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  • Rosa Barotsi

    Time and the Everyday in Slow Cinema

  • Dominik Mattes, Janina Kehr, Julia…

    Radical Health. Cache 04

  • Janina Kriszio

    Keep your City real! Stadtfilme zwischen dokumentarischer…

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    Exocapitalism. Economies with absolutely no limits

  • Birgit Wiens

    Bühne. Perspektiven der Szenografie und Performance Design…

  • Marcel Bächtiger

    Kino-Obsessionen - Le Corbusier, die Architektur und der…

  • S.E. Eisterer (Ed.)

    In the Daylight of Our Existence. Architectural History and…

  • Rachel Pafe, Mimi Howard (eds.)

    Reading Roses in Constellation

  • Annette Krauss

    Unlearning Routines of the Impossible Casco

  • Holly Dicker

    Dance Or Die: A History of Hardcore

  • Stevphen Shukaitis, Joanna Figiel

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  • Brian Massumi

    Toward a Theory of Fascism for Anti-Fascist Life. A Process…

  • Rasheedah Phillips

    Dismantling the Master's Clock: On Race, Space, and…

  • Andy Crysell

    Selling The Night: When Club Culture Meets Brands,…

  • Paul Gilroy

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    100 Words for Water. A Projective Ecosocial Vocabulary

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    Universal Prostitution and Modernist Abstraction. A…

  • Martino Tattara, Federico Zanfi (eds.)

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  • Transforming Solidarities (Hg.)

    Solidaritäten transformieren. Praktiken und Infrastrukturen…

  • Jenny Schlenzka, Julia Grosse

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  • Patrick McGraw, Heavy Traffic

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    Anthony Dunne, Fiona Raby

    Not Here, Not Now. Speculative Thought, Impossibility, and…

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    Stephanie Loveless (Ed.)

    A Year of Deep Listening. 365 Text Scores for Pauline…

  • Hal Foster

    Fail Better. Reckonings with Artists and Critics

  • Charlotte Malterre-Barthes (Hg)

    On Architecture and Work. The Political Economy of Space…

  • Mario Asef, Golo Föllmer, Georg Klein,…

    Errant Sound Reader. Thoughts and Practies from the Berlin…

  • Katía Truijen and Brandon LaBelle (Eds)

    Epistemic Imaginaries. Learning as Festivity

  • Brandon LaBelle

    Poetics of Listening: Inner Life, Social Transformation,…

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    IDEA Magazine

    Idea 410. Shaping Fear: Visualizing Terror and Unease in…

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    Idea 409. In Search of Beautiful Books: Manuscripts from…

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    Ears to the Ground. Adventures in Field Recording &…

  • Justin Patrick Moore

    The Radio Phonics Laboratory. Telecommunications, Speech…

  • Miriam Oesterreich

    Branching Out. Botanical Metaphors and Worlding Art History…

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  • Frederik Schulze, Philipp Wolfesberger

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  • Anne Carson

    The Gender of Sound

  • Esther Buss

    Aus der ersten Person. Filmische Autobiografien/Autofiktion

  • Max Turnheim

    The Use of Space

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  • Forty five degrees

    Radical Rituals – 45°N 1°W to 45°N 7°E

  • Matrijaršija

    Optically Suspicious

  • Egon Erwin Kisch

    Karl Marx in Karlsbad

  • Luc Merx

    Cairo’s Plaster Casts

  • Beatrice Leanza

    The New Design Museum. Co-creating the Present, Prototyping…

  • Hito Steyerl

    Medium Hot. Images in the Age of Heat

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    Martina Angelotti, Matteo Lucchetti,…

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  • Christa Blümlinger (Hg.)

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  • Pauline Oliveros

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  • Zasha Colah (Hg)

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  • Christian Nirvana Damato

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    Akshar Gajjar, Sonal Mithal

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  • Françoise Fromonot

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  • Mark Webber (Hg.)

    The Afterimage Reader

  • Jack Self (Ed.)

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  • Aleksandr Delev (Ed.)

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  • cover Fabien Girardin, Julian Bleecker…

    The Manual of Design Fiction

  • Morgane Billuart

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  • Melanie Isverding, Thomas Düllo,…

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  • Vaim Sarv with Anne Türnpu, Andreas…

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  • Robert Klanten, Joe Gibbs

    Circular Materials. Innovation and Reuse in Design and…

  • Nicola Borgmann, Elisabeth Endres,…

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  • Erhard Schüttpelz

    Medium, Medium. Elemente einer Anthropologie

  • Omar El Akkad

    Eines Tages werden alle immer schon dagegen gewesen sein

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    Stefan Rettich, Sabine Tastel

    Die obsolete Stadt. Wege in die Zirkularität

  • Kai Drewes, Wolfgang Kil

    Pläne und Träume - Gezeichnet in der DDR

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    Tavia Nyong'o

    Black Apocalypse. Afrofuturism at the End of the World

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    Évelyne Gayou

    Revolution in Music. The History of the Groupe de…

  • Dorothee Albrecht (Hg)

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  • Carolin Overhoff Ferreira

    Decolonial History of Art. A Methodological Introduction

  • Andreas Hild, Andreas Müsseler

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    Rosanna McLaughlin

    Against Morality

  • Editor: Sascha Bauer, Authors: Sascha…

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  • Astrid Deuber-Mankowsky

    Queer Post-Cinema. Reinventing Resistance

  • Rahel Hartmann Schweizer

    Lisbeth Sachs. Animate Architecture

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  • Valentin Bansac, Mike Fritsch, Alice…

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  • Elena Guidetti

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  • Chantal Akerman

    Chantal Akerman. Eine Familie in Brüssel

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    Peter Thomann. Hors Piste

  • Sophie Dars, Carlo Menon (eds.)

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  • Zara Pfeifer, Marina Montresor (ed.)

    Calcio Storico. Zara Pfeifer

  • Suely Rolnik

    Sphären des Aufstands. Anmerkungen zur Dekolonisierung des…

  • Urban Fragment Observatory

    Visiting. Inken Baller & Hinrich Baller, Berlin 1966-89…

  • Camille Pradon, Christos Papamichael,…

    Machine Paralysis. A Different Kind of Mobility

Monte Carlo Club

THE MONTE-CARLO CLUB combines references to geo-political conflict with everyday iconographies and art-historical clippings. In this mixture of images one will find tattoos and embroidery, anthropological illustration, cut-outs from art-history books and fashion-magazines, pornography and advertisements for guns. The combinations of these images form webs of connections. Not as clear-cut dialectic arguments, but rather in the way that the shape of mushrooms corresponds with that of hot-air-balloons and stacked naan-bread. Or how the shape of a mouth corresponds with the look of tattoos on the backs of punk-rockers and the bodies of South-American Indians.
These combinations work across the diversity of things and images that constitute THE MONTE-CARLO CLUB: video, collages, objects, exhibition, text and the book. Motives and images are repeated, copied directly or with the difference of being out of focus or just a detail. These are differences that accentuate the complexity of difference itself, also as a problem of sameness or coherence. Staging a web of connections, whether it is within a collage or in the extended space of the project, is highly suggestive. This suggestiveness is however kept on a probative level. It is neither naively utopian nor ironically mocking; although the work will at points adopt the structures of both utopianism and irony. The project works as a series of tests, examining the possibilities of art in a landscape of different structural approaches or modes of engagement. Significantly so, also in the way Tapia frames his project by changing the palatial stone floor of the gallery to a chequered linoleum, equally reminiscent of a homely kitchen, the virtual reality of early computer generated 3-d and the even earlier virtual spaces of renaissance perspective.
In science-fiction familiar conflicts are transported into the different setting of the future, but the individual elements that constitute this future are most often only superficially different from things we know.
The root of the difference lies in the fabric of time and space that ties everything else together. This way the disfigured and abstract notion of time and space will often constitute the difficult circumstance of the plot, as well as being the primary condition of the literary construction itself with its’ projections between past and future. In that, science fiction shares certain of art’s classical interests in relations between form and content in time and space. One could even take it a step further and compare the mechanics of the central motif in science fiction, the paradox of time and space, with an idea of artistic autonomy. In science-fiction the construction will offer endless dramatic potential in how fictional characters can be split into identical doubles, dissolved slowly or disappear into another dimension. These dramas being, of course, only smoke-covers for the more real danger that the literary construction itself will suffer the faith of splitting into doubles, dissolving or disappearing into another dimension. Or to put it more plainly, collapse due to its’ own unlikelihood.
Such are also the fears and promises of the mechanism, that Tapia examines when he finds a “sculpture” in the photograph of a person hiding under a blanket sticking out an arm. Or a “totem-pole” in a tower of paper cups put together with duck-tape by a street musician for collecting gratuities of passers-by. Or when he - by means of a snapshot - includes in his collection a fantastically disgusting incident of three boiled eggs in dark sauce left on a cardboard beer-mat in a window-sill underneath a flower-like curled-up napkin. By scissoring old postcards Tapia will create a strangely illogical rock-formation, and by turning upside-down a photograph of a crystal bird figurine in a shop-display, he will make an odd landscape, still accurately priced at “486”. These are all quite ephemeral and coincidental constitutions of form in unlikely contexts. Like small paradoxes of order existing both because and in spite of an environment that denies the possibility of such things.


Javier Tapia
Monte Carlo Club
Eigenverlag, 2008
25,00 €