Mousse is a bimonthly magazine published in Italian and English . Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism and curation, alternated with a series of distinctive columns in a unique tabloid format.

Mousse magazine number 36 including texts by Jens Hoffmann, Boris Groys, Anthony Huberman, Jessica Morgan, Alexander Nagel, Anna Colin amongst others.

Editor In Chief: Edoardo Bonaspetti
Art Director: Francesco Valtolina

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Horizon Pages and Motto Melbourne present the launch of Horizon Pages’ third publication, Small Entry by Sydney based artist and musician Matthew P Hopkins.

Including performances by Matthew Hopkins and Peasant Genes (Christopher L G Hill and Alex Vivian).

Small Entry by Matthew P Hopkins
Broadsheet Poster and one sided flexi-disc
Edition of 250

5pm – 8pm

Motto Melbourne
15-25 Keele St.
Collingwood
VIC 3066
Australia

Performances start at 6pm.

Sydney Launch: November 6th at The AV Club, Leichardt with Hair Hochman (Yoni of Holy Balm) and Moffarfarrah (Christopher L G Hill)

indexnewspaper #2, Amélia Brandão Costa and Rodrigo Costa Lima (Ed.).

Indexnewspaper is a trimonthly magazine of architecture printed in newspaper paper. It is a publication with a bilingual edition, English and Portuguese, and worldwide distribution. The editorial contains an interview, a visit to an office, projects and works, and essays. The front cover has an ” artwork ” designed by an invited artist.

Issue #2 (Apr-Jun 2012) includes:
INTERVIEW/Manuel Aires Mateus, ATELIER/Camilo Rebelo, PROJECTS/De Vylder Vinck Taillieu/Emilio Marin/Ensamble Studio/Tetsuo Kondo Unulaunu, ESSAYS/Eduardo Castillo/Moritz Agné

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Narratives – Relazioni. Baghdad. Red Zone, Green Zone, Babylon. Giovanna Silva. Mousse Publishing.

The first volume of a series that narrates, through images, the history of countries at war or in situations of crisis. Through a combination of evocative images that describe the country in an abstract but precise way, each place is revealed through a narrative path that is simply suggested by the author and can be freely modified by the reader. The images are only halfway legible and can be viewed entirely only by extracting the individual pages – which are not bound, like a newspaper – whose sequence can be freely reorganized each time.

In this first volume the protagonist is Baghdad, described as a fortified city, as a place still defended by walls and thus comparable to its historical precursor, Babylon. After Baghdad, the series will continue with portraits of Afghanistan, the Gulf of Aden, Egypt and Syria.

Format: 14 posters in a folder (26.5 x 38 cm)
2012

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YYY #1.

YYY is an experimental photography zine.
For each issue two photographers are invited for a ride, to make a photographic conversation of sorts within the pages of a tabloid magazine. The printed publication is planned to be published on a biannual basis.
Issue 1 is made with Teemu Lehmusruusu and Shira Igell. YYY font and logo are made by Mikko Varakas.
YYY is curated, published and self-funded by Katri Naukkarinen.

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Peep-Hole Sheet #11: Pedro Barateiro – The Artist As Spectator

Peep-Hole Sheet is a quarterly of writings by artists.
Each issue is dedicated solely to one artist, who is invited to contribute with an unpublished text whose content is completely free in terms both of subject and format.
The texts are published in their original language, with accompanying translations in English and Italian. All images are deliberately avoided. Peep-Hole Sheet is meant for those who believe artists are catalysts for ideas all around us, and who want to read their words without any filter.
Over time it aspires to build up an anthology of writings that might open new perspectives for interpreting and understanding our times.

Written in 2005 and unpublished until now, The Artist as Spectator is conceived as a flux, a collection of thoughts that accompany the work of Pedro Barateiro: “I will be re-writing my own words for the rest of my life, that’s for sure. I will go on for my own reasons, creating my own language.”
A work which delineates, above all, a reflexive act and possibility of a “release from seizure,” departing from the awareness that we are all coopted into the logic of the Market/Spectacle that art, in some way, foretells. The invitation is therefore that of recovering the gaze toward ourselves and the world, always staying on the scene of the crime, always on the verge of disappearance. The object, the video, the artistic means becomes a gun pointed to the temple: we can wait for something (the world, time) to change, or decide to aim the weapon.

D 10€

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Eleven To Liverpool-Street. Katja Stuke. Böhm/Kobayashi.

Katja Stuke
11 to Liverpool-Street
December 2011
Edition of 150, numbered and signed
48 pages, 21 colour plates
Offset-Print

D 35€

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One Question, Nine Possible Answers, Three Rooms #1. Melanie Bonajo.

Room 1 – psychics:
Connie, Cynthia, Danny, Destiny, Elza, Gadesha, John, Linda and Lisette.

Room 2
9 posters by Melanie Bonajo

Room III
Özlem Altin, Bianca Casady, Simone Gilges, Sabina Maria van der Linden, Alexandra Leykauf, Kinga Kielczynska, Joseph Marzolla, Emmeline de Mooij, Shana Moulton.

This publication is part of the installation Afterlife – An Unexplored Continent shown at the exhibition Afterlife – art on the final destination, which takes place at Nederlands Uitvaart Museum Tot Zover and is published on the occasion of Melanie Bonajo project space grant of the Mondrian Fonds, at the Künstlerhaus Behtanien, Berlin.

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The New York Times. Clotilde Viannay.

Clotilde Viannay a conçu son projet en deux volets : un fac-similé fictif du New York Times et une exposition. Le journal porte la date du 12 octobre 1985, celle du début du récit d’une célèbre bande dessinée américaine d’Alan Moore intitulée Watchmen.

Constitués en confrérie, ces « gardiens » exercent le rôle de justiciers dans les années soixante. Ils se voient progressivement coupés de la société et de leurs appuis politiques. Après avoir gagné la guerre du Vietnam, évité le scandale du Watergate et bénéficié de la réélection de Nixon, le gouvernement américain, à l’aube des années quatre-vingt, abandonne le « gardien » qui lui est le plus dévoué, Jon Osterman. Devenu Dr Manhattan après un accident nucléaire, ce dernier est voué aux pires gémonies.

Pour réaliser ce New York Times fictif, Clotilde Viannay a commandé des articles uchroniques. Autant de textes qui révisent l’histoire sur le mode « et si » et qui, par la fiction, reviennent sur le contexte réel d’invention de ces super-héros. Parallèlement, l’exposition quasi ethnologique tente de faire exister les différents personnages pour analyser en profondeur leur personnalité.

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ANZA #1: Making Our City

Prologue to ANZA #1:

“Architecture, although we often don’t realize it, always played a central role in our culture and life: in our homes, places of worship, offices, and shops. The 21st century has brought much social-economic transformation to Africa, and it has been coined as the century of the cities. The African continent will most probably experience immense population growth – the United Nations estimates that Africa’s population may more than triple in the century. Most of this growth will take place in cities – and in architecture.

Therefore, both specialists and public need to openly discuss the urban and architectural issues connected with these growing cities. But there is no platform in the form of a magazine for such a discussion. ANZA is edited in Dar es Salaam, Africa’s fastest growing city. It is to be a vehicle for open criticism and a constructive exchange of opinions; a platform to launch innovation solutions; a place for the discussion of typical local phenomena, and as a source of information for decision makers.

To kick-start the magazine, a four-week workshop was setup by Camenzind Magazine, Zurich to train a group of young ambitious and vibrant university students and recent graduates to form a future editorial team for a magazine that will fill the void of an East-African architectural magazine. The workshop included training in text writing and editing, photography, art and production, and finally marketing and strategy to ensure the long-term existence of the magazine.

After a fun and loud discussion bouncing ideas back and forth, we finally came up with the magazine title: ANZA, a Swahili word meaning, “start.” We found this name suitable as it marks both the beginning journey of this East-African architectural magazine and the long journey of our hopeful East-African cities and their peoples. Aside from this name being subtly powerful, we all agreed that it was also typographically beautiful.

One may ask: “can a diverse multidisciplinary student-published magazine, dealing with issues concerning people and spaces, issued bi-annually, compete with newer, more interactive, and above all faster formats like blogs and online forums?” Answer: one can never know unless they ANZA!”

24 pages
Prologue / Editorial in Swahili and English
Articles in English

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