. This is not an addiction. It’s a fetish – of course it is. UROFAGIA – a love story with no boundaries.
arbitrary presents Dissolvè / Scillions by Antoine Hubineau. Derived from the same series of compositions, Dissolvè and Scillions are drawn from modular synthesizer recordings which have been reworked, treated and composed in the computer.
Dissolvè is a mosaic which is in constant motion. The inner details are guided by an outer structure which act as a kind of rhythmic subtraction. It is destabilised to the point where it fractures, from the macro to the micro level; abstracting a filigree from the original rhythm.
Scillions breaks an initial path into several directions which create new paths. Directional blur in harmonic motion makes it difficult to predict the outcomes. Contrary movements, synchronisation and desynchronisation build and break the relations between these new paths. Finally, altered versions of these new directions give some familiarity, while adding to the ambient disorder.
Based in Latillé (France), Antoine Hubineau works in the electronic music field, as a composer, musician, teacher and co-founder of the Sillages residency. His practice is focused on sound synthesis, which become alternately pseudo-acoustic instruments, abstract matter and surreal spaces. In his compositions, he makes the most of the cracks between free pulsation and collateral rhythms, between harmonic stability and sound spectrum tearings.
Written & produced by Antoine Hubineau, Saint-Etienne (France), 2020. Tombak recordings: thanks to Cinna Peyghamy. Mastered and cut by Kassian Troyer at D&M, Berlin. Cover artwork by Morgan Cuinet. Layout by Mads Emil Nielsen.
Playing with Ludwig / Jouer avec Ludwig Nikolaus Gansterer & Klaus Speidel Published by Éditions Dilecta, 2022
Book launch
21 January 2023 from 4pm
Galerie Crone Berlin Fasanenstrasse 29 10719 Berlin
How do colours relate to memory? How does language relate to the world (and vice versa)? Can the invisible, such as thoughts, atmospheres or pain, be grasped through art? Artist Nikolaus Gansterer and philosopher Klaus Speidel discuss these and similar questions in their new book Playing with Ludwig / Jouer avec Ludwig, published by Éditions Dilecta and Centre d’art contemporain Les Tanneries. Taking Ludwig Wittgenstein’s Philosophical Investigations as their starting point, Gansterer and Speidel have developed various works and formats, talking, drawing, assembling or doing all at the same time. Rather than just presenting results, the book documents the joint working process in numerous transcripts, which also reflect the genesis of the book itself.
In the context of Nikolaus Gansterer’s exhibition Strange Wor(l)ds at Galerie Crone Berlin, Fasanenstrasse 29, a book presentation in collaboration with Motto Books will take place on Saturday, 21 January 2023. The afternoon begins at 4 pm with a dialogue between Nikolaus Gansterer, Klaus Speidel and the drawing expert Jan-Philipp Frühsorge. Afterwards, Gansterer and Speidel invite you to the first Berlin Language Game Lab, in which they will work with drawings and objects based on a remark by Ludwig Wittgenstein, resulting in an installation that takes up the methodology developed in the book.
Galerie Crone, Motto Books and Éditions Dilecta cordially invite you to attend.
Playing with Ludwig opens with a conversation between the authors and the book’s designer Grégoire Romanet, where the first graphic ideas are discussed. It ends with the dialogue How to close a book, which prepares the final series of images. Exhibition photographs and works from the first exhibition documenting the research project Figures de pensée at the Centre d’art contemporain Les Tanneries have been annotated, continued or completed in drawings. Different styles and methodologies, which unfold in the chapters of the book, correspond to different methods and themes in Wittgenstein’s work. Two additional precise essays by Eric Degoute, director of Les Tanneries, and Roger Malbert, curator and drawing expert, elaborate on the dynamic relationship between thinking and drawing and reading as a form of friendship. In the series Philosophical Deviations, Nikolaus Gansterer draws on various paragraphs of Ludwig Wittgenstein’s Philosophical Investigations, exploring various forms and procedures. Gansterer explains: “It’s important to say that none of these drawings are illustrations. I try to record how the text operates within me, how it influences my ways of thinking and feeling and then to take this movement as a springboard for drawing. It’s not so much about what is being said, but how it moves a reader.” At the centre of the book stand the paragraphs of the Philosophical Investigations themselves, to which the various works and conversations in the book refer, annotated in writing and drawing by Klaus Speidel. Memories of Colour, Just imagine a Rod and Now as One Thing, Now as Another are based on collections of hues, rods, and boxes (respectively). As Speidel, who obtained a PhD in philosophy from Sorbonne University, explains: “In our joint work, I am also interested in exploring the limits of philosophical abstraction. If we fail in our attempt at artistic concretization, this failure can in itself convey new insights in the sense of what Wittgenstein called ‚going against the frontiers of language’. I believe that art production enables philosophical insights.” This interference between philosophy and art can be experienced concretely in the titular series Playing with Ludwig. In this performative experimental arrangement, two or more people sit opposite each other. Starting from a text, a new language game unfolds with drawings and objects.
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Wie sind Farben mit Erinnerungen verknüpft? Wie verhält sich Sprache zur Welt (und umgekehrt)? Lässt sich Unsichtbares wie Gedanken, Atmosphären oder Schmerz künstlerisch fassen? Diese und ähnliche Fragen diskutieren der Künstler Nikolaus Gansterer und der Philosoph Klaus Speidel im neu erschienen Buch Playing with Ludwig / Jouer avec Ludwig, publiziert von Éditions Dilecta und Centre d’art Les Tanneries. Ausgehend von Ludwig Wittgensteins Philosophische Untersuchungen, auf die sie sprachlich, zeichnend und performativ reagieren, haben Gansterer und Speidel verschiedene Arbeiten und Formate entwickelt. Anstatt nur Ergebnisse zu präsentieren, dokumentiert das Buch in zahlreichen Transkripten auch den gemeinsamen Arbeitsprozess, bis hin zur Entstehung des Buches selbst.
Im Rahmen von Nikolaus Gansterers Ausstellung Strange Wor(l)ds in der Galerie Crone Berlin, Fasanenstrasse 29 die zahlreiche Werke aus dem Buchkorpus und auch viele neue Werke zeigt, findet dabei am Samstag, 21.1.2023 eine Buchpräsentation in Zusammenarbeit mit Motto Books statt. Der Nachmittag beginnt ab 16 Uhr mit einem Gespräch zwischen Nikolaus Gansterer, Klaus Speidel und dem Zeichnungsexperten Jan-Philipp Frühsorge. Danach laden Gansterer und Speidel zum ersten Berliner Language Game Lab ein, bei dem sie ausgehend von einer Bemerkung Ludwig Wittgensteins mit Zeichnungen und Objekten arbeiten, so dass am Ende entsprechend der Methodologie von Playing with Ludwig eine Installation entsteht.
Dazu laden Galerie Crone, Motto Books und Éditions Dilecta herzlich ein.
Zu Beginn von Playing with Ludwig / Jouer avec Ludwig steht ein Gespräch der Autoren mit Grégoire Romanet, dem Designer des Buches. Am Ende steht der Dialog How to close a book, der die letzte Bildstrecke vorbereitet. Ausstellungsphotographien und Werke der ersten großen Projektausstellung Figures de pensée im Centre d’art Contemporain Les Tanneries werden zeichnerisch kommentiert, fortgeführt oder komplettiert. Die unterschiedlichen Stile und Methoden der Werke entsprechen dabei verschiedenen Themen und Methoden, die sich in den Kapiteln des Buches entfalten. Zwei Essays, einer von Eric Degoutte, Direktor von Les Tanneries, ein anderer von Roger Malbert, Kurator und Zeichnungsexperte runden das Buch ab und diskutieren einerseits die Beziehung zwischen Denken und Zeichnen und andererseits das Lesen als Freundschaft. In Philosophical Deviations reagiert Nikolaus Gansterer zeichnend auf verschiedene Paragraphen von Wittgensteins Philosophical Investigations (Philosophische Untersuchungen). Gansterer erklärt: “Keine dieser Zeichnungen sind Illustrationen. Ich versuche festzuhalten, wie der Text in mir wirkt, wie er mein Denken und Fühlen beeinflusst und dann diese Bewegung als Sprungbrett für das Zeichnen zu nutzen. Es geht nicht so sehr darum, was gesagt wird, sondern wie es den Leser bewegt.” Im Zentrum des Buches stehen die Paragraphen der Philosophischen Untersuchungen selbst, auf die sich die verschiedenen Arbeiten und Gespräche des Buches beziehen. Klaus Speidel hat sie schreibend und zeichnend annotiert. Die Kapitel Memories of Colour, Just imagine a Rod und Now as One Thing, Now as Another basieren auf Sammlungen von Farbtönen, Stäbe und Kisten. Speidel, der an der Sorbonne in Philosphie promoviert hat, erklärt: “Mich interessiert bei unserer gemeinsamen Arbeit auch das Ausloten von Grenzen philosophischer Abstraktion. Wenn wir beim Versuch einer künstlerischen Konkretisierung scheitern, kann das im Sinne eines ‚Anlaufens gegen die Grenze der Sprache‘, wie Wittgenstein es nennt, neue Erkenntnisse vermitteln. Ich glaube, dass Kunstproduktion philosophische Erkenntnisse ermöglicht.“ Diese Interferenz zwischen Philosophie und Kunst wird in der titelgebenden Serie Playing with Ludwig konkret erfahrbar. Bei dieser performativen Versuchsanordnung sitzen zwei oder mehr Menschen einander gegenüber. Ausgehend von einem Text entspinnt sich ein neues Sprachspiel mit Zeichnungen und Objekten.
Playing with Ludwig / Jouer avec Ludwig Authors: Nikolaus Gansterer, Klaus Speidel, Eric Degoute, Roger Malbert Publisher: Éditions Dilecta, Paris Year: 2022 Pages: 160 Dimensions: 21 x 28 cm Language: bilingual English / French Graphic Design: Gregoire Romanet ISBN: 978-2-37372-165-2
After studying photography at the Hochschule für Grafik und Buchkunst Leipzig, Peter Woelck worked as a professional photographer in the GDR for various companies and magazines. Moreover, he independently created a vast amount of artistic works, especially in the field of portrait and architectural photography. Photographs of the construction of the Berlin Television Tower, cityscapes of Leipzig, and intense portraits from the 60s through the 80s document how life used to be in a country that no longer exists. On the other hand, there are photographs from the post-reunification period, during which Woelck repeatedly tried to establish himself as a freelance advertising photographer. Thus, the pictures also tell of a break in the photographer’s biography, the kind of experience that affected many people of his generation.
The book documents the attempt to bring the eclectic diversity of the archive into a sequence of images that does not strive for a photo-historical classification but rather allows a specific and subjective narration to emerge from today’s perspective.
The book includes texts by Wilhelm Klotzek, Woelck’s son, who not only co-manages the estate in collaboration with the Laura Mars Gallery but also artistically deals with the legacy, by writer and publicist Peter Richter, and by curator Bettina Klein.
“Dancing in Connewitz” was published in 2014 on the occasion of a second exhibition of Peter Woelck’s photographs, “PeWo’s Bericht zur Lage der Jugend” (Laura Mars Gallery, Berlin), and was supported by the Stiftung Kunstfonds with funds from VG Bild-Kunst.
