Robert Montgomery - Every morning now some of the things you have loved will always be behind you - 2012

mono.log #01 / Publication in 3 Parts / 2012
English / 50 × 34 cm / 108 Pages
For lack of a better word, there is a profoundly magical moment in the works of Robert Montgomery: In the middle of the street, we might come across his words and realise that someone is speaking with us – through an anonymous poem between advertising billboards or as an unidentified page in a magazine, or a light installation illuminating the night.

But while introducing poetry as sparkles of beauty into the public realm, presenting words as living part of our environment, Robert’s words and works have a tendency to linger in our memory for a long time as they slowly unfold. His poems are an archive of moments that poignantly capture the way it feels to live at this moment in time. They articulate, reprehend and simultaneously celebrate our shared experience of modern life.

Echoes of Voices in the High Towers is the first comprehensive publication of Robert Montgomery’s work. Referencing the scale of his public interventions, all images are presented in full colour in a momentous A2 format, folding out to A1.

The publication is divided into three separate booklets:

– Every Morning Now
A selection of Robert Montgomery’s work between 2004 and 2012.
36 Pages / 18 Plates / A2
– Echoes of Voices in the High Towers
A complete documentation of the eponymous project in Berlin, Summer 2012.
44 Pages / 61 Plates / A2
– Alive in the Sunlight
Two conversations, in 2008 and 2012, with Robert Montgomery.
28 Pages / A5

The booklets are delivered in a white cardboard envelope, with an additional postcard included.

Artworks by Robert Montgomery / Interviews by Jérôme Sans & Manuel Wischnewski / Art Direction by mono.studio / Design by Kai von Rabenau & Matthew J. Milner Jr. / Published by mono.kultur

ISBN 978-3-9815549-0-8

“t's quite interesting working with you on this and watching your process. Which I think is a kind of hyper-tuned Zen version of post-Bauhausian intellectualism and discipline. Its seems to be a super light touch and almost a cold 'catalogue raisonné' perspective on things. Which is good for me, cos I get too pushy and partisan about things always. What's nice watching it is every edit steps back a step from the way I see the work and how I would warp it with my subjectivity when I photograph/edit it. It puts the work at a sort of academic distance, but also makes it feel more REAL in the world, which I LOVE. It's probably like Martin Hannett working with Joy Division.”
— Robert Montgomery