Mousse #84 – Summer 2023

Opinions
ON JARGON
Pablo Larios

A HYPOTHESIS OF RESISTANCE—PART FOUR: A LECTURE ON UNDETECTABILITY
Cally Spooner

Survey
MRINALINI MUKHERJEE
(A) Overgrowth
Noopur Desai, Emilia Terracciano, Murtaza Vali
(B) Less a Thing Than the Trace of a Movement
Skye Arundhati Thomas

Monograph
PENG ZUQIANG
Touch, Gaze, Motion, Memory: On Two Recent Video Works by Peng Zuqiang
Travis Jeppesen

Fiction
YOUR LOVE IS NOT GOOD
Johanna Hedva

Monograph
LEE LOZANO
Lee Lozano’s Tools and the “Self as Center”
Amelia Jones

Visual
ANGHARAD WILLIAMS
Cars, 2022
Angharad Williams, Maurizio Cattelan

Books
Gabrielle Goliath

Tidbits
Graham Little by Max Feldman
Onyeka Igwe by KJ Abudu
Shaun Motsi by Olamiju Fajemisin
Sydney Schrader by Gloria Hasnay
Rahima Gambo by Sindi-Leigh McBride
Ştefan Bertalan by Krzysztof Kościuczuk

Thinkers
SARA AHMED: ARCHIVING UNHAPPINESS
Ana Teixeira Pinto

Criticism
I’M WITH FANTASY
Kerstin Stakemeier

Reprint
REINCARNATION AND BIOLOGY: A CONTRIBUTION TO THE ETIOLOGY OF BIRTHMARKS AND BIRTH DEFECTS
Ian Stevenson
Lawrence Abu Hamdan

Curators
A STUTTERING INSTITUTION
Kabelo Malatsie

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Dozie Kanu’s „Cordyceps Gaud Adversary” is the first comprehensive publication that contextualizes and traces his artistic practice of the last four years in relation to the notion of Black material culture, the theatricality of exhibition-making and his understanding of contemporary sculpture.

The publication is published on the occasion of Dozie Kanu’s exhibition at Neuer Essener Kunstverein and and includes, in addition to a generous image section, commissioned texts by Moritz Scheper and manuel arturo abreu, as well as a conversation on the artistic practice of Kanu between Martine Syms, Klein, and the artist.

Authors: manuel arturo abreu, Klein, Martine Syms, Moritz Scheper 
Publisher: Motto Books, Neuer Essener Kunstverein
Design: jmmp.eu (Julian Mader, Max Prediger)

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“Things can be freer and reach higher when they conceal themselves.”–Rita Ackermann

Rita Ackermann was born in Budapest in 1968 and today lives and works in New York. Arriving in America from Hungary in the early 1990s, she is immediately faced with a major challenge: to be able to survive in a foreign country as a young artist, she must be able to integrate the aesthetics of her cultural background together with what the new country offers her in her artistic practice. Her first drawings and paintings made between 1993 and 1996 show adolescent female figures multiplied within the composition and engaged in various self-destructive activities, expressed to the public through understandable and direct language. About twenty years later Ackermann abandons the figure and develops the series of works he entitles Mama, a set of compositions in which lines and gestures, figures and motifs rise to the surface of the canvas to then dissolve and reappear elsewhere. On the occasion of the exhibition at MASI Lugano, in 2022 Ackermann begins a new series of paintings entitled War Drawings, where oil, grease pencil and acrylic are heavily worked on rough linen canvas. In these works, the figures get lost and the lines are scraped away to reveal fragmented compositions.

Published on the occasion of the artist’s solo exhibition at the MASI in Lugano, entitled Hidden, this book contains reproductions of all the works in the exhibition and others selected personally by the artist.

Text by Pamela Kort, a conversation between Rita Ackermann and Donatien Grau.

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Le Livre Art Publishing is proud to announce the upcoming release of Julio Le Parc, the most comprehensive monograph to date on revered Argentinian artist Julio Le Parc. Following Le Parc’s prolific and visionary body of work, this extensive 492 page volume takes a deeper look into the intellectual and creative process of the artist.

Featuring a critical anthology dating back to 1967, an opening essay by Jean de Loisy, an entire section dedicated to Julio Le Parc’s writings and over 600 color plates, this monograph takes us on a journey through the innovative and ground-breaking work of the artist, thus surveying the pivotal « Before Paris » era before diving into the Surfaces and Color Surfaces periods, and continuing its exploration with Contortions, Light, Installations, Games, Alchemies, and Le Parc’s Virtual Museum.

An in-depth photo-biography of the artist further deepens our understanding of Le Parc’s portrayal, along with an anthology of texts by Mario Benedetti, Alberto Biasi, Jorge Romero Brest, Jean Clay, Gérard Fromanger, Julián Gállego, François Morellet, Pablo Neruda, Jean-Louis Pradel, Paco Rabanne, Pierre Restany, and Julio Le Parc.

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When Eye Touches Cloud is the first monograph dedicated to the manifold oeuvre of Romanian artist Constantin Flondor (born 1936, in Czernowitz), the leading protagonist of the art groups 111, Sigma and Prolog. This richly illustrated publication takes a closer look on the influential body of work he had produced in painting, kinetic & Op art, land art, action, experimental film & photography from the 1960s until today. It surveys the various steps of his practice: from the lyricism of the first pictorial constructs to the optical and kinetic art of the Group 111, from the study of form and land art characteristic of the Sigma Group, defined as the effort to connect within a single equation visual research and experiment, to the Prolog Group’s spirit of communion and conviviality.

The book offers a comprehensive overview of the principles that shape Constantin Flondor’s art, of reflecting and theorising starting from the inventory of terms, themes, and concepts that have guided him as an artist over seventy years of uninterrupted work and of restoring them to the international context of art through the contributions of invited authors, Dieter Roelstraete & Abigail Winograd, Rainer Fuchs, and Katarzyna Cytlak. Besides the commissioned essays, the book includes a selection from the artist writings and several archival materials which enlarge our view on artist’s singular mode of thinking.

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P+4 Publications is an independent publishing programme dedicated to the promotion of Romanian contemporary art, photography and architecture, exploring the book medium as a point of encounter between theoretical research, graphic design experiment and artists’ ideas and subjects present in their practice. Presently, the programme brings together the Artist Book Series and the Architecture Book Series, supported between 2013–2021 by the PEPLUSPATRU Association, and Parkour and Exhibition-Dossier series, developed by the Institute of the Present since 2017. Starting from 2021, P+4 Publications is coordinated by the Institute of the Present.

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Texts by: Emi Fontana, Pier Luigi Tazzi, Angelika Stepken and Ketty La Rocca.

This book is the first international monograph on Ketty La Rocca’s works and writings.

Initially, inspired by the experimental visual poetry of the mid-sixties, Ketty La Rocca critically investigated questions of communication in the age of mass media. She soon began addressing herself in her work as both an artist and a woman in a desire to find “another” language to express difference and the non-identical. She worked with collage, photography, video, text, drawing, and performance to develop a language of gestures and appropriated imagery of disempowerment. But her work was only granted the short time span of a decade’s production, during which she underwent a rapid artistic development with enormous energy and intelligence.

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The first monograph dedicated to the work of Michaël Sellam, which is at the crossroads of sculpture, photography, video and music. Here, it brings together, among other things, fruits, flowers, parallel universes, smoke, microscopic hieroglyphs, an Italian grandmother, traces of lipstick, masters of darkness, some robots, aliens, the making of Egyptian ropes, the inhalation of parasitic odors from the solar system, the intensive programming of an extremely slow machine and the 180° head turn.

«Notre civilisation se développe dans une logique de la contingence, de la possibilité pour chaque chose d’être tout autre. Comment la notion de matière s’est ouverte à une économie et à une pensée de la forme à un moment où tout devient programmable? Expérimenter à travers l’art les relations de tensions entre science, fiction, culture et capital développe, de fait, un certain artifice. Il est peut-être nécessaire de produire une nouvelle esthétique qui ne soit ni représentative, ni abstraite, ni conditionnelle, mais constitutive d’une époque où, plus qu’à toute autre, nous construisons un monde qui inclut comme possible notre disparition et ou coexistent les formes chaotiques et ordonnées de la circulation: des idées, des formes, des atomes, des énergies, des gènes, de l’information.»
–Michaël Sellam

Texts by Gérard Berréby, Benoît Durandin, Christian Gaussen, Lætitia Paviani; interview with Timothée Chaillou. Published on the occasion of Michaël Sellam’s exhibition at the École Supérieure des Beaux-Arts de Montpellier Agglomération, from January to February 2014.

The work of Michaël Sellam (born in 1975 in Paris) multiplies the references to the world of popular leisure with a particular interest in amateur practices and forms of sub and counter-culture. Belonging to a generation that has integrated the use of computers and new technologies, he relies on these technical instruments and questions, through a complex and varied approach, forms that unfold from installation to video, from sculpture to performance.

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PER/TRANS Performing the Cube, Transforming the Cube Works by Sandra Peters. 1998–2017

Artist talk & Book launch

The book will be presented on Friday 27.07.2018, with a talk at 8PM:

Sandra Peters in conversation with Fiona McGovern and Eva Meyer-Hermann (In English)