Starship books


During the last months noticing that we liked books we decided to print new ones, and reprint the old ones that were not available anymore. Now we would like to invite you to the presentation of these four new books at

Hopscotch Reading Room
Kurfürstenstrasse 14, 10785 Berlin
Sunday, September 6, 2020
4-8 p.m., outdoors

 

They are:


Annette Wehrmann
Serpentine streamer texts

72 pages, ISBN 978-3-9817229-4-9

Annette Wehrmann’s thoughtful and funny diary style texts. Originally conceived to be performed by reading these texts, typed on serpentine streamers and blown through the space, while following these interweaving lines. On the occasion of Annette Wehrmann’s exhibition at KW Institute for Contemporary Art the texts were translated into English by Carrie Roseland, and now are published by Starship Verlag and Ort des Gegen e.V.

 


Hans-Christian Dany
Ode to Routine

56 pages, ISBN 978-3-9817229-5-6

An English-language compilation of essays by Hans-Christian Dany, author of several books in German, and many contributions to international art-journals. Ode to Routine  brings together seven recent essays, wandering off the streets into demonstrations, exhibitions or gambling parlors. This translation is also done by Carrie Roseland.

 

Again available at Starship Verlag are now

Ariane Müller
Handbuch für die Reise durch Afrika

208 pages, ISBN 978-3-9817229-6-3

Originally published in 2013 by the Museum for Gegenwartskunst, Basel, and out of print for some years, the second edition of this novel brings a freshly edited version of Ariane Müller’s fictionalization of the 20 years, she spent working for the UN-organisation UN-HABITAT, based in Nairobi.

 

Stellen Sie sich vor, ein Mond scheint am Himmel
Gespräch mit Martin Kippenberger

80 pages, ISBN 978-3-9817229-7-0

The reprint is the original German version of this hilariously funny and wise conversation that had been recorded in 1992 for the art magazine ArtFan is now in its 5th edition. An English translation by Micah Magee is available at Starship Verlag as well.

 

Starship Magazine

11:11

Martin Ebner, 11:11
grass curtain for facade / Swallow, Vilnius, 2020

The work consists of several long bunches of locally grown sweetgrass, suspended from a metal ring structure outside in ten meters height on the facade of the building where Swallow art space is located. While the fresh cut grass leaves are drying in the weeks after the opening, and changing their colour from green to yellow, the installation emits a distinct and pleasant scent, possibly to be percieved even from within the exhibition. At the same time it will constantly be exposed and reacting to the current wind situation around the house, sometimes appearing turbulent and exaggerated, sometimes calm and barely moving.
Sunlight will pass through the moving leaves and animate the floor and walls inside. At darker, calmer days the grass will dim the outside light and create a transparent threshold, with the possibility to be put aside and opened like a curtain.

Swallow: Palydos

PALYDOS

Gabriele Adomaityte, Vilte Bražiunaite & Tomas Sinkevicius, Martin Ebner, Agne Jokše, Ona Juciute, Laura Kaminskaite and Nicholas Matranga.

Swallow
Vitebsko str. 23, Vilnius

On Thursday, August 6, at 7 pm, a new contemporary art space Swallow will open its doors with its first exhibition entitled ‘Palydos’, featuring new works by artists Gabriele Adomaityte, Vilte Bražiunaite and Tomas Sinkevicius, Martin Ebner, Agne Jokše, Ona Juciute, Laura Kaminskaite and Nicholas Matranga.

Probably the first challenge that a freshly-born contemporary art space has to face is trying to grasp the time in which it will thrive. After all, every exhibition, text or artwork exhibited here will inevitably become a commentary on what is “contemporary” in contemporary art.

The time of ‘Palydos’ is a special time: the globe is still being shaken by the shock of the pandemic, speculations about what the future will look like are as contradictory as ever, while what unites their diversity and scenarios is only a general consensus that the future is bound to be completely different from the past; for after what has happened, nothing can remain as before. And yet these speculations remain blind as long as they are believed to speak of something more than just the time we live in now – giving voice to expectations, desires and traumas rooted in modernity and disguising them with the promise that this time will take on a different face than the present.

So Swallow’s first exhibition marks this journey from one uncertainty to another. A journey in which the traveller becomes more concerned with the concern itself rather than the final destination, and the city surrounding the path becomes increasingly pregnant with stories and fictions. These, in turn, haven taken root in reality, become free to speak of it from the perspective of possibility, able to reveal its contradictions, and grasp its deep tensions invisible to the naked eye.

For this city is made up as much of parks and squares as it is of stories of constant retelling, gradually sinking into these urban places. Moving from mouth to mouth, these stories change this space, at the same time changing themselves, transcending the boundaries of an individual being. On the one hand, this relay of constant retelling is inseparable from a conservative approach to the past, the preservation of heritage and the attempt to make it more “present” by sticking memorial plaques on walls and seating marble gentlemen in stone armchairs on the squares. On the other hand, it gives a voice to what we might call folklore – a certain “people’s throat” that gargles the same syllables until it transforms them into something new. Paradoxically, this never-ending retelling shows us that this “people’s throat” contains a kind of negative aspect to memory – it is important to hear what is being said, but even more important to listen to what remains silenced.

Thus, the works presented in ‘Palydos’ seek to immerse in this peculiar “swamp of the city’s subconscious” and grasp these orderless life forces spontaneously forming the city: a curiosity permeated with dreams, desperation or laziness, outbursts of hidden lust, dreams and hallucinations, thoughtlessly broken promises, exceptions to behaviour that summarize rules, or just wordless mutual understanding.

Curators: Edgaras Gerasimovicius, Audrius Pocius, Vaida Stepanovaite

Continue reading

Walking in ice

Ariane Müller, Martin Ebner: Untitled (It), 2019

 

Walking in ice

July 24-August 20 2020

XC.HuA Gallery
Potsdamer Str. 81 B
10785 Berlin

with works by Leda Bourgogne, Zuzanna Czebatul, Fanny Gicquel, Nona Inescu, Julian-Jakob Kneer, Ariane Müller & Martin Ebner, Alvaro Urbano, and Tobias Spichtig

XC.HuA is pleased to announce the group exhibition Walking in Ice, opening Friday, 24 July between 1-6 pm. A performance by Fanny Gicquel featuring Mickey Mahar, Maria Ladopoulos, and Omagbitse Omagbemi will take place at 7pm following the public reception.

Walking in Ice explores delicate and dynamic entanglements between the self and the other. The exhibition’s title is inspired by a memoir written by Werner Herzog, chronicling a journey from Munich to Paris that the German filmmaker undertook by foot in 1974 to be at the side of his gravely ill friend and mentor Lotte H. Eisner. Walking for three weeks in the deep chill of winter, Herzog was convinced that this act of physical devotion might save the life of his dying friend. Working in a range of media, the artists in the exhibition all deal in different ways with questions of vanity, loneliness, and mortality; a desire for connection; empathy and attraction; a compulsion to memorialize lovers, friends, or family members; the boundaries between the self and the other; and notions of injury, disturbance, and care.

XC.HuA Gallery was founded 2017 in Berlin and is located in the former site of the ‘Tagesspiegel’ press offices. The historic, pre-war building is situated within ‘Mercator Höfe’, one of Berlin’s central contemporary art precincts. During the same year, the Beijing branch of XC.HuA Gallery China was also established in the Caochangdi art district.

 

 

 

 

 

Martin Ebner and Ariane Müller, Arms Will Get Longer, 2020

 

The lack of any predictable future that defines this situation as being as far from normal as possible is embedded in the feeling that there has to be some difference to how the world has been before we went home.

The sky is extra blue these days.
I take long walks.

Longing. The vast studio of an artist friend, located two meters underneath the thin asphalt of empty Alexanderplatz, invisible for the outside. It is night, but lit by sunlight. She is rehearsing with an object, present and absent at the same time, smiling to her inside. An old indian conceptual artist sits at the table and writes. I accidentally cause remote music by scratching frozen snow on the wall with a long stick.

But this is a dream, and I don’t remember mine anymore.

·Worng· was written on a shirt which I once saw for a second, or was it.

But today brought a big change. The first person wanted to come by and see us. In social distancing mode he said, to drink a glass of wine. This is information. Check, and re-check. Let’s get updown.

 

 

as part of:

MiA
The Covid-19 diaries series
Online exhibitions in three parts

PART II: New Normal:
Jeanette Bisshops, Alison Chen, Hao Chen, Martin Ebner & Ariane Müller, Sooj Heo, Orange Li, Silvia Li, Yiwei Lu, Xingrong Qiao, kate-hers RHEE, José Soto, Marlies Pöschl, Koji Ueda, and Yichen Zhou.

Part I: Isolation:
Chris Bennie, Alison Chen, Woo Ram Jung, Qinyuan Lei, Silvia Li, Grace Noh, Benny Or, kate-hers RHEE, Xiaoyao Xu, and Yichen Zhou

The series of online exhibitions are organized and curated by Grace Noh and Yichen Zhou, Co-Founders of MiA Collective Art.

 

 

 

 

 

 

Starship 19

 

We would like to invite you on the occasion of the new issue of Starship magazine for an afternoon presentation in Berlin at TV Bar.
Aus Anlass des Erscheinens einer neuen Ausgabe des Magazins Starship freuen wir uns zur Präsentation in Berlin in die TV Bar einzuladen

Gerry Bibby, Mihaela Chiriac, Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen

Sunday, 23 February, from 4pm
Sonntag, 23. Februar, ab 16:00

 

Cover: Nora Schultz, Back cover: Mark van Yetter
Magazine Design: Starship and Dan Solbach

 

Starship #19, Apokolypse of the praktikal moment
Spring 2020, 176 pages, color, English/German
8 € / abroad 10 € ($12)

 

presents artists contributions by John Boskovich, Elijah Burger, Simon Denny, Cornelia Herfurtner, Yuki Kimura, Vera Palme, Nora Schultz, Jack Smith;
and by Rosa Aiello, Carter Frasier, María Galindo, Samuel Jeffery & Daniel Herleth, Elisa R. Linn, Paul B. Preciado, and Haytham El-Wardany

introducing new columnists: Mihaela Chiriac, Michèle Graf & Selina Grüter, Julia Jung, The Parliament of Bodies, and Ulla Rossek

and our columnists: Tenzing Barshee, Gerry Bibby, Mercedes Bunz, David Bussel, Eric D. Clark, Jay Chung, Hans-Christian Dany with Valérie Knoll, Francesca Drechsler, Stefanie Fezer & Vera Tollmann, Julian Göthe, Karl Holmqvist, Stephan Janitzky, Jakob Kolding, Lars Bang Larsen, Ariane Müller with Huang Rui, Robert M. Ochshorn, Mark von Schlegell, Max Schmidtlein, Amelie von Wulffen, and Florian Zeyfang

and artworks by Melvin Edwards, Elizabeth Ravn, Nong Shoahua, and Mark van Yetter

 

 

Dear friends,
However much previous iterations may have joyfully detoured, escaping the suggestion of an introduced preoccupation, slipping into other orbits, we did not enter into this issue with a central theme. #19’s prefered entry into this nominally new decade is with a de-centred face—including a slight shift/glitch in our format that’s been around since Henrik and Nikola set re-start on the magazine. Borrowed from the new or old, or projecting an altogether non-face, this might be a mask if we’re to take Jack Smith’s lead. If it has organs that better sense the world around it differently, these might be submerged, sensing other spaces, as Nora Schultz’s cover and contribution reminds us. Swimming throughout these pages, fragments of surfacing whales make contact with a conversation between women who talk about women; confront the social deviations of a (dis)behaving inside outsider; locate the violence of a cage designed for a worker’s optimized productivity from a distance… & even senses a lamenting allegory about dogs in a desert without language. Before returning to what lies beneath the surface, leaving it for the activities of painters and poets.

—Gerry Bibby, Mihaela Chiriac, Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen
(from the editorial)

 
Starship Nº 19 is published by Starship e.V.
Editors (ViSdP):
Gerry Bibby, Mihaela Chiriac, Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen
www.starship-magazine.org
redaktion@starship-magazine.org

 

Please join us at
TV
Potsdamer Straße 151
10783 Berlin-Schöneberg

Sunday, 23 February, from 4pm

TV
Bar open every
Thursday
Friday
Saturday
from 7pm until late

 

 

 

RPI – West Germany

Mask Off 1
West Germany, Berlin
07.02.2020

Live audio video performances

Recycling Plastic Inevitable (RPI)
Theresa Patzschke, Eleni Poulou, Martin Ebner, Sebastian Luetgert
Wild Style Lion (Khan of Finland and Philipp Virus)
Dabbs Anderson
Gina D’Orio
Caesar Von Schnitzler

 

all photos ©️ Tanja Krokos/diproton.de

It

 

Ariane Müller & Martin Ebner, Untitled (It)
Video installation, mixed media, 2019

Red Gate Residency, December Open Studio
Saturday, December 28th, 2019
Chris Bennie, Guo Rui, Ariane Müller & Martin Ebner, Meng Deyu, Zhou Yichen

Red Gate Gallery
798 Art District,
No. 2 Jiuxianqiao Road,
Chaoyang District, Beijing, China

RPI – ICA




Opposition to the Commodity
ICA – Institute of Contemporary Arts
Live
Sat, 07 Dec 2019, 2:00 p.m.
The Mall, London SW1Y 5AH

ASP 5
Artist Self-Publishers’ Fair: The 5th

 

Seven self-publishing artists read and perform their work as a prelude to the 2019 edition of the Artist Self-Publishers’ Fair.

Through a series of presentations, artists, writers and publishers address radical notions of accessibility and opposition to the commodity. Performers include Ruth Angel Edwards, Adam Gallagher, Emily Pope, Recycling Plastic Inevitable, Oliver Rees, James Whittingham and Angharad Williams.



Recycling Plastic Inevitable (RPI)
Theresa Patzschke, Eleni Poulou, Martin Ebner, Sebastian Luetgert


Ruth Angel Edwards currently lives and works in London. Her work has been exhibited in the UK and internationally at Arcadia Missa, London; Auto Italia South East, London; Tate Modern; FACT, Royal Standard, Liverpool; Human Resources, Los Angeles; and MEYOHAS Gallery, New York.

Adam Gallagher is an artist and writer based in London who works mainly through performance –challenging its reliance upon temporality and working against the performative-artist-ego. He self-publishes a series of pamphlets called E.A.R.F.

Emily Pope is an artist based in London. She is currently making a sitcom called The Sitcom Show. She is interested in labour, characterisations of ‘the worker’, monologues, ‘feminist’ video art, series making, mainstream and experimental television, social realism and American folk singers (mainly Nanci Griffith), among other things.

Recycling Plastic Inevitable (R.P.I.) is a minimally expanded video and music project by Theresa Patzschke, Sebastian Luetgert and Martin Ebner, artists and/or writers living in Berlin. For their performance as part of ASP5, they will be joined by musician Eleni Poulou (Honey-Suckle Company) to present an audiovisual sequence based on words and sentences from the Berlin-based art magazine STARSHIP.

Oliver Rees is a London-based artist. Exhibitions as a solo artist and as part of the group Model Court include Haus der Kulturen der Welt, Berlin; Stroom Den Haag, The Hague; Gasworks, London; Limoncello, London; Theaterhaus Jena; The Hole, London; Bonheur Theatre, Rotterdam; and Chisenhale Gallery, London.

James Whittingham lives and works in London. His work has been shown at 3236rls London, Liszt gallery Berlin and Lima Zulu project space London. He has written a novella titled Drones & Dresses.

Angharad Williams is an artist and writer who lives and works between Wales and Berlin. Recent group and solo projects have taken place at Haus Zur Liebe, Schaffhausen; Barbara Weiss, Berlin; Croy Nielsen, Vienna; No Bounds Festival, Sheffield; Peak, London and Radiophrenia, CCA, Glasgow.

 

Book tickets
02:00 pm
Sat, 07 Dec 2019
Cinema 1

£7 Full, £5 Concs/Green Members, £3 Blue Members
Red Membership includes free access to all programmes for £16.66 / month.

Ice Cigarettes




Ice Cigarettes

November 30, 2019
Grüner Salon, Volksbühne Berlin

Klaus Weber
Egill Saebjörnsson
Kolbeinn Hugi Höskuldsson
Marja Marlene Lechner

Visuals: Martin Ebner

DJ
Eric D. Clark



on the occasion of the opening of
Klaus Weber: NONUMENTS
Opening: 30.11.19, 19:00
Duration of the exhibition: 1.12.19 – 16.02.20
Opening hours: 24/7
LVX. Pavilion of the Volksbühne at Rosa-Luxemburg-Platz




RPI – AN



 

 

On the occasion of the closing of Ariane Müller AN, please join us for:

10 Minuten live Verpuffung:
Recycling Plastic Inevitable (R.P.I.)
mit Theresa Patzschke, Sebastian Lütgert, Martin Ebner

Sunday, October 20th 2019; 5 – 8 pm
10 Minuten live Verpuffung: 7 pm, sharp

 


Schiefe Zaehne
Schliemannstr. 37
10437 Berlin

 

 

 



a-clip @ arsenal

 

October 9, 07:00 pm
Arsenal Cinema 2
Potsdamer Straße 2
10785 Berlin

A-Clip
Public screening
Free admission

 

A-Clip was a project (1997–2003) that proceeded from the basic idea of making use of the attention of cinema audiences to place political and subjective artistic statements. Short films were made to this end which took their bearings from the advertising aesthetic, picking up on it, mocking it, or breaking with it, and which grappled with the theme of “internal disquiet” that grips people and leads to a lack of solidarity. The individual A-clips, each of them around 50 seconds long, were edited into the blocks of cinema adverts. The A-clip producers were filmmakers or artists looking for new ways of creating a political public. For the use of A-clips in cinemas, 35mm prints were created, which remained in the Arsenal archive and are now stepping out into the light once again. At a public screening, we don’t just want to inspect the state of the material, but also see what sort of effect the clips have today. (stss) (9.10., screening attended by several producers).

A-Clip war ein Projekt (1997–2003), das von der Grundidee ausging, die Aufmerksamkeit des Kinopublikums für die Platzierung politischer und subjektiv-künstlerischer Aussagen zu nutzen. Dafür wurden Kurzfilme produziert, die sich an der Werbefilmästhetik orientierten, sie aufgriffen, persiflierten oder brachen, und die sich mit dem Thema der „inneren Verunsicherung“ auseinandersetzten, die Menschen erfasst und zur Entsolidarisierung führt. Die einzelnen A-Clips, jeweils ca. 50 Sekunden lang, wurden in die Werbeblöcke der Kinos hineingeschnitten. Die A-Clip-Produzent*innen sind Filmemacher*innen oder Künstler*innen, die neue Wege suchten, um eine politische Öffentlichkeit herzustellen.
Für den Einsatz der A-Clips in den Kinos wurden 35-mm-Kopien hergestellt, die im Archiv des Arsenal verblieben und nun wieder hervorgeholt werden. In einer öffentlichen Sichtung wollen wir nicht nur den Zustand des Materials begutachten, sondern auch überprüfen, welche Wirkung die Clips heute entfalten. (stss) (9.10., in Anwesenheit einiger Produzent*innen)

A-clip in the Arsenal – Institute for Film and Video Art Archive

a-clip.net

Friends With Books 2019

Friends with Books
Art Book Fair Berlin
Hamburger Bahnhof –
Museum für Gegenwart – Berlin
20–22 September 2019

Are You…Friends with Books? Public Programmes 2019

Saturday, 21 September
13:00 h
Art Historian Fiona Geuss and artist Martin Ebner of Starship discuss conversational formats in art from 1969 to the 1990s and how publications not only accompany exhibitions, but can also be an integral part of artistic practices due to their ephemeral format. Presented by Friends with Books.

https://www.friendswithbooks.org/content/are-youfriends-books-public-programmes-2019

Athens Art Book Fair 2019

 

 

Starship @
Athens Art Book Fair 2019
kindly hosted by Radio Athènes

Athens Art Book Fair is an artist-run initiative aiming to bring together and showcase artist publications produced in Greece as well as to create a link with publishing-based artistic practices (print, online and else) internationally.
Athens Art Book Fair was founded in 2019 by Margarita Athanasiou and Michalis Pichler.

 

Recycling Plastic Inevitable (RPI)

 

 

Recycling Plastic Inevitable (RPI)

Musik-ähnliche Musik, Bild-ähnliche BIlder, intensives Gewühl in filigranem Dekor, kaum wahrnehmbare oder sehr schnelle Bewegungen, zugeneigtes Pendeln und gelegentliche Improvisationen in brüchig gleitenden Bild-Ton-Spuren mit Theresa Patzschke, Sebastian Luetgert und Martin Ebner

Music-like music, image-like images, intense bustle in filigree decor, barely perceptible or very fast movements, affectionate swings and occasional improvisations in crumbly gliding audiovisual tracks by Theresa Patzschke, Sebastian Luetgert and Martin Ebner

Sunday, 1.9.2019, 4pm
TROPEZ im Sommerbad Humboldthain
Wiesenstraße 1, 13357 Berlin

 

 

Greenscreen works supported by
Medienwerkstatt im Kulturwerk des bbk Berlin

 

10 Years of Provence

10 Years of Provence
at Motto / The Downer
Skalitzer Strasse 68, Berlin

Opening Friday 23 August, 6-10pm

with:
Gerry Bibby, Megan Francis Sullivan, Martin Ebner, Edgars Gluhovs, Daniel Herleth and Bärbel Trautwein of Oracle, Karl Holmqvist, Lisa Holzer, Ilya Lipkin, Inka Meißner, Ariane Müller, Kaspar Müller, Henrik Olesen, Philip Pilekjær, Marina Pinsky, Josephine Pryde, Starship Magazine and Seyoung Yoon

Browse a selection of Provence publications and editions

 

 

here.

 

Browse further titles in our catalogue
here.

Any questions write to: office@mottodistribution.com

Motto Berlin
Skalitzer Str. 68, 10997 Berlin
Mon.-Sat. 12-20h
+49 (0)30 48816407

 

 

The Time is Now

STARSHIP SCREENINGS AT THE POOL

Please join us for a summerly afternoon screening in Berlin:

The Time is Now
Videos by Heidrun Holzfeind

 

Sunday, 18.8.2019, 4pm
TROPEZ im Sommerbad Humboldthain
Wiesenstraße 1, 13357 Berlin

 

 

Both films feature the Japanese shamanic improvisation duo IRO (Toshio and Shizuko Orimo). The couple has worked together since 1981. IRO’s music combines influences from punk, 1970s Free Jazz, ethnic music, ancient Shinto rituals, and indigenous ceremonies. For Heidrun Holzfeind’s videos the duo performed in various locations of the Inter-University Seminar House in the Tokyo suburb of Hachioji designed by Japanese architect and thinker Takamasa Yosizaka. Yosizaka’s ideas about the relationship between humans, nature and architecture, individuality and community, sustainability and peace, as well as his critique of Western civilization in many respects concur with the couple’s animist and pantheist weltanschauung. Their musical experimentation goes hand in hand with their activist involvement in the peace and anti-nuclear movement and a free-spirited way of life that vehemently rejects commercialism in all its forms.

Heidrun Holzfeind is an artist and filmmaker interested in how architecture interacts with people’s everyday life. She questions immanent architectural and social utopias, exploring the interrelations between history and identity, individual histories and political narratives of the present.

 

 

TROPEZ is a space for art inside the public pool Sommerbad Humboldthain initiated by Nele Heinevetter.

With: Gili Avissar, Kira Bunse, Natalie Czech, Constant Dullaart, Julie Favreau, Bertrand Flanet, Richard Frater, Das Helmi & BFF’s, Luzie Meyer, Hayal Pozanti, Dylan Spencer-Davidson, Michael Sports, Elisabeth Wood & TAWG, Young Boy Dancing Group as well as BDPs reading series Literature at TROPEZ, Creamcake’s discussion and concert-format Europool, Starship’s Screenings At The Pool, and performances by Christian Naujoks, Peter Cant and Krzysztof Honowski invited by Clara Meister and Clare Molloy, and the children’s programme 1,2,3 SOLEIL.