- Pure Fiction Independent Art Bookfair, Frankfurt am Main -

 

Pure Fiction Independent Bookfair is a one day event and will take place
on Friday the 28th of April in the Staedelschule in Frankfurt am Main.
Independent art book publishers from around the globe are invited to set
up stall, sell their merch and have a good time.

Pure Fiction Independent Bookfair is initiated and organised by Pure
Fyction, a writing / performance seminar run by art writer and sf novelist
Mark von Schlegell and collaborating students. Staedelschule is a
contemporary fne arts academy in Frankfurt am Main, Germany.

For a fee of 30 euros to cover running costs, guests will receive a table, 2
chairs and possible wallspace. Earliest responders will have frst choice of
placement.
Space and support will be available for lectures and special presentations.
Every guest is invited to make a presentation during the day.
Reserve your table and take part in the 2017 Frankfurt am Main
Independent Art Book Fair.

 

The Timeshare Project

 

Kunsthal Aarhus
J. M. Mørks Gade 13
Aarhus, Denmark

Exhibition
31.Mar.2017 – 03.Jun.2017

The Timeshare Project – Kunsthal Aarhus 100 Years

REAL DMZ PROJECT
Starship Magazine
SALT
Rond-Point Projects
Eastside Projects

Like a timeshare holiday home, Kunsthal Aarhus will host five international art institutions in the spring of 2017. Each taking turn, they will present weeklong curatorial and editorial projects in the kunsthal’s octagonal exhibition space, for example in the form of talks, performances, screenings, displays, installations or editorial meetings. Following these five visits, the institutions will produce individual publications, which constitute the project’s second timesharing format. By transporting the reader back to recent, distant or virtual pasts – or into the future, a publication effectively serves as a time machine that grants us access to other moments in time.

In 2017 Kunsthal Aarhus celebrates its 100th anniversary. As a kunsthal in the original sense of the term, Kunsthal Aarhus does not have a collection where we can consult and negotiate this century of exhibition making. The Timeshare Project in turn substitutes recollection with timesharing as a collective, border-crossing contemporary practice.

Project period: 31 March–3 June, 2017
Opening: 31 March, 5pm

 

 

Continue reading

Swiss Cheese Plant

 

Ariane Müller
Martin Ebner

SWISS CHEESE PLANT

02.04. – 14.05. 2017

Kunstverein Göttingen

Altes Rathaus
Markt 9
37073 Göttingen

Opening hours
Tue – Sun 11–17 Uhr

Vernissage
Sun, 02. April 2017, 11.30 a.m.

Swiss Cheese Plant shows collaborative and individual works of Berlin-based artists Ariane Müller and Martin Ebner, originating in the specific spatial structure of the Kunstverein Göttingen’s location at the old town hall. This historical space, which was built for the self-representation of the town’s bourgeoisie, has gone through easily discernible architectural transformations, and now presents itself as an enfilade of rooms resembling the bourgeois flat. The exhibition comments on this space in various ways. In Martin Ebner’s work, the public and its realisation in the square, is inscribed in the interior space, shifting and enlarging the actual room. Ariane Müller’s work deals with a flat’s interiors and their hidden spaces. The bourgeois  home is constituted by representational rooms and their counterpart of hidden spaces, service corridors, and servants dwellings – mirroring Freud’s analysis of the self. This links to literary references (»The Door in the Wall«, H. G. Wells), as well as to images directly drawn from dreams (entering an unknown room in one’s own apartment), which in their unambiguity were templates for a porn film famous for focusing on female sexuality (»Behind the Green Door«, A. + J. Mitchell).

The houseplant and the mouse are two very different elements of nature within the flat. The Swiss cheese plant serves as decoration and backdrop of the depiction of controllable and decorative feminity in the interiors (in Matisse nude drawings, e.g). The mouse, formerly dreaded  companion of the human,  is—as we can see in its frequent use as a comic character—now controllable, and from its anarchic beginnings, which in the character of Mickey Mouse hints at its origins in slave work in the US south, has changed itself into a law obiding citizen. A blustering, cursing household robot has taken its place, which contrary to the mouse (but similar to the servants, who were by the way more dreaded for this), has the potential to monitor us and report its findings.

The decoratively lascivious shape of the Swiss cheese plant stems in the necessity to catch as much sunlight  as possible in the thick forest, where sun only occurs as sunspots. Biologists have, calculated that the layout of holes and surface provides a slight advantage to plants with entire leaves.  Within the psychedelic of a space made up of bright light and deep shade, spatial perception disperses and a new, dreamlike, in-between space comes about. The natural, mathematical precision of the plant is reflected by the mathematical logic of the animated image, which through calculations of pixels can confund us to see movement and space.

___________

Ausgangspunkt der Ausstellung Swiss Cheese Plant, die gemeinsame und einzeln entstandene Arbeiten der beiden Berliner KünstlerInnen Ariane Müller und Martin Ebner zeigt, ist das spezifische Raumgefüge des Göttinger Kunstvereins an seinem Standort im Alten Rathaus. Dieser historische Raum, der zunächst der Repräsentation des Bürgertums diente, ist, wie an der Architektur leicht ablesbar, durch mehrere Umgestaltungen gegangen und präsentiert sich nun in der Raumflucht einer großbürgerlichen Wohnung. Innerhalb der Ausstellung wird dieser Raum auf verschiedene Art kommentiert. In Martin Ebners Arbeit wird das Öffentliche, und seine Verwirklichung im Platz, in den Innenraum eingeschrieben und der eigentliche Raum damit erweitert. In Ariane Müllers Arbeit geht es um das Interieur und die versteckten Räume: Denn die großbürgerliche Wohnung beruht auf dem Gegenüber von repräsentativen und von versteckten Räumen – die privaten Zimmer und der Dienstbotenbereich – und damit auf einer Konstellation, die sich in der Freud’́schen Analyse der Seele niederschlug. So werden hier sowohl literarische Referenzen (»The Door in the Wall«, H. G. Wells) aufgerufen als auch Bilder, die direkt an Träume anknüpfen (Das Betreten eines unbekannten Zimmers in der eigenen Wohnung), die in ihrer Eindeutigkeit zur Vorlage für einen der berühmtesten Pornofilme wurden, der die weibliche Sexualität in den Vordergrund rückte (»Behind the Green Door«, A. + J. Mitchell).

Die Zimmerpflanze und die Maus sind in dieser Wohnung zwei sehr unterschiedliche Elemente der Natur und des Außen. Das Fensterblatt dient als Dekoration und Backdrop der Darstellung des kontrollierbaren und dekorativen Weiblichen im Interieur (in den Aktzeichnungen bei Matisse zum Beispiel). Die Maus, ehedem gefürchtete Begleiterin des Menschen ist wie wir in ihrer häufigen Verwendung als Comicfigur sehen, inzwischen kontrollierbar, und hat sich aus ihren anarchischen Anfängen, die bei Mickey Mouse noch direkt auf seine Herkunft als Sklave und Domestik in den Südstaaten verweisen, einstweilen selbst zum rechtsgläubigen Bürger gewandelt. An ihrer Stelle wuselt nun ein Haushaltsroboter polternd und fluchend durch die Räume, der im Gegensatz zur Maus – aber ähnlich den Domestiken, vor denen man sich allerdings weit mehr fürchtete, – die Potenzialität hat, uns zu überwachen und seine Wahrnehmung weiterzumelden.

Die dekorativ-lasziven Formen des Fensterblatts beruhen auf der Notwendigkeit dieser parasitären Pflanze möglichst viel Sonneneinstrahlung im Unterholz aufzufangen, wo diese nur als Sonnenflecken oder Sonnenpunkte vorkommt. Dabei haben Biologen berechnet, dass die Anordnung aus Löchern und Flächen einen minimalen Vorsprung gegenüber ganzblättrigen Pflanzen erzeugt. Innerhalb der Psychedelik eines solchen Raums aus hellem Licht und tiefstem Schatten löst sich die Raumwahrnehmung auf und es entsteht ein traumartiger Zwischenbereich. Dieser natürlichen mathematischen Präzision der Pflanze steht die mathematische Logik des animierten Bildes gegenüber, die aus der Berechnung von einander folgenden Pixeln dem Menschen Bewegung und Raum vorspiegeln kann.

Kuratiert von Anja Lückenkemper

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Zeichnung © Ariane Müller
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___________

BEGLEITPROGRAMM

Kostenlose Sonntagsführungen durch die Ausstellung

am 23. April und 14. Mai um jeweils 14.00 Uhr
mit der Kunsthistorikerin KATHRIN SCHÄFER.
Treffpunkt: Altes Rathaus

___________

KUNSTVERMITTLUNG IM KUNSTVEREIN

Schulklassen aller Altersstufen sowie Kitas und Krippen bietet die Kunstvermittlung des Kunstvereins ein vielfältiges Kunstvermittlungsprogramm – von kostenlosen Ausstellungsbesuchen, thematischen Aktionstagen und Workshops bis hin zu Ateliereinheiten.

Für Informationen/Anmeldung wenden Sie sich bitte an CAROLA GOTTSCHALK:
Tel.: 0551 / 706193
E-Mail: kunstvermittlung@kunstvereingoettingen.de

*
Wir danken unseren Geldgebern und Sponsoren:

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Niedersächsisches Ministerium für
Wissenschaft und Kultur
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Landschaftsverband Südniedersachsen e.V.
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Stadt Göttingen
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Sparkasse Göttingen
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Göttinger Kulturstiftung
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radio athènes

 

 

 

The events are organized by the Goethe-Institut Athen as part of the ‘apropos documenta’ programme.
The presentation/talks will be held in English.
Radio Athènes is supported by Outset Contemporary Art Fund (Greece).
starship-magazine.org
goethe.de/ins/gr/el/kul/sup/apropos-documenta.html
radioathenes.org

SZ

 

FRIENDS WITH BOOKS: ART BOOK FAIR BERLIN 2016

Saturday & Sunday, 10 & 11 December 2016, 11–19h
Reception: Friday, 9 December 2016, 18-20h
Hamburger Bahnhof – Museum für Gegenwart – Berlin
Free Entry

 

 

 

 

Review in Artforum, Dec 2016, print edition,
written by  Neringa Černiauskaitė:

Daylight

 

out now:

DAYLIGHT
Martin Ebner, Kitty Kraus
Brochure, 84 pages, English/Lithuanian
CAC – Contemporary Art Centre, Vilnius

With contributions by Tenzing Barshee, Mihaela Chiriac, Haytham El-Wardany, Monika Kalinauskaitė, Valentinas Klimašauskas, Ariane Müller, Audrius Pocius & Nicholas Matranga

Alexander Wolff with Sonia Leimer, Mandla Reuter, Starship & ztscrpt.net
The painters have finished

SVIT
Blanická 9
120 00 Praha 2
Czech Republic

12.11.-23.12., opening on Friday 11.11.16

 

Essai sur le don
Jahresgabenausstellung 2016
mit Arbeiten von
Martin Ebner, Karl-Heinz Eckert, Katja Eydel, Max Schmidtlein, Barbara Camilla Tucholski
04. Dezember – 31. Dezember 2016
Eröffnung am Sonnabend, 03. Dezember um 19 Uhr

KUNSTHALLE im E-Werk / Spieltordamm 5 / D-19055 Schwerin
www.kunstverein-schwerin.de

Mi – So 15 – 18 Uhr

Starship 15 Release



Starship 15

Neues Heft / New Issue: Out now

 

Präsentation / Presentation Berlin:
5. 11. 2016
ab 19:00 up to 23:00

Between Bridges
Keithstrasse 15
10787 Berlin

Performance by Michell Volta

Kunst und Ambiente, Drinks und Amusement

 

Abonnements / Subscription:


Abonnements für 3 Hefte ab dem laufenden Heft kann man hier bestellen:
redaktion@starship-magazine.org

Subscription for three issues starting from the current issue you can order here
redaktion@starship-magazine.org

Kein Gang zum Buchhändler! Hefte kommen ins Haus.
Be the first to read!

Spezielle Preise / Huge Savings

 

Überblick / Overview:

 

 

Details:


Artists: Nadja Abt, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, Lou Cantor, Nicolas Ceccaldi, Jay Chung, Hans-Christian Dany, Helmut Draxler, Francesca Drechsler, Martin Ebner, Jana Euler, Julian Göthe, Toni Hildebrandt, Karl Holmqvist, Judith Hopf, Stephan Janitzky, Jakob Kolding, Robert McKenzie, Maria Loboda, Nick Mauss, Robert Meijer, Ariane Müller, Christopher Müller, Eileen Myles, Gunter Reski, Mandla Reuter, Cameron Rowland, Julia Scher, Mark von Schlegell, Eva Seufert, Diamond Stingily, Wolfgang Tillmans, Vera Tollmann, Haytham El-Wardany, Nicole Wermers, Amelie von Wulffen, Stephanie Wurster, Florian Zeyfang

Editors: Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen
New Editor: Gerry Bibby
Starship Nº 15 is published by Starship e.V.

Layout concept: Starship and Dan Solbach
Graphic Design: Philip Reinartz
Cover: based on a video still of the performance On Rotation by Gerry Bibby
at Istituto Svizzero di Roma, May 2016
Cover Image: Gina Folly
Centerfold: Amelie von Wulffen
Backcover: Martin Ebner

128 pages, color
Single copy: EUR 8, abroad EUR 10, USD 12
ISSN: 1619-2052

 

 

Look out for

 

 

 

Street posters

 



On Thursday, 13th October, the exhibition “Martin Ebner, Kitty Kraus” at CAC – Contemporary Art Centre, Vilnius, was supplemented by posters placed throughout the city of Vilnius, wherein the public spaces around the commercial displays are being transformed and distorted. These posters are a part of an upcoming publication, following the exhibition, which will include documentation of the exhibition, alongside images of urban spaces in Vilnius, artist collages and texts by Tenzing Barshee, Michaela Chiriak, Haytham El-Wardany, Monika Kalinauskaitė, Valentinas Klimašauskas, Nicholas Matranga and Ariane Müller.

The publication can be booked in advance by finding all 8 of the posters throughout Vilnius, making photographs of them and sending via email audrius.poc@gmail.com

The posters can be found until 25th October.

The curators of the exhibitions would like to express their gratitude to partners of this project, “JCDecaux Lietuva” for the provided support.

Photos: Julijus Balčikonis

 

Up

 

 

Judith Hopf, in collaboration with Martin Ebner: Up
Video, stereo, 1  min 59 sec, 2016
Camera: Florian Zeyfang
Driver: Judith Hopf

 

Judith Hopf
Up

FONDAZIONE MUSEION.
Museo di arte moderna e contemporanea
Piazza Piero Siena 1
39100 Bolzano, Italia

Opening 30/09/2016, 7 pm
01/10/2016 – 08/01/2017

 

Museion presents Judith Hopf’s first solo show in an Italian museum.

Hopf occupies a unique position within the globalized, hyper-connected art world. With her signature playful spirit, she sets about deconstructing certainties and undermining social parameters and conventions. Her ironic, self-deprecating works explore her awareness of her own limits and relish in the awkward and the clumsy. She revels in slapstick, and applies a deliberately amateurish aesthetic, basing her pieces on the simplest of materials.

The exhibition Up, which occupies the Passage area and the fourth floor of the museum, presents thirty works by the artist, including videos, sculptures and drawings, many of which have been produced for the show and forge a dialogue with the venue and its surrounding landscape. The relationship with the South Tyrol landscape can also be seen on the invitation for the exhibition, designed by the artist herself.
In the artist’s sculptures humour is deployed to subvert the language of modernity, and she often uses animals as a sort of symbolic and conceptual medium to convey human practices. In this sense the flock of concrete sheep with funny faces sketched on with charcoal pokes fun at the conventions of minimalist sculpture, its serial nature and intentional absence of associations and content, but also lampoons the behaviour of visitors to contemporary art exhibitions.
Hopf’s latest sculptures are in brick and allude to limitations of physical experience, in the form of a visual oxymoron or paradox: a foot, football and trolley bag so heavy and solid that their motion is frozen into place.

In the Museion show existing works mingle with new pieces created for the occasion. Bricks are not only used in sculptures, but also architectural modules that create the layout of the exhibition; these divide up the space and at the same time serve as supports for some of the works.

Born in Karlsruhe in 1969, the artist teaches figurative arts at the Frankfurter Städelschule and has exhibited in institutions including the PRAXES Centre for Contemporary Art, Berlin (2014), Schirn Kunsthalle Frankfurt (2013), Malmö Konsthall, Malmö (2012) and international events such as documenta 13, Kassel (2012) and the Liverpool Biennial (2014). Her works have been presented at numerous festivals, including the Berlin International Film Festival (the Berlinale), and the “Internationalen Kurzfilmtagen Oberhausen”.

The exhibition will be accompanied by a catalogue published by Mousse Publishing in three languages (It/Ger/Eng) with texts by Roberto Pinto and Letizia Ragaglia, and an interview with the artist by Sabeth Buchmann.

Starship 15

Starship 15
Oktober 2016
Starship Nº 15 is published by Starship e.V.
Editors: Nikola Dietrich, Martin Ebner, Ariane Müller, Henrik Olesen
Layout concept: Starship and Dan Solbach
Graphic Design: Philip Reinartz
Cover: based on a video still of the performance On Rotation by Gerry Bibby
at Istituto Svizzero di Roma, May 2016
Backcover: Martin Ebner
Cover Image: Gina Folly
Centerfold: Amelie von Wulffen
Next issue: Early 2017
Single copy: EUR 8, abroad EUR 10, USD 12

starship-magazine.org
ISSN: 1619-2052

Contributors to Starship Nº 15:
Nadja Abt, Tenzing Barshee, Gerry Bibby, Mercedes Bunz, Lou Cantor, Nicolas Ceccaldi, Jay Chung, Hans-Christian Dany, Helmut Draxler, Francesca Drechsler, Martin Ebner, Jana Euler, Julian Göthe, Toni Hildebrandt, Karl Holmqvist, Judith Hopf, Stephan Janitzky, Jakob Kolding, Robert McKenzie,
Maria Loboda, Nick Mauss, Robert Meijer, Ariane Müller, Christopher Müller, Eileen Myles, Gunter Reski, Mandla Reuter, Cameron Rowland, Julia Scher, Mark von Schlegell, Eva Seufert, Diamond Stingily, Wolfgang Tillmans, Vera Tollmann, Haytham El-Wardany, Nicole Wermers, Amelie von Wulffen, Stephanie Wurster, Florian Zeyfang

 

Martin Ebner, Kitty Kraus – CAC Vilnius

 

Martin Ebner, Kitty Kraus

Contemporary Art Centre (CAC), Vilnius
Curators: Audrius Pocius and Nicholas Matranga
2016.09.16–10.19

The Contemporary Art Centre in Vilnius is proud to present an exhibition by Martin Ebner and Kitty Kraus, living and working in Berlin. Both artists, although exercising a peculiar and different artistic vocabulary throughout their practice, were invited to create an unfolding dialogue throughout the process of the exhibition. Martin Ebner, working primarily within the spheres of film and publishing, whereas Kitty Kraus is known for her sensibility to space, which manifests through her objects, light and glass installations. Together they set to explore not only the premises of CAC here in Vilnius, but also the social and cultural milieu surrounding it. The result might have been unexpected for both as common themes among the artists, such as direction, speed and transparency have surfaced.

In the North Hall, Kitty Kraus has installed a telescope directed at the Polar Star through a hole in the exterior wall, accompanied by a park bench with a small and bright spot of light falling on it, inviting the visitor to sit down. In the meanwhile, Ebner’s tall transparent metal roofs recast into architecture, like shadows of houses carrying monochrome images up in the air. The horizon of the walls of the exhibition hall is covered with colour paintings, depicting simple forms found in the urban: traces of objects and language. While the filmic moment of gradual and constant change of light and shadow is accentuated by a projected light door appearing slowly in space and disappearing again.

In the Atrium, the collaborative installation of a spinning water sprinkler jetting out a disk of 360 degrees geometrically cuts through the space, simultaneously destroying sight and making glass and water visible, unpredictable yet precise as a clock, and in its own distinct sound.

Thus, divulging a distant relation and pinpointing the self along an elaborate constellation of coordinates, the North Hall becomes an observation deck of the imaginary. The establishment of a fixed position functions as an apparatus to chart a bearing, referring to the movement of the earth and the individual, revealing the complex and fickle everyday relations among people and objects, encouraging to rethink what seems as clear without saying and what remains unnoticed while the star itself remains invisible.

Martin Ebner is an artist working in Berlin. His work for the past decade has focused film and video, while working with installation, sculpture and images. He is also a publisher and editor of Starship Magazine, together with Ariane Müller, Nikola Dietrich and Henrik Olesen. Other collaborations include artists Judith Hopf and Florian Zeyfang (Poor Man’s Expression). Ebner’s work has been exhibited and screened at public and private institutions including: Berlin International Film Festival – Berlinale; Kunstverein Hamburg; Kunsthaus Graz; Artist Space, New York; KW – Institute for Contemporary Art, Berlin; Salvador Allende Museum, Santiago; Extra City, Antwerp. www.martinebner.org

Kitty Kraus works in Berlin. Primarily working in sculpture, Kraus’ nuanced approach to object making, while having a familiarity to Minimalism, reflects a sense of transformation, fragility, and decay, that connects it to society’s current need for urgency. Her work has been shown internationally in solo and group exhibitions, at institutions including: Solomon R. Guggenheim Museum, New York; Kunsthalle Zürich; Palais de Tokyo, Paris; MIT List Visual Arts Center, Cambridge, MA; Kunstmuseum Luzern, Lucerne; Hamburger Kusthalle, Hamburg; Marres – Centre for Contemporary Culture, Maastricht; The David Roberts Art Foundation, London; Sculpture Center, New York; New Museum of Contemporary Art, New York.

Together with: Tenzing Barshee, Mihaela Chiriac, Haytham El-Wardany, Monika Kalinauskaitė, Valentinas Klimašauskas, Ariane Müller

Exhibition sponsors: Ministry of Culture of the Republic of Lithuania, Lithuanian Council for Culture, JCDecaux Lithuania, UAB Vandens lašai

Exhibition partners : Vilnius Pataphysics Institute, Starship Magazine

Information partner: frieze

Thanks: Claudio Ramirez Castelli, Edgaras Gerasimovičius, Viltė Girdzijauskaitė, Simonas Gudelis, Žilvinas Landzbergas, Adriana Lara, Mykolas Leckas, Alejandro Olávarri, Domas Ramanauskas, Šarūnas Paškevičius, Tomas Pečiukonis, Žilvinas Žilinskas

 

 

 

 

 

 

 

 

Coral

ASP 2

 

The Artist Self-Publishers’ Fair

10th September 2016 11 am till 7pm

Following on from the success of the inaugural Artist Self Publishers’ Fair in 2015, this year ASP hosts over 70 UK and international independent artist self-publishers for a one-day fair.

This second edition continues to avoid the restrictions and market dominance of much of contemporary arts culture. The publications are still the artworks; affordable and available, and remain free from the fetters of the institution or gallery. The ideas, images and text are produced and published by artists who understand the restrictions and freedoms of the printed page. In addition to those selected for the fair, ten places will be allocated through open submission.

ASP seeks to celebrate and promote artist self-publishers and their work.

 

ICA
The Mall
London
SW1Y 5AH

ASP2 – The Sequel – Artists / Publications

Alex Pollard – Ami Clarke – Angel Rose – antoine lefebvre editions – Arnaud Desjardins
Baby Doc – Beast Press – Behind the X – Bronze Age Editions & Blotter Books – Buried
Bus – Cesura//Acceso – Clod – Coelacanth Journal – Control – Covered in Toner
Da Thirst – Dan Szor & Racheal Crowther – David Osbaldeston – Ed Lehan & Lena Tutunjian
Eleanor Vonne Brown – Emily Pickthall – Ethan Hayes-Chute – Florida
Fritz Welch – Gloria Glitzer – Good Press – Gregor Wright – GRRRR – Hannah Sawtell
Hard Mag – Hate Magazine – Ho Tam – Interactive Monster Unit – Inventory – Isobel Reddington
Jamie & Rickie McNeill – Jasmin Reif – Jean-Michel Wicker – Jihoon – Laugh Magazine
Laura Yuile – LONDON – Luke Dowd – Mark Aerial Waller – Mark Pawson
Markus Vater – Melanie Coles – Michalis Pichler – Museums Press – The Nervemeter – OCR
Overview Magazine – Owen Piper – Paranoia – Pound Shop – Rachel Cattle & Steve Richards
Richard Roberts – Sara MacKillop – Schizm – Scott King – Simon Popper – Skindeep
Starship – Stuart Bannocks – Tamsin Clark & Richard Bevan – Tom Pounder
Verdrusz Books – Waldemar Pranckiewicz – William Cobbing – ztscrpt

International Table / Richard Parry
And throughout the day DJ Black Eggs the Rebel will provide the best in background music

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