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Mousse

Mousse Magazine Issue #76

7 July 2021 in Magazines Comment

Mousse Magazine, Issue #76, Summer 2021 Cover

Mousse Magazine
Issue #76
Summer 2021

U in a movie called The Green Ray

“August the month it’s meant to happen. Plans get made, the fleetingness of the ruse. She gets dropped within minutes: no more vacation.” Straddling fiction and object-oriented writing, Travis Jeppesen revisits Éric Rohmer’s The Green Ray (1986), sketching the main character Delphine’s torments as she (“U”) is left without plans just as Paris is emptying out for the summer.

Ten Short Fictions on Works by Joachim Bandau

Between 1967 and 1974, Joachim Bandau made a series of fiberglass works fusing the anthropomorphic with eerie appropriations from technology and industry. Entering into the playful, experimental, and uncanny spirit of Bandau’s sculptures, Nick Currie responds with ten short works of fiction.

Contact Barrier

Patricia L. Boyd speaks with Dora Budor on probing the architectural, emotional, and psychological boundaries of an institution; what the compartmentalization of physical spaces means for inner experience and thinking; barriers, negative spaces, and loaned perceptions; and Hold, her recent exhibition at Kunstverein München.

Primary Resistance

“With animals, the left turns right.” This was the outset for Fahim Amir’s award-winning book Being and Swine: The End of Nature (as We Knew It) (2020). In conversation with Sohrab Mohebbi, Amir deepens the subject of “solidarity with animals,” locating his discourse within a Marxist tradition and expanding it into a post-development train of thought that questions anthropocentric socialism and capitalist exploitation.

Focus on: Julie Becker
The Delirium of Digression
Outside the Vitrine (Julie Becker, Sparkle Woman)

“Distortions in time, changes in scale, senses of derealization and depersonalization. Makeshift force fields, cardboard boxes, corners of the mind, and iconic figures mobilized as transports of the imagination capable of stirring the mind out of its single room-squalor and into a ‘larger more complex world.’” In “The Delirium of Digression,” Sabrina Tarasoff ponders Julie Becker’s imagery as a domestically shaped fever dream, while in “Outside the Vitrine (Julie Becker, Sparkle Woman)” Mark von Schlegell recalls his friendship with Becker by way of her obsession with the immediate world around her: her studio, her apartment, her neighborhood in Los Angeles. “By revealing the illusionary foundations of cultural projects in which the only escape is for the purpose of eternal return, Becker approached the inside as a special case of the outside wasteland, a site of living, layered presences, fetishizing and fixing their absences on the flat surface of things.”

Once Upon a Time There Was a Phantasmatic Storyteller

Author of an autonomous, experimental, and both intimate and radically political practice, Giuseppe Desiato epitomizes the heterodox intellectual in the history of contemporary Italian art. According to Andrea Viliani, Desiato stages the archetype of a Mediterranean sensibility, that “southern” and popular exception that the tension toward modernity has systematically forced to the margins.

A Heart Pierced by an Angel’s Spear

“I want to disrupt the way language is formed,” notes Tarek Lakhrissi, referring to a practice rooted in literature. Conversing with Hans Ulrich Obrist, the artist unfolds his inspirations from pop culture and how his research on queerness, emotions, spirituality, education, decoloniality, and empowerment points to the creation of spaces of sharing and community.

On Those Shores But in These Shoes

Delving into Ingrid Pollard’s work, Ella S. Mills outlines resonances and interpretations of the sea in the artist’s practice. Combining photography, text, found objects, personal photos, and letters, Pollard explores traditional landscape, portraiture, ingrained social constructs, national identity, ownership, borders, and grand narratives of history.

Mousse Magazine

Tags Mousse, Mousse Magazine

Mousse 71, Spring 2020

9 April 2020 in Magazines Comment

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Mousse 71
Spring 2020

The Spiraled Heart of Abandoned Things:
Ann Greene Kelly by Andrew Berardini

“Weathering the sun and rain and chill, they linger, waiting for anyone at all to see in their bedraggled and jilted bodies some new purpose besides disintegration: the tire to become a planter, a tree swing, tread for new cheap shoes—or, in Kelly’s hands, art.” Andrew Berardini on Ann Greene Kelly’s sculptures.

On Psychotic Images and Other Visual Symptoms by Aurélien Le Genissel

Visual art encompasses countless levels of language, withholding unspoken fears, dreams, and ideologies. Aurélien Le Genissel scrutinizes the techniques that artists, in our image-saturated world, employ to represent psychological demons and the ways we deal with them.

Based on a True Story: Todd Haynes’s Dark Waters and New New Left Cinema by Emily Verla Bovino and Hera Chan

Todd Haynes’s Dark Waters (2019) prompts Hera Chan and Emily Verla Bovino to examine the reliance of U.S. cinema on the purported truth, and the way we experience such reenactments as banal naturalizations of history.

A World without Angles: Larry Bell by Marie de Brugerolle

From his first paintings to his angle-cut and unframed standing walls, Larry Bell has explored the interaction of light on surface, and the resulting effects of vision and perception. Marie de Brugerolle investigates his pioneering work and inventiveness, as well as his decades-long impact on other artists.

The Sleeping Beauty Concept Works by Sabrina Tarasoff

Inspecting the oeuvre of Eyvind Earle, lead stylist on Disney’s 1959 animated musical fantasy Sleeping Beauty, Sabrina Tarasoff draws a parallel between the main character’s dormant immobility and Earle’s manner of stilling perspective to say something about our fears and fallibilities—without all the unnecessary anguish of “real life.”

Beyond Latin America, The Perpetual Quest for Specificity: Gabriel Kuri by Chris Sharp

In conversation with Gabriel Kuri, Chris Sharp underscores the enthralling application of Minimalism in the artist’s practice and its particular Latin Americanness. Convinced that the more precise forms are, the more effortless they should appear, Kuri’s sculptural practice testifies to an insistence on procedure, eschewing the hand or facture.

Tidbits:

Matthew Angelo Harrison by Rahel Aima; Bri Williams by Harry Burke; Elif Saydam by Kristian Vistrup Madsen; Eva Gold by Chloe Stead; D’Ette Nogle by Attilia Fattori Franchini; Virginia Overton by Ian Wooldridge; Jibade-Khalil Huffman by Lumi Tan; Pati Hill by Maurin Dietrich; Theodora Allen by Stephanie Cristello; Gina Fischli by Isabella Zamboni; Olivia Erlanger by Laura Brown; Pierre Guyotat by Estelle Hoy; Christine Sun Kim by Sofia Lemos; Jenna Bliss by Alexandra Symons Sutcliffe; Anthea Hamilton by Laura Herman; Tao Hui by Alvin Li; Aki Sasamoto by Charles Aubin; Jes Fan by Billy Tang; Ko Sin Tung by Ingrid Pui Yee Chu; Anna Witt by Joshua Simon; Tears of a Foreman by Noah Barker; Rebecca Morris by Tenzing Barshee and Camila McHugh.

Mousse Magazine

Tags art, Mousse, Mousse Magazine

Lucio Fontana: Ambienti / Environments

7 January 2019 in Books Comment

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Lucio Fontana: Ambienti / Environments
English Edition : Italian Edition

Marina Pugliese, Barbara Ferriani, and Vicente Todolí, eds.
Texts by Marina Pugliese, Barbara Ferriani, Enrico Crispolti, Paolo Campiglio, Luca Massimo Barbero, Orietta Lanzarini, Anne Rana, Jennifer Josten, Maria Villa

“The spatial environment was the first attempt to liberate the viewer from a static plastic form, the environment was completely black, with black Wood’s light. Upon entering, you were absolutely alone, each visitor engaged with their own immediate reaction, not dictated to by an object, or by things laid out like merchandise, man was faced with himself, with his own conscience, his own ignorance, his own physical being, etc. etc. The important thing was not to do the usual exhibition of paintings and sculptures, and enter in the spatial debate—immediately afterwards I did the ‘holes,’ the rupturing of a dimension! The void, etc. etc.” —Lucio Fontana

This publication is produced in conjunction with Ambienti/Environments, held at Pirelli HangarBicocca from September 2017 to January 2018. Focused on Lucio Fontana’s pioneering work in the realm of installation art, the exhibition presented a selection of his most experimental yet least-known works, Ambienti spaziali (Spatial Environments), seen together for the first time. Fontana’s environments, conceived before the famous “holes” (Concetti spaziali), were revolutionary for their time for their use of innovative materials such as neon and Wood’s lamps and they anticipated the research on light and space that would develop in the following decades. But the endeavor also has contemporary relevance inasmuch as Fontana’s research touches on several aspects of relational aesthetics, and is connected to contemporary practices of an environmental character, such as those of Anish Kapoor, Olafur Eliasson, or Tomás Saraceno. The exhibition was the result of long and in-depth study in several museums and private archives carried out by the co-curators, the art historian Marina Pugliese and the art conservator Barbara Ferriani. Some of the environments were reconstructed for the first time since the artist’s death, in collaboration with Fondazione Lucio Fontana.

The book collects the most up-to-date research on this body of Fontana’s work and will prove useful for any future investigation of the spatial environments, as well as meeting the need for a new and critical look at the historical and artistic period in which they were conceived. A detailed collection of work entries dedicated to the entirety of Fontana’s environmental production accompanies an extensive selection of essays, historical images, and installation views.

2018
English
228 pages
Hardcover, 22 × 28.5 cm
ISBN: 978 88 6749 291 6

Mousse Publishing

Tags Lucio Fontana, Mousse, Mousse Publishing

Furla Series: Time After Time, Space after Space

20 August 2018 in Books Comment

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Furla Series: Time After Time, Space after Space

2018
English / Italian
152 pages
Softcover, 19 × 26 cm
ISBN: 978 88 6749 331 9

Texts by Helga Christoffersen, Jean-Pierre Criqui, Hendrik Folkerts, Aram Moshayedi, Bruna Roccasalva, Joanna Zielińska

Dancing, talking, singing, playing music, walking, writing, eating, screaming, sleeping… we’ve seen artists do all this and much more, at museums, galleries, art fairs, and foundations. In books, catalogues, and art history texts, we’ve read about works made of bodies, gestures, movements, and actions that unfold in space and time. We’re talking about performance art: a constantly evolving language that artists have always used to respond to change, the “avant-avant-garde” that even today “continues to defy definition, remaining as unpredictable and provocative as it ever was.” –Bruna Roccasalva

Time after Time, Space after Space, realized in co-production with the Museo del Novecento in Milan, is the first edition of Furla Series, the project that from 2017 sees Fondazione Furla engaged in the realization of exhibitions and events dedicated to some of the most important national and international artists, in collaboration with major Italian art institutions. The partnership with the Museo del Novecento is a unique opportunity to meet past, present, and future that activates a dialogue between the masters of the twentieth century and the protagonists of the contemporary art scene. From this premise comes the idea of reflecting on performativity starting from a relationship with the work of Lucio Fontana, which marked a fundamental point in the recognition of the artistic value of the gesture, paving the way for subsequent spatial and performative research. The book contains an introductory text by the curator of the project and five essays dedicated to each artist that explore their approach to the practice of performance. For each artist is provided an extensive photographic documentation of the performance held in Sala Fontana.

Mousse Publishing

Tags Furla Series, Mousse, Mousse Publishing

The Artist as Curator: An Anthology

20 August 2018 in Books Comment

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The Artist as Curator: An Anthology

2017
English
416 pages
softcover, 21 x 28 cm
ISBN 9783960981787

Edited by Elena Filipovic

Texts by Alexander Alberro, Monica Amor and Carlos Basualdo, Biljana Ciric, Ekaterina Degot, Elena Filipovic, Claire Grace, Anthony Huberman, Dean Inkster, Alhena Katsof, William Krieger, Elisabeth Lebovici, Ana Longoni, James Meyer, Isabelle Moffat, Nina Möntmann, Natalie Musteata, Sandra Skurvida, Dirk Snauwaert, Lucy Steeds, Monika Szewczyk, and Kaelen Wilson-Goldie

Afterword by Hans Ulrich Obrist

This is an anthology of essays that first appeared in The Artist as Curator, a series that occupied eleven issues of Mousse from no. 41 (December 2013/January 2014) to no. 51 (December 2015/January 2016). It set out to examine what was then a profoundly influential but still under-studied phenomenon, a history that had yet to be written: the fundamental role artists have played as curators. Taking that ontologically ambiguous thing we call “the exhibition” as a critical medium, artists have often radically rethought conventional forms of exhibition making. This anthology surveys seminal examples of such exhibitions from the postwar to the present, including rare documents and illustrations.

It includes an introduction and the twenty essays that first appeared in Mousse, a newly commissioned afterword by Hans Ulrich Obrist, and two additional essays that appear here for the first time, discussing twenty-two exhibitions by the Avant-Garde Argentinian Visual Artists Group; Mel Bochner; Marcel Broodthaers; Hank Bull, Shen Fan, Zhou Tiehai, Shi Yong, and Ding Yi; John Cage; Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program; Collaborative Projects Inc. (Colab); Alice Creischer, Andreas Siekmann, and Max Jorge Hinderer; Liam Gillick and Philippe Parreno; Group Material; Richard Hamilton and Victor Pasmore; David Hammons; Martin Kippenberger; Mark Leckey; Goshka Macuga; Lucy McKenzie and Paulina Ołowska; Hélio Oiticica; Walid Raad and Akram Zaatari; Martha Rosler; Avdey Ter-Oganyan; Philippe Thomas; and Andy Warhol.

Co-published with Koenig Books, London

Mousse Publishing

Tags Mousse, Mousse Publishing, The Artist as Curator

Eric Fischl — If Art Could Talk

23 June 2018 in Books Comment

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Eric Fischl: If Art Could Talk
Mousse Publishing

2018
English
128 pages
Hardcover, 20 × 25.5 cm
ISBN: 9788867493326

Texts by Peter Doroshenko, Eric Fischl

“I am one of the first generation artists who grew up in the suburbs. We grew up, post-WWII, in an ascendant America in which the suburbs was its utopian manifestation. We came into our art maturity painfully aware of the disconnection between what was promised and what was delivered.”
—Eric Fischl

Eric Fischl (New York, 1948) is one of only a handful of contemporary painters who regularly, though by no means exclusively, employs sourced images, culled from the internet, newspapers, and magazines, to inform his paintings. The artist then adds his own photographs and blends a final ensemble of information and storytelling. No kings or generals or momentous battles move across Fischl’s canvases, and most of his subjects are quotidian rather than grandiose—suburban bourgeois families, art world mongers and awkward social interactions. In his works, communication is nonexistent and boredom is pervasive. The book, published on the occasion of a solo show held at Dallas Contemporary museum, includes more than 120 painting reproductions and a conversation between Eric Fischl and Peter Doroshenko.

Mousse Publishing

Tags art, Eric Fischl, Mousse, Mousse Publishing

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