Despite the state of the world, the sunrise, the smells, nature, and youth.
Everything was beautiful at the moment.
These photographs were taken for an advertisement for the artist’s brand ATELIER FLATMOON (https://www.atelierflatmoon.com/).
Photography by Hideaki Ota
@hid_ota
Edition of 30, numbered
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Silkscreened jacket & obi (textured tan or black) by Alan Sherry, inserts and a postcard. Lliner notes by Jon Dale, ltd to 285.
An’archives are thrilled to announce the release of Ricshari, the first LP from Japanese free improvising duo MAI MAO. Consisting of Shizuo Uchida of Hasegawa-Shizuo, Albedo Gravitas, archeus, Kito Muzukumi Rouber, TERROR SHIT, UH, etc. on bass, and Kyosuke Terada, of HUH (who have their own release due on An’archives soon), TERROR SHIT, Bay City Rolaz, Praymate, The Obey Unit, etc. on guitar, they’ve previously released two wild cassettes, Curvature Improvement Plan (Haang niap, 2020) and Folk Dope Rally (2021), both documenting one-take improvisations from live gigs. Ricshari was recorded by Nobuki Nishiyama in January 2021, and is proof, if any was needed, that this duo is one of the most fiercely unique, out-there units currently extant – in Japan, or anywhere, for that matter.
The music of MAI MAO seems to proceed by opposites and juxtaposition, shifting from frantic, hectic runs of splattering note spray to moments of granular stasis, where Uchida and Terada coax their instruments into and out of deep wells of silence, or rest, temporarily, in a lagoon of fermenting fuzz. Spiraling kinetics are largely the order of the day, though – the opener, “Chew a flying flash prayer”, skitters here and there, guitar and bass jumping over one another in games of leapfrog and Twister, finding new ways to perplex and puzzle the listener, and perhaps each other in the process, Uchida and Terada fully committed to the short-circuiting spirit of the moment.
The energy here is hyperactive, but it also speaks of a curious and committed attention to improvisatory responsiveness, one that’s just as likely to fork off into different directions in a split second – it’s real edge-of-the-seat stuff, as though the hands are moving too fast for the mind to follow. That’s all the better, then, to let the gush of genuinely free-thinking, devoted duo improvisation to fly at its most playful and intelligent. File next to the likes of Davey Williams & LaDonna Smith and their TransMuseq companions, or the wickedly perplexing bass-synth/trombone duets of Dave Dove Paul Duo, and you’ve some idea of what’s going on here, provisionally at least, ‘cos this one’s an enthralling, yet welcoming, head-scratcher of the highest calibre.
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Texts by Kristine Stiles, Alina Șerban, Jelena Vesić, What, How & from Whom / WHW
“I do one notebook for every show or project. It is like a pocket studio and research space. In the notebook drawings are pushed further to the limit and are not very PC. There are a lot of bad drawings, things that do not work out, lame jokes. Humor is hard to capture… Of the two hundred drawings in a notebook, thirty or fifty will make it onto the wall an maybe ten will make it into the general repertoire. The repertoire began in 2000 and since then drawings have been incorporated and discarded, rolling from one wall to the next.
I am the happiest when I draw in the notebook and I know the drawing is good. Translating it onto the wall is also good, but it is just a translation.
I draw, I happy.” (Dan Perjovschi)
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P+4 Publications is an independent publishing programme dedicated to the promotion of Romanian contemporary art, photography and architecture, exploring the book medium as a point of encounter between theoretical research, graphic design experiment and artists’ ideas and subjects present in their practice. Presently, the programme brings together the Artist Book Series and the Architecture Book Series, supported between 2013–2021 by the PEPLUSPATRU Association, and Parkour and Exhibition-Dossier series, developed by the Institute of the Present since 2017. Starting from 2021, P+4 Publications is coordinated by the Institute of the Present.
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Printed in the edition of 200, Atom is an exploration of desire, beauty, loneliness, and introspection. It is also a reflection of our shifting understanding of the body and spaces we’ve inhabited in the last two turbulent years, and a project firmly rooted in the transformative power of the female gaze.
Atom captures a range of leather pieces by Fleet Ilya as tools of self-discovery, intimate connection, and collaborative creativity. The book, edited by Fleet Ilya co-founder Resha Sharma, comprises portraits of five heroines within their private spaces, still lives, immersive nature shots by Bazhenova-Yamasaki, and poetic text by Beata Duvaker.
The book is a result of almost a decade-long collaboration between Bazhenova-Yamasaki and Fleet Ilya. It combines the plurality of female perspectives and voices from the collaborators and the heroines depicted in its pages – a testament to that underrepresented point of view when it comes to photography, sexuality, and leatherwork.
Atom is a book of erotic photography that reinvents erotic photography, strips it to viscerally honest corporeality, deep-rooted intimacy, and irresistible beauty of the small details, be it a flower or a leather strap. It offers a sensory journey through photography and writing – alongside the pleasure of an exquisite object to hold or have at home.
Edition of 200, numbered.
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The book has been produced on the occasion of the exhibition The Beirut Experience at Beirut Art Center in Beirut (12.10 – 19.11.2011) and at Villa Bernasconi in Lancy, Geneva (20.04 – 10.06.2012).
Artists: Lara Almarcegui, Marc Bauer, Tony Chakar, Marcelline Delbecq, Latifa Echakhch, Eric Hattan, Mark Lewis, Adrien Missika, Estefania Peñafiel Loaiza, Dan Perjovschi.
The edition includes Vacant buildings in the Hotel district, Beirut by Lara Almarcegui.
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‘Panorama’ is a collection of photographs of different landscapes in Tokyo captured between 2019-2020 using a slit camera that Haruyuki Shirai made himself.
‘Panorama’ is a combination of ‘pan’, meaning ‘all’, and ‘horama’, from the Greek word for ‘view’, hence the meaning ‘full view’. Haruyuki Shirai chose this word as the title of his book – a collection of photographs which capture ‘views of everything’.
The dimension of time is introduced, and the flow of time is projected horizontally, becoming a landscape-like scene. Upon a timeline, these photographs are the ‘views of everything’.
Text: Kinichi Obinata
Art Direction: Taro Kambe
Design: Noa Watanabe
Translation: Catherine Lealand
Edition of 500, numbered
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INFO is pleased to announce Remain Calm, an LP and booklet cataloguing Nile Koetting’s performative installation and its immersive soundtrack produced in collaboration with Nozomu Matsumoto and Miriam Stoney. In Remain Calm, Koetting draws inspiration from the earthquake and tsunami drills he experienced as a young student growing up in Japan. Through blending sci-fi narratives with ready-made technologies, Koetting creates scenographic performance environments where an omniscient technocratic authority softly mediates between performer, audience, and natural disaster. Matsumoto’s sound design and Stoney’s texts read by computer speech synthesizers are a fundamental facet of the work, and in this LP version, they culminate into a compelling and singular listening experience.
Edition of 400 copies, includes a full sized booklet of text and images, with words by Miriam Stoney.
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Tresor: True Stories is the first printed excavation of Tresor’s legendary history.
Digging deeply into its rich archives, the venerable institution has unearthed countless treasures from its over three-decade old history. Over 400 never before seen photographs, flyers, faxes and other illustrate a story that intersects with the most important social and musical trend in the modern history of Berlin.
The story is told with the voices of those that were there – over 40 protagonists share their first-hand reminiscences of the ‘big bang’ that launched techno into the world. Through the story of Tresor, the book charts the heady days of 80s West Berlin through to the explosion of new energy that midwifed in the new social reality of reunified Germany. This is a unique and essential printed monument to the institution that changed electronic music forever, and the city that allowed it to exist.
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Being Together: A Manual For Living
Artist and author Grace Ndiritu in conversation with art critic Pablo Larios
Tuesday 13 September 2022
6.30–8.30pm
Motto Berlin
Skalitzer Str. 68 (im Hinterhof)
10997 Berlin
6.30pm Gather
7.00pm Silent meditation
7.10pm Conversation and readings
7.40pm Silent meditation
7.50pm Conversation and readings
8.15pm Q&A
8.30pm End
*We ask every participant to commit to the entire duration of the event in order to not disrupt the meditation
Grace Ndiritu is a British-Kenyan artist whose artworks are concerned with the transformation of our contemporary world. Her writing has been published in her critical theory book Dissent Without Modification (Bergen Kunsthall, 2021); Documents of Contemporary Art: The Rural (Whitechapel, 2019) and Animal Shelter 4, Semiotext(e).
Pablo Larios is a writer based in Berlin. His work has appeared internationally in various publications, including Mousse, Frieze, 032c, Text zur Kunst, and Kaleidoscope. He is currently an editor-at-large at documenta fifteen.
Being Together: A Manual For Living
Edited by Grace Ndiritu, Pieter Vermeulen
Copy editor: Sue Spaid
Design: Vrints-Kolsteren
Contributors: Philippe Van Cauteren, Pieter Vermeulen, Grace Ndiritu, Rafaela Lopez, Roberto dell’Orco, Jana Haeckel, Katleen Vermeir & Ronny Heiremans, Nathalie Boobis, Shayla Perreault, Edward Ball, Guadalupe Martinez, Stacy Suy, Ezra Fieremans
Published by KRIEG
Being Together: A Manual For Living falls in the lineage of publications such as the Journal of the Society for Education Through Art, which throughout the 1960s provided British art schools a window into experimental education. By contrast, Grace Ndiritu’s experience in creating radical pedagogies arose from a connected, yet unorthodox system of ‘self education’. In 2012, she decided to spend time living in cities only when necessary. She thus lived in rural, alternative and often spiritual communities, while expanding her research into nomadic lifestyles and training in esoteric studies, which she began after graduating art school. This research led her to visit Thai and Tibetan Buddhist monasteries, permaculture communities in New Zealand, forest tree dwellers in Argentina, neo-tribal festivals such as Burning Man in Nevada, a Scottish Hare Krishna ashram, and the Findhorn Spiritual Community in Scotland. Such lifestyles forever transformed her ideas of education and have proven critical for her art, whether conducting teaching experiments with students, peers and the general public; some of whose voices appear in this publication. Ndiritu posits, “What does (art) education mean today?” and specifically, “What does an embodied (art) education mean in a time of pandemics and social unrest?” Being Together: A Manual For Living attempts to answer these complex questions.
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