COURS DE LITTÉRATURE GÉNÉRALE À LA LIBRAIRIE MOTTO PARIS
31 Mai 2025, 17h

Le Cours de littérature générale, organisé par Lic, accueille Christophe Fiat et Geneviève Fraisse lors de sa deuxième séance, à la librairie Motto, le 31 mai à 17h.

Le Cours de littérature générale invite des auteurs à nous intéresser à un texte ou à un extrait voire à un fragment d’une œuvre littéraire (de l’Antiquité à la fin du XXe siècle) en un format court (entre 15 et 20 minutes).

Dans le cours de Christophe Fiat sur Ainsi Parlait Zarathoustra de Nietzsche, il sera question du rire et de ses effets destructeurs (la satire, la raillerie) et créateurs (la bonne humeur, la fête).

Choderlos de Laclos, un an après Les Liaisons dangereuses, publie un bref texte se refusant à « perfectionner » l’éducation des femmes; car seule une révolution permettra de sortir de « l’esclavage ». En effet, la première qui consentit « forgea les chaînes de tout son sexe ». Restent alors stratégies et conquêtes, notamment celles du savoir. Ce que Geneviève Fraisse aime ici souligner, c’est la lucidité de l’auteur.

Christophe Fiat est écrivain, poète et performeur, coanimateur de la revue COCKPIT. Dernier livre publié : Nietzsche (Éditions les Pérégrines, coll. Icônes, 2024), Grand Prix SGDL de la Non-fiction.

Geneviève Fraisse est philosophe, directrice de recherche émérite au CNRS. Elle travaille sur l’épistémologie politique de la pensée féministe (généalogie de la démocratie, concepts de l’émancipation citoyenne et artistique, problématisation philosophique de l’objet sexe/genre). Elle a publié notamment: Muse de la raison, démocratie exclusive et différence des sexes (Folio, 2017),  Du consentement (Points, 2022), L’égalité sans retour (CNRS éditions, 2024)  

Zabo Chabiland – ANATOMS SONORES
Saturday May 17, from 7pm
Performance 8pm (sharp)

MOTTO BERLIN
Skalitzer Str. 68, im Hinterhof
10997 Berlin

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ANATOMS SONORES

During the Cold War in the Soviet Union, bootleg records pressed on discarded X-rays from hospitals were circulating illegally under the name “bones records” or “music on ribs” as an act of cultural resistance. They contained music from the West, in particular rock ‘n’ roll and jazz, but also Russian folk tunes, considered by the authorities to be “low culture”.

The edition “Anatoms Sonores” was inspired by this unique episode in the history of music and merges two essential mediums in my artistic practice: photography and sound performance.

In 1997, analog photography led me to medical imagery, I established a bridge between the two techniques and started using X-ray film as a main support and pursued an exploration that has continued to evolve ever since. For this project, I used analog X-ray films from my own production,pressed with an extract from the performance “Microsillon X” specially conceived to challenge the microgrooves.

The edition of 250 Anatoms Sonores is composed of 20 images, printed in an edition of 12 unique prints with a wide range of variations, depending on the type of X-ray film (for veterinary or hospital use) the brand and the expiration date (ranging from 1997 to 2024). A further 10 records were pressed on blank X-ray films.

www.zabo-chabiland.com

Stanislav Dorochenkov
At Motto Paris, May 8, from 8pm

Iliazd
APATRIDE / 2022 / 91’

https://fidmarseille.org/film/illazd/
un film de Stanislav Dorochenkov
Avec Stanislav Dorochenkov, Jeanne Casilas, Vava Dudu, Ekaterina Gavrilova, Olga Dudina, Karaman Kutateladze, Régis Gayraud, Chalva Zdanévitch, François Mairé

Synopsis

Dadaist poet, apatrid artist, creator and publisher of some of the most beautiful books of the 20th century, Ilia Zdanevitch, aka Iliazd, is a little-known but major figure of modern art. Almost half a century after his death, Ilia, a young apatrid, sets out on his trail. Driven by an eccentric energy and a taste for changes of speed and register, in the wake of Ilia, Stanislav Dorochenkov composes an eccentrically disproportionate portrait of their model. From his native Georgia to Marseille, where his archives are kept, each point invents a singular method through which to reactivate Iliazd’s thoughts and life. Artist friends resurface, phrases populate images, film becomes book, patiently fabricated through the rediscovered motions of the lithographer.

Poète dada, artiste apatride et zaoum, créateur et éditeur de quelques-uns des plus beaux livres du XXe siècle, Ilia Zdanévitch, dit Iliazd, est une figure méconnue mais majeure de l’art moderne. Près d’un demi siècle après sa mort, Ilia, jeune provocateur apatride, se lance sur ses traces. Porté par une énergie excentrique et par le goût des changements de vitesse et de registre, Stanislav Dorochenkov compose dans le sillage d’Ilia un portrait à l’excentrique démesure de leur modèle. De sa Géorgie natale jusqu’à Marseille, où ses archives sont conservées, chaque station natale invente un mode singulier d’activation de la pensée et de la vie d’Iliazd. Ressurgissent les amis artistes, des phrases peuplent l’image, le film devient livre, patiemment fabriqué par les gestes retrouvés du lithographe.

#StanislavDorochenkov
#Iliazd #mottoparis #cineclub #parisbookstore

trailer of the film
https://vimeo.com/583871073

Dimitri Venkov – 3 films

Thursday 01.05, from 8pm

Motto 38 rue du Vertbois, 75003, Paris

About the author

Dimitri Venkov is an artist and filmmaker. He has participated in biennials in Moscow,Bergen, Goteborg, Wroclaw, Documenta in Athents, and others. His works have beenshowcased at esteemed galleries such as Whitechapel and Hayward, and he has held personal exhibitions at MHKA, Nassauischer Kunstverein, CCA Winzavod, and Manezh Moscow. Dimitri’s work has been reviewed in Flash Art, Artforum, Senses of Cinema, Kinoart,Séance, and other specialized film and art magazines.

À propos de l’auteur

Dimitri Venkov est artiste et cinéaste. Il a participé à de nombreuses biennales, notamment à Moscou, Bergen, Göteborg, Wrocław, ainsi qu’à Documenta à Athènes, entre autres. Sesœuvres ont été présentées dans des galeries renommées telles que Whitechapel et Hayward,et il a tenu des expositions personnelles au MHKA, au Nassauischer Kunstverein, au CCAWinzavod, et au Manège de Moscou. Le travail de Dimitri a fait l’objet de critiques dans des revues spécialisées telles que FlashArt, Artforum, Senses of Cinema, Kinoart, Séance, et d’autres magazines consacrés au cinéma et à l’art contemporain.

Sunday 20 April, 6pm sharp (1h duration approx)

Easter Evening @ Motto Berlin

With Puppet Theater, Sound, Dance performances

Featuring:
Ana Nikolskaia,
Nikita Proshkin, Anton, Andrey Karbonenko
And Malena Grilli

As part of Vasco Cesaretti’s sculpture installation at Motto Paris, we’re hosting a live concert by the artist himself on April 10, from 8 pm. Please join!

more info about the sculpture

GELLI PRINT
BEGINNER WORKSHOP
With @unumprint

SATURDAYS from 2 – 6pm
5
12
26
APRIL

MOTTO BERLIN
Skalitzer Str.
68

What is gelli printing?
Gelli printing is a unique (monotype) printing process that uses a gel plate as a matrix and inks that dry slowly, most often acrylic paint. The uniqueness of this technique lies in its flexible matrix, which allows for highly accurate imprinting and endless possibilities for creating texture. You can even do photo transfers! The variety of surfaces you can print on is also broader—since the matrix is flexible, you can easily print on everyday objects like clothing. Gelli printing is also very inexpensive compared to other printing techniques. The plates can be made at home using only food-grade gelatin and glycerin. Once the matrix is damaged, you just need to melt it down to reuse it.

The Deception of Reality, The Truth of the Document
Varun Sasindran, Paul Heintz
28.03 from 8pm

Our next screening as part of de:talks will explore the reality of documentary cinema—where its boundaries of authenticity lie and whether it can truly capture reality.

In his first major work, The Deception of Romanticism and the Truth of the Novel, French philosopher René Girard argues that our desires stem from the desires of others: I long for what my neighbor possesses, I feel envy and resentment, I harbor bitterness. As a result, people turn to the simplest way of resolving accumulated contradictions—violence. In fiction, violence serves as an outlet for energies born from an underlying conflict. But how does a documentary use violence?

Documentary cinema convinces us that violence has truly happened—it is real. And from this, it seems to follow that real violence carries more weight than fictional violence. But can we, through the reality of the document, uncover the true causes of violence? Perhaps its source lies within us and our desires.

This Friday, we are screening two documentary films: Character (Paul Heintz) and Omarska (Varun Sasindran). Orwellian dystopian figures in contemporary London and a shocking document—interviews with former prisoners of a Bosnian concentration camp erased from the face of the earth.

Omarska – Varun Sasindran 19’
Character – Paul Heintz 38’

28.03, from 8pm
Motto
38 rue du Vertbois
75003 Paris

@k1no1_cinema