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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“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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A Kassen is a Danish art collective whose work encompasses photography, installation, and sculpture. Recalling the process-over-product mantra of 1960s action painters and Pop artists, their practice hinges on central questions of authorship and explores the relationship between form and content. Beginning with an everyday object—a material such as bronze, or something more ephemeral, like a puddle or a reflection—A Kassen task themselves with acts of construction and deconstruction, reinterpretation and recontextualization, all the while challenging preconceived notions of what the phenomenon in question is. Through these manipulations, they create works meant to be seen explicitly through the context of art and aesthetics, where the spectator’s role becomes central—indeed, an integral part of the work. Bystanders become interpreters, creating layers of meaning and understanding while rewriting the narratives at hand.

Dimensions Variable includes essays by Irene Campolmi, Adam Carr, and Jonatan Habib Engqvist, and an illustrated chronology of A Kassen’s works.

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Texts by Pier Paolo Tamburelli, Noura Al Sayeh
Taken at the height of the Assad days, the images of the photographer Giovanna Silva overlap in this publication with Syrian tourist guides’ images and texts, creating a net of intended and unintended relationships and time interconnections. As Pier Paolo Tamburelli writes in his essay, “Silva’s photo speak of time that is twice lost. […] When I look at them, I can smell that apparently eternal condition of no-change in Syria before 2011. I recognize the omnipresent, idiotic smile of Bashar – at the time still considered the gentle son of Hafez al-Assad (the ophthalmologist who lived in London and did not really wanted to leave to become a dictator and who finally had to substitute the nasty brother probably killed by Mossad). Now that the civil war has erased everything that belonged to that Syria, now that everything changed, I have the impression that that world is way more lost than many other episodes of the past. Both for Syrians and for foreigners the memories of the civil war will occupy all the space that could have been dedicated to these last twenty years of Syrian history. […] Not only are those moments gone, but they will not be remembered. The boredom of that period entirely disappeared in the cruel excitement of the war. The pictures are a strange homage to a lost world”.

 

€25.00

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Published in conjunction with the exhibition “Anicka Yi: 6,070,430K of Digital Spit” at the MIT List Visual Arts Center, the book includes an exchange between Caroline A. Jones and Yi on scent, ethnicity, and symbiotic microorganisms; an essay by Johanna Burton on networks and extravisual means; and an essay by Alise Upitis on the irreducible ambiguity of Yi’s work. Anicka Yi: 6,070,430K of Digital Spit is the artist’s first monograph.

Texts by Johanna Burton, Caroline A. Jones and Anicka Yi, and Alise Upitis

Designed by Eric Wrenn

€24.00

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João Maria Gusmão + Pedro Paiva, with Alberto Salvadori, eds.

Texts by Mattia Denisse, Luigi Fassi, Chris Fitzpatrick, Xavier Franceschi, Massimiliano Gioni, João Maria Gusmão, Katia Mazzucco, Philippe-Alain Michaud, Olivier Michelon, Alice Motard, Pedro Paiva, Gonçalo Pena, João Ribas, Alberto Salvadori, Antonio Scoccimarro, and Marcus Steinweg
For almost 15 years now, the two Portuguese artists João Maria Gusmao + Pedro Paiva have been constructing an imaginative journey through films, photographs, installations, and sculptures that encapsulate philosophical, existential, and conceptual issues.
Produced in conclusion to a series of exhibitions—which began in 2011 with “Alien Theory” at frac île-de-france, and le plateau in Paris, by way of Museo Marino Marini in Florence, and ended with “Papagaio”, 2014–15 (premiering at HangarBicocca in Milan then moving on to the Camden Arts Centre in London)—Teoria Extraterrestre is the most complete monograph to date on João Maria Gusmão + Pedro Paiva, condensing nearly four years of work and thought that have been compiled into a film cosmogony by the artists themselves.

Giovanna Silva, ed.
Text by Angelo Del Boca and Giovanna Silva

The book Libya: Inch by Inch, House by House, Alley by Alley is part of a series of publications about nations at war, or in crisis; conceived by Giovanna Silva, they tell the stories of different countries through photographs of their multifaceted landscapes. In the case of Libya, Silva has attempted to outline the architectural structures built by Muammar al-Gaddafi’s regime that were demolished during the recent revolution. Her journey started from Benghazi—the first epicenter of the revolt, as a city that had always been hostile to Colonel Gaddafi—and culminated in Tripoli, inside the bunker-barrack of Gaddafi’s residence. In this construction and de-construction of Gaddafi’s personality, Silva creates a parallel narrative relying on archival pictures she has collected over the years, depicting everything from a young Gaddafi surrounded by the politicians he did business with for years (who would later turn their backs on him), to images of his death, when he lay bleeding and knocked to the ground just like the architecture that embodied his ideals. The publication includes a conversation between Giovanna Silva and Gaddafi biographer Angelo Del Boca, who knew, inside out, just who the real Gaddafi was.

Language: English / Arabic
Size: 11 x 15 cm
Binding: Softcover
ISBN: 9788867490929

Price: €20.00
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Mousse #38
features:

James Benning
On the Real and the Reel: In Conversation with James Benning
by Bruce Jenkins
Talking About
Conceptual Blind Spots
by Caitlin Jones
Trajal Harrell, Steffani Jemison, Ralph Lemon, Okwui Okpokwasili, Wu Tsang
Feeling Conceptual
by Thomas J. Lax
Lena Henke
Street Material
by Judith Hopf
NICE TO MEET YOU: David Horvitz
What Color Is Your Parachute, David Horvitz?
by Jacob Fabricius
BERLIN Pauline Boudry & Renate Lorenz
Queer Archaeology
by Anne-Sophie Dinant
NEW YORK Sergei Tcherepnin
All the Right Noises
by Simon Castets
Peter Wächtler
Englisch Literature
by Jamie Stevens
Piotr Uklanski
Sorry I Am Not Sorry (for Polish Neo-Avantgarde)
by Adam Szymczyk

and more…

D9€
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Mousse #37

Featuring:
Alexander Kluge, Farewell to Yesterday by Jens Hoffmann
Hito Steyerl, The Wretched of the Screen by Ana Teixeira Pinto
Talking About, Techno-animism by Lauren Cornell
Pick Up – Lorraine Daston
Objects and (their) Time by Ana Ofak
Jan Švankmajer, Encyclopedia of an Alternative World by Hans Ulrich Obrist
Pick Up – Nicholas Mirzoeff
On Visuality by Chelsea Haines
Talking About Rococo Conceptualism by Jennifer Allen
Portfolio – Sarah Conaway, Black Box Magic by Linda Green
Pick Up, Where to Look, What to Say: Photography in the Next Few Years by Marvin Heiferman
Nice to Meet You – Edgardo Aragón, From the Ruins of the Present by Luigi Fassi
Nice to Meet You – Carlo Gabriele Tribbioli, Around Possible Mysteries by Simone Menegoi
Nice to Meet You – Shane McCarthy, Loop System by Maeve Connolly
Luke Fowler & Peter Hutton, Lived Experience
Philippe Parreno & Anri Sala, A Matter of Synchronization by Cyril Béghin
Pick Up – Robert Hullot-Kentor, On Education and the Prudery of Dissatisfaction by Bettina Funcke
New York – Loretta Fahrenholz, Autosabotage by David Lieske
Paris – Bertille Bak, The Unsubmitted Form by Ida Soulard
Berlin – Gerry Bibby & Natalie Häusler, Bierhimmel
London – Corin Sworn, The Second Hand by Laura McLean-Ferris
Los Angeles – Tender Doublings and Found Minimalism: Fiona Connor by Andrew Berardini
Mark Grotjahn & Jonathan Pylypchuk, Shame, Sociality and Success
Pick Up – Marion Von Osten, Problems of Endless Fruit by Brian Kuan Wood
K-HOLE, Hate Being Sober: the Friendship Experience called K-HOLE by Rachel Blatt
Pick Up – Jeffrey Schnapp, Digital Humanities by Barbara Casavecchia
Elizabeth Peyton & Alex Katz, Painting People
Pick Up – John Tresch, Another History of Science by Armen Avanessian

D 9€
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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

D 9€

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