Mousse #26

Posted in art, critique, distribution, magazines, Motto Berlin store, painting, photography, Theory, writing on January 7th, 2011 by admin
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Mousse #26

Jimmie Durham has an interesting theory about money: it’s a virus that’s using its biology, architecture and art to replace human nature with its own…

Nick Relph is tangled in the weave of a tartan. Kirsty Bell met up with him to discover his sources of inspiration, which range from his own closet to Ellsworth Kelly’s paintings, by way of DIY groups on the web.

In the last twenty-six years, Moyra Davey has photographed almost no one. On the other hand, she has very clear ideas about the role played by literature in her universe of objects and dust. Gigiotto Del Vecchio explored it with the artist.

Ten, twenty, or even thirty years ago, who would have thought that talking about art schools would become cool? Dieter Roelstraete has an astute theory about this epoch-making “educational turn”.

A two-ton asteroid is reason enough to set Guillermo Faivovich and Nicolás Goldberg to work on a project that incorporates scientific knowledge, socio-political history, and the inexplicable magnetism of an alien object. Johan Lundh talked about it with the artistic duo for PART OF THE PROCESS.

Laure Prouvost has a passion for arranging meetings in unusual places, and Francesco Pedraglio had to follow her through muddy tunnels for an interview about her work. Which lies at the border between surrealism and plausibility.
The Chto Delat? collective is inspired by Lenin and carries on the revolution through musicals. But can it keep political symbols from being co-opted by aesthetics? That’s one of the questions raised by Jakob Schillinger.
Běla Kolářová lived in the shadow of her husband, artist and poet Jiří Kolář, and yet her sophisticated, conceptual work, made up of personal objects, deserves a special place in art history. Alice Motard talks about it.

ARTIST PROJECT: Leonor Antunes.

Plus…

For LOST AND FOUND, Jens Hoffmann traces the career of Marta Minujin, a pioneer of happenings and media art, a global artist ante litteram.

Barbara Casavecchia got the rare chance to take a look at his endless archive of useless images. As a result, through SKELETONS IN THE CLOSET, we too get to explore the terraced house in Chalk Farm, north of London, that belongs to John Stezaker.

D 8€

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