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Malte Lochstedt & Verlag Danny Grassow
& Chain Store Mix Release MNM Ltd.
Thursday 15th December 2016
From 6pm – 9pm
@ Motto Berlin

Zweikommasieben #14

Zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary club culture since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition, zweikommasieben organizes concerts, parties, club nights, matinees, raves and other fun events in various cities.

Featuring: Noological Multiobjective Outlines, Endgame, Phuong-Dan, Carla dal Forno, Zuli, Ekman, Telephones, Broshuda, meandyou, etc.

Edited by Remo Bitzi.

Co-published with Motto Books.

Pages: 146
Size: 29.7 x 21 cm
Weight: 386 g
Binding: Softcover
ISBN: 9783906282077

€12.00

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New Existentialism
Existentialism, existential, existence … the subject is simply too large and too complex, too personal to say anything sensible.

Conversations  with Ger Groot, Alana Jelinek, and Alexandra Blättler and an essay by Jan Verwoert.

Published by Fucking Good Art and edition fink

10€
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Steve Bishop
Strangers’ Guide to Home Territories
1st edition, 250 copies

Photos taken at the following exhibitions:
Standard Ballad (2015)
Carlos/Ishikawa, London

You’d Be So Nice to Come Home To (2016)
Supportico Lopez/6817 Los Angeles

Insulated by the Boundary (2016)
AND NOW, Dallas

1st edition, 250 copies
60 C-prints on Fuji Crystal Archive photo paper
Screen printed PVC jacket
ISBN: 9782940524518
Published by Motto Books, Supportico Lopez

35€
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In the mid-1970s, Harun Farocki wrote a two-page call programmatically entitled What Ought to Be Done, followed by a survey addressed to potential collaborators and supporters. He envisioned an institution to “organize a coalition of working people, not from an abstract understanding but from the contact points of their work.” The purpose of this institution, devoted to documentary practices, was twofold. It was “intended to collect, i.e. secure what is there,” but also “to produce, i.e. initiate what is not yet there.” In doing so, it was meant to facilitate social and collaborative processes, comprehensive and interdisciplinary studies without time pressure.

At the occasion of Farocki’s working paper, the Harun Farocki Institut, founded in 2015, historically situates Farocki’s initiative and reflects upon the proximities and differences between creating an institution in 1976 and forty years later.

The publication includes Farocki’s text, a commentary by Tom Holert, Doreen Mende and Volker Pantenburg, as well as a letter written in 1975 by documentary filmmaker Peter Nestler in response to Farocki’s circular.

Editorial responsibility: Elsa de Seynes.

€5.00

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Sudan, the only remaining male northern white rhinoceros.
Ol Pejeta Conservancy, Kenya.
This project documents Sudan, the last white rhinoceros of North Africa. Sudan lived his life inside the Prague zoo, before being transferred to Kenya for reproduction and specie preservation. Sudan lives under armed protection. Giovanna Silva spent ten days in his wildlife preserve, following him from a close distance. The book, entitled Good Boy – the way the guards call the rhinoceros, this lullaby which endlessly accompanied Giovanna’s days with the rhino – 0372, his breeding number, is a tribute to this prehistoric and unique animal. The book is conceived as a sequence of abstract images, in which the animal is barely recognizable, and close-up of his skin and his body progressively fading away.

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Special Edition for Giovanna Silva’s Good Boy 0372. Comes in four variations each with a different numbered print.

50€

Buy now (version 1)

Buy now (version 2)

Buy now (version 3)

Buy now (version 4)

SIGNS FICTION

This book aims to collect and present a comprehensive overview of the work of Ruth Wolf-Rehfeldt. It is the result of a long and intense immersion into her archive, and intends to establish the importance of this unique artist – who did not have much recognition in the past – not only to the present day, but also to the precise political context and time to which she and her work belong.

The book presents her typewritings series, all produced between the early 1970s (some of the earliest works are dated 1972) and 1989.
Mail Art was her way to be in contact with the world outside the GDR, otherwise impossible to reach. After the fall of the Berlin Wall and the Reunification, the artist stopped producing any art: She felt her involvement was no longer “needed”.

At the beginning of 2015 we started to archive Ruth Wolf- Rehfeldt’s work, discovering little by little an enormous and fascinating body of work, composed by more classic poetry, simple typewriting texts, visual poetry, concrete poetry, and abstraction.
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Ruth Wolf-Rehfeldt was born in Wurzen, saxony, in 1932.
In 1950 she moved to Berlin, where she still lives today. In 1954 she met the artist Robert Rehfeldt, who she married a year later. She was employed by the exhibitions department at the Academy of Arts, and spent her spare time making drawings. A few years later she started to develop what would become her typical typewriter graphics, and became an active participant in the international Mail art movement. She stopped making art after the fall of the Berlin Wall.

65€
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Four variations on nothing or talking about that which has no name is conceived as a process of examination in which art is seen as a series of encounters and situations that happen in time. Four variations, four rooms, four concepts: tool, method, idea and system – these are the underpinnings of the thought and work of Paris.
The “tools” are drawings, educational exercises, utensils, games, prototypes. Here, thought is seen as an exercise, while the tools are there to help with setting out ideas. They are not mere techniques of representation, but rather comprise a system of thought that allows us to exchange views.
The “methods” are traditionally taught in a school-style learning environment. By rethinking and playing with the concept of the classroom, the architecture is devised by Paris in such a way that it is transformed into a working process itself, as well as a set of routines that give rise to spaces of exchange in which social skills and learning habits are developed. Each classroom, where the viewer decides what he or she wants to learn or unlearn, is a structure in which the artist’s interests cross with the visitors’ experiences. Every model offers a space to discover relationships, an architecture that serves as a trigger for thinking about different ways of socializing, in a process of learning and failure combined.
The exhibition shifts scale in order to tackle the “idea”. In a small architectural installation, an object suggests that an idea is something that is always being constructed and developed. It is something transformative that we cannot fully access; something that can grow in a number of possible ways, that emerges in time, and that lies in the hands of each viewer.
Under normal circumstances, education would be the system and architecture the method, but in this exhibition this state of affairs is reversed. Education is now seen as a conceptual, logical institution that allows us to learn by association. It is a process that provides room for thought and generates ideas, sparking one or more experiences. A set of short films that are at once demonstrations of the use of the tools and brief poetic essays, and which activate ideas and processes that have already been presented in the exhibition.

19 €
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Foreign Places

Foreign Places is conceived as an alternative travel guide, which accompanies the eponymous exhibition. The eight contributing artists were invited by Stefano Faoro, designer of this publication and also a former WIELS resident, to imagine a place for the book page in which their work is invested – whether it is a building, city or series of locations. The final text chapter features ‘A Glossary of Place Names’ by WIELS curator Caroline Dumalin, which emphatically locates the artists’ image sequences, as well as the essay ‘From Beirut to Brussels: Notes on Curating as an Exercise in Attachment’ by guest curator Grégory Castéra, who delivers a personal account of the challenges involved in working abroad and attaching oneself temporarily to a place or a practice.

Edition: 750
2016

20.00 €
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