I LOST MY GEMS [ILMG002] Stand der Ermittlungen (Rauschgyft, Mythoz, Style) Manuel Sekou @i_lost_my_gems I LOST MY GEMS Stand der Ermittlungen ILMG002 (Rauschgyft, Mythoz, Style) Manuel Sekou I LOST MY GEMS [ILMG002] "Stand der Ermittlungen" (Rauschgyft, Mythoz, Style) ist eine Fortsetzung des 2021 produzierten Hörstücks ILMG001. Die Publikation nähert sich auf 248 Seiten dem Thema Dresden, Mythos, Ost-West Konflikten, Jugend, Klasse, (Nachwende-)Generation Y, Alltagsabsurditäten und Clubkultur der 2000-10er in essayistischer Form an. Als Almanach der Subjektivität wird hier das Aufwachsen im Geflecht von Symptomen eines gescheiterten Systems zum gruppendynamischen Ghostbusting, das seine Symptome bis in die Gegenwart sedimentiert. Die Komplexität der miteinander verwobenen Themenbereiche wird dabei in einer Form der visuellen Sprache transformiert, die sich selbst immer wieder durch Kommentare, Verweise und fragmentarischen Schreibstil infrage stellt und den Zweifel selbst zum grundlegenden Ton des Buches macht. Die Texte und Text-Bilder sind als kollektive Polyphonie verschiedener Personen ins Buch eingegangen und sollen kein einheitliches Bild der Erinnerung vermitteln, als vielmehr mehrdimensionale Lesarten, Ab-bildungen, Konstellationen und Beobachtungen anbieten, indem sie durch dialogische Unschärfe auf brüchige Muster (Patterns) verweist. Die Frage nach Trash und Treasure kann in dieser Hinsicht als Leitmotiv der unklaren Beweisführung betrachtet werden. Projektion und Realität verschwimmen im Gewebe von Bildersammlungen, Anekdoten, Meinungen, Vermutungen und Gefühlen, die zu einem Mosaik des Memory in einer Auswahl von ~630 Bildern einen Versuch unternehmen, den X-Faktor Dresdens auf gesellschaftspolitischer Ebene aufzuschlüsseln. Die Videocollage knüpft thematisch nach dem Buch an das Thema Club an und verdichtet auf Grundlage von Found Footage Fragmente zu Musikkultur, sächsischem Dialekt und Aggression. Dabei tauchen immer wieder Versatzstücke aus

Mizna 24.1 - Myth and Memory Featuring Rasha Abdulhadi, Abdulkareem Abdulkareem, Lydia Abedeen, leena aboutaleb, Nyree Abrahamian, Maya Abu-AlHayyat, Yasmine Ameli, Aida Bardissi, Nwuguru Chidiebere Sullivan, Sarah Cypher, Sara Elkamel, Bex Frankeberger, Zeina Hashem Beck, Umang Kalra, Aram Kavoossi, Lena Khalaf Tuffaha, Aliah Lavonne Tigh, Angie Mazakis, azad namazie, Chiwenite Onyekwelu, Hana Saad, Lubna Safi, donia salem harhoor, Samia Saliba, Yasmine Seale, Moheb Soliman, Ojo Taiye. Sarah Cypher is interviewed by George Abraham. Visual art by Sadiq Kwaish Alfraji.

Please join us on Friday for the Book presentation and Vernissage of “I lost my Gems” from Manuel Sékou at Motto Berlin The event will be accompanied by a live music performance by the musician Gajek. 22 September 2023 from 7 pm After the heist of historical jewellery and art objects out of the Green Vault in Dresden, the case has been reported worldwide. The reports and narrations around spectacular incident quickly drifted into peculiar vocabulary, provoking projections and prejudices against the city of Dresden and its citizens. The discrepancy between personal experience and conveyed attributions about Dresden do manifest the initial point of the project „I LOST MY GEMS“. Manuel Sékou – raised in Dresden and the artist behind the venture – directs his perspective back to his hometown and youth within the years of the 2000-10s, to confront dynamics of the inner-German history in relation to his own socialization and thus to carve out dispositions of socio-political patterns of behavior induced by collective uncertainty: interference of adolescence with shadows a collapsed system… Matti Gajek produces and performs electronic music under the stage name Gajek. In his music, Matti Gajek explores evolving textures of high-energy digital production, vibrant rhythms, strings, and synth through endless effect-chains of pitch-shifters and ring-modulators to create oscillating atmospheres combined with haunting lyrical work. Influenced by the East German avant-garde and the electronic music (Krautrock) of West Germany, as well as the genre bending post internet cultures. Gajek has published records on Throttle records, Monkeytown and Infinite Grayscale and performed in Venues such as Trauma Bar und Kino, Berghain, Printworks London. He composes music for films, theater, exhibitions and performances, His Soundtrack for RP Kahl’s A Thought of Ecstasy (2018) was nominated for Preis der Deutschen Filmkritik in the category Best Music in 2019. @luxxuryvibelivewire @i_lost_my_gems @matti_gajek Merci @valentinwedde

JUnQ Erwan Sene @erwansene Pan @pan_hq Each page of the JUnQ book dives into the neon structures of Sene’s Cronenberg-like mutations: miniatures, models and ventilation details echo the micro-evolution of Sene’s “imaginary mundane.” Moments of object recognition flicker before receding from view. Appropriating the mechanisms of the COVID-19 pandemic, Sene seeks to conjure the sense of entrapment brought on by infection, affecting containment in the microscopic abstractions he presents of his own sculptural work. Casting his contained biotope as a friend, rather than a foe, the fragmented view of these works imbues them with a sense of intimacy and primacy. It features a bespoke type designed in collaboration with Marie Mam-Sai Bellier and Marine Stephan. Evocative of archeology and the imagined glyphs traced by lost civilizations, the type provides an (il)legible scripture to JUnQ’s multi-fold universe. JUnQ, or the Journal of Unsolved Questions, is modeled on a parallel exercise: to sketch music and to score sculptures. Part exhibition, part book and part album release, JUnQ seeks to propose a collaborative language that binds the algorithmic needs of an artificial pop star to the performance of the artist himself. Boundaries between reality and artifice are blurred in a continuous chain of confrontation and sublimation, wherein a romance between analog evolution and digital experimentation is born. The immersive project released by PAN represents Erwan Sene’s debut album and the multifaceted nature of his approach. Composed like a chorus of fantastical beasts, the album wanders atmospherically through a fogged wood. Sounds are never used for their default function–– they are sculpted, distorted and amplified, becoming hybrids of themselves. A haunting banshee, the monstrous growl of an Orc, Siren songs wafting through the trees–– these and more are recreated with sinuous violins, muffled harpsichord and digital instruments, culminating in a a vibrant “jungle” of sound. Includes a mixtape download code. #erwansene #panhq #berlinrecordstore #berlinbookstore

Julien Carreyn & Friends September 16-19, 2023 At Motto Vertbois 38 rue du Vertbois 75003 Paris @mottovertbois Featuring : Xavier Antin Myriam Barchechat The Beautiful Schizophonic Loic Blairon Adèle Bournazeau matali crasset Camila Farina Vanille Fouché Popline Fichot Thomas Fougeirol Louis Gary Nicolas Giraud Henri Guette Alain Guiraudie Hendrik Hegray Ker-Xavier Pierre La Police Amélie Lucas-Gary Benoît Maire Melina Malheurty Antoine Marquis Caroline Pillet Postcalifornia Augustin Puzio Arnaud Pyvka Renaud Regnery Louise Sartor Juli Susin Frédéric Teillard Sergio Verastegui Camille Vivier Juana Wein Julien Carreyn invites his friends for a selection of fanzines, tapes and vinyls, with a handful of releases produced especially for the occasion. #juliencarreyn #juliencarreynschool #parisbookstore #parisrecordstore #librairieparisienne #zines

Pripyat (vinyl) Marina Herlop @marinaherlop Pan @pan__hq Marina Herlop is often described as a pianist, a lingering remnant of her classical training. But what strikes the listener on Herlop's breakout track miu is the intricate trickery of her voice, tracing rhythmical clusters around the subtlest of musical beds, in a technique inspired by Carnatic music of Southern India.miu, the opening track of Herlop's new studio album Pripyat, was among the first songs that the young Catalan artist made on a computer, after two albums - 2016's Nanook and 2018's Babasha - that brought spectral elegance to the sound of piano and voice. This spirit of adventure continues into Pripyat, Herlop's first full album produced on a computer, and her most intensely emotional work to date.Listening to Pripyat you can feel the emotional toil and creative endeavour that went into the record. Fans of Nanook and Babasha will recognise the combination of melancholic piano and elegant vocal lines that is found on Pripyat tracks like abans abans. But Pripyat has a far fuller, almost chaotic sound when compared to Herlop's previous work, with the addition of electronic drums, electric bass lines and a wealth of sublime production effects.Added to this production expertise are songs of incredible grace and poise. Kaddisch is a spectral torch song rendered in emotional 3D by Herlop's gorgeous voice; ubuntu has a feeling of deep longing and lingering sorrow; and shaolin mantis is like a pop song refracted through disorienting production effects and percussive vocal cut ups. Pripyat is the perfect combination of computer production trickery and intimate emotional release. Tracklist: 1. Abans Abans 2. Shaolin Mantis 3. Lyssof 4. Miu 5. Ubuntu 6. Kaddisch 7. Miu (choir Version) #panrecords #panhq#marinaherlop #pripyat #vinyl #berlinrecordstore #berlinplattenladen #billkouligasrules

Platine Alexander Binder Motto Books 1. Edition of 50 (numbered) 40 pages Saddle stitched Printed on 115gsm grey recycling paper (Blue Angel) Cover: 300gsm grey recycling paper (Blue Angel) #alexanderbinder #mottobooks #berlinbookstore #berlinbuchhandlung #berlinartweek

Julien Carreyn & Friends Opening Saturday 16 September, from 4pm At Motto Vertbois 38 rue du Vertbois 75003 Paris @mottovertbois Featuring : Xavier Antin Myriam Barchechat The Beautiful Schizophonic Loic Blairon Adèle Bournazeau matali crasset Camila Farina Vanille Fouché Popline Fichot Thomas Fougeirol Louis Gary Nicolas Giraud Henri Guette Alain Guiraudie Hendrik Hegray Ker-Xavier Pierre La Police Amélie Lucas-Gary Benoît Maire Melina Malheurty Antoine Marquis Caroline Pillet Postcalifornia Augustin Puzio Arnaud Pyvka Renaud Regnery Louise Sartor Juli Susin Frédéric Teillard Sergio Verastegui Camille Vivier Juana Wein Julien Carreyn invites his friends for a selection of fanzines, tapes and vinyls, with a handful of releases produced especially for the occasion. Opening times: Sunday 17 Sept. 12-8pm Monday 18 Sept. 12-8pm Tuesday 19 Sept. 12-8pm #juliencarreyn #juliencarreynschool

Makan #2: Manufacturing Narratives Ali T. As’ad (Ed.) (English, French, Arabic) @thinktanger Makan is a journal of culture and space that is edited and published by Think Tanger. The inaugural issue was published in 2020 and established the foundations for the journal as a vehicle for critical engagement with contemporary architectural and urban conditions and with academic scholarship emanating from, or focused on exploring, Africa and the Arabic-speaking milieu. The second issue, which will be available for purchase at the launch, focuses on how interrogating narrativity can provoke fundamental questions about how societies define or choose to accept societal or historical truths in today’s world. Contributors include: alayounis @a_is_for_ox @bariabbassi audi_george @lahbib.elmoumni @laila_in_transition @maur_en mawnwam @sename__ @ytobarrada @soniaterrab @souf.henn @hhichambouzid @etlettres & Karim Kattan, Karima Kadaoui, Nadia Tazi, Salma Barmani #makanjournal #thinktanger #KarimKattan #KarimaKadaoui #NadiaTazi #SalmaBarmani #alayounis #tangier #morocco #maroc #hichambouzid #alitasaad

Kink Gong record release! Thursday September 14, from 6pm @ Motto Berlin In presence of Laurent Jeanneau @kinkgongrecords Hani - Polyphonic Singing in Yunnan China SF123 @sublime_frequencies From Mystic choral beauty drifting far into the outer cosmos, this other worldly traditional music ensemble creates a contemporary-sounding avant-garde vocal fusion combined with strange instrumental accompaniment. The HANI are linguistically derived from the YI branch of the Tibeto-Burmese and number a million and a half in the southern part of Yunnan province in China above Laos and Vietnam where smaller Hani communities also live. As with many other ethnic groups of the area, an original traditional singing pattern is used with each singer adapting the words to the context. The choir that gathers all singers at the same time is considered to be a very unique style of vocal polyphony or heterophony. The cascading, mournful feel of this music is powerfully transcendent and you’ve never heard anything like it. 
Many of these songs express intimate strong emotions that bring tears to the performers while they are singing. Instruments used by the ensemble include the BABI (single tree leaf ) and MEPA (rolled up tree leaf in a shape of a horn or mirliton), a CHIWO (3-stringed bowed instrument), a LABI (6-holed bamboo flute), a LAHE (3-stringed small lute) and a MEBA (vertical reed instrument). Recorded by Laurent Jeanneau in 2011. #kinkgong #berlinrecordstore #laurentjeanneau #vinyl #yunnan #sublimefrequencies#berlinartweek #mepa #chiwo #babi #lahe #labi

The Future Sound Of Yesterday Orchestra Señor Sapo Shaddock Records Señor Sapo is a character created based on the Mesoamerican deity Quetzalcoatl: while capturing Sr. Sapo atop The Pyramid of the Sun at Teotihuacan in The Valley of Mexico; dawn… Augie Robles (the photographer) spotted an elementary school class of around 25 children with two teachers suddenly appear scaling the momentous stair case behind our subject! They shouted; “Sr. Sapo! Sr. Sapo!” the name has stuck! they wanted to have their pictures taken with Sr. Sapo? however; they did not want to touch him as they thought his skin might be “viscoso” or “slimy”? “Q’uq’umatz” (as it is known amongst the K’iche’ Maya) goes back to the Olmec culture and represents the duality of flight to reach the skies; whereas the reptilian (in most cases a snake) represents the ability to mingle amongst other creatures of the Earth; Among the Aztecs he was related to the gods of wind; of the dawn; of merchants and arts; crafts; knowledge and the planet Venus: as well as their patron god of the priesthood…

Why do hoodie strings taste so good? Ignacy Radtke This text is an attempt to explain the importance of comfort regulation, through sensory stimulation. Whether that be from fidgeting, through masturbation to cuddling and other activities. This thesis is about self-regulation and the objects which visualise that need. From the Freudian psychoanalysis idea of child development through transitional objects introduced by Donald Winnicot to Dakimakura phenomena in otaku culture in a Japanese society that seeks closeness to cute pastelle vibrators which are overflowing the sex toys market. The attempt to answer this question: “Why do hoodie strings taste so good?” seeks to answer the overarching need for constant adjustment to the environment we live in. I’m intrigued by the need for biting, sucking, and tapping random objects. The fidgeting era is here! We are overwhelmed by all kinds of spinners, popping toys, anti-stress devices, dopamine booster, etc. What is it all about and why have fidget spinners became such a hype in the recent years? Have you ever considered why your hoodie strings taste so good? Have you caught yourself while compulsively sucking them in the metro or at the bus stop? This thesis will endeavour to answer these questions. The answer might be much easier and more pragmatic than we think. In contradiction to my deep analysis in the following sections, one of the reddit users wrote in response to the above question: Why do hoodie strings taste so good? “Just don't do it! After sucking them a few times, they become bacteria factories/colonies, so taste (and probably smell) evolves over time. Don't suck and chew them!! They do, however, work as good, reachable things to practise finger dexterity - to tie knots into and practice rope binding”