Mousse #49 out now

Mousse #49 out now

Mousse Magazine

Martine Syms, For Nights Like These, 1979 (1), 2014. Courtesy the artist.
July 8, 2015

Mousse #49 out now

Summer 2015
Get issue #49 or subscribe
iPad edition and subscription available soon on Apple Newsstand

In this Issue: The ’80s: It’s Never too Late to Be What You Might Have Been, Behind the Work of Sharon Lockhart and Michael Snow, Dora Budor, Leidy Churchman, The Conceptual Copy, Food As Metaphor, f.marquespenteado, The Misinterpretation of Research, Ten Reflections on the Copy, Jim Nutt, Other Futures, The Passagenwerk‘s Influence, Yuri Pattison, Rachel Rose and Ben Russell, Albert Serra, Martine Syms, Aldo Tambellini, Trauma in Contemporary Art

Kathy Noble met with Dora Budor to discuss the influence of cinema on her work, interweaving the staged fiction of film with life experience: ranging from cyberpunk and symbiogenesis to the endless worries and politics of being a human body and mind.

Might it be the fault of Steve Jobs if qualities attributed to artists are now associated with the figure of the entrepreneur? Martine Syms wonders about the supposed assimilation of business by art (and vice versa). Aram Moshayedi met with the artist to talk about her versatile activity that includes video, performance and the helming of the Dominica publishing company.

Chus Martínez analyzes self-limiting behavior adopted by powerful female figures that winds up involving the art system. The risk is that of blocking the growth and application of new ideas and visions, lingering in a pernicious procrastination concealed beneath the “misinterpretation” of research.

Today the copy, and in particular the mechanical (and digital) reproduction, is asserting itself more than ever. In this special focus, Darren Bader, Martin Clark, Ian Cheng, Nick Currie, Bettina Funcke, Liam Gillick, Kenneth Goldsmith, grupa o.k. (Julian Myers and Joanna Szupinska), Daniel McClean, and Michele Robecchi prompt reflection on the many practices of imitation, counterfeiting and falsification, as well as the concepts of authenticity, authorship, autography and, of course, copying.

Pavel Büchler creates dense conceptual images by starting with a process of “copying.” Philippe Pirotte identifies the philosophical and artistic sources behind the Czech artist’s complex operations that lead to ontological repositioning of the preliminary materials.

Jens Hoffmann approaches the legacy of Walter Benjamin’s Passagenwerk, the philosopher and cultural critic’s largest, incomplete and therefore most fascinating work.

The work produced in the mid-’60s by the gathering of artists known as “Hairy Who” was pugnacious, scatological and absurd, referencing art history, comics and other pop culture phenomena, from pinball machines to pulp magazines. Hans Ulrich Obrist met with Jim Nutt, who was part of that movement, to talk about it, and his personal research on drawing, painting and surfaces.

A diary is not just a set of pages on which to stash secrets and everyday narratives. It is also an attempt to give meaning and order to life. Andrew Berardini has leafed through the paintings of Leidy Churchman as if they were a diary of images: portraits of friends, animals, fruit, oriental divinities and art heroes, from Rousseau to Soutine.

Shown on five screens at the Catalan Pavilion of the Venice Biennale, Singularity is an immersive, non-linear and almost hypnotic experience for the viewer. Barbara Casavecchia analyzes the film and offers a portrait of film and theater director and actor Albert Serra.

Angie Keefer takes us on a detour that connects matters of free will, style, substance—rhetorical and otherwise—a chance encounter with a long-time smoker, the difference between one and the same, other people’s money, and other people’s ideas about other people’s ideas about other people’s ideas, in that order, more or less.

The aesthetic of the ’80s is back, making waves in both art and design, with artists like Jamian Juliano-Villani or Dior collections that freely plunder colors, forms and graphics from Memphis. Kelly Taxter suggests that this phenomenon could be an extreme effort to resist getting coopted by the multinationals that glom up the “normcore.”

Bart van der Heide met with Yuri Pattison to discuss his works in digital media and sculpture, exploring ways in which the virtual world permits material reality. Pattison’s work addresses the relationship of visual cultures to emerging communication technologies and metadata circulation.

Lauren Cornell interviews Rachel Rose and Ben Russell, whose works in film and video are marked by sharp cuts, dense layers of effects and deep feeling manifest on-screen. Their camera’s gaze can shift from the innards of the earth to the sky in one quick sequence, and often seems to embody the tremors of an anxious, restless state of mind.

In a double interview, Andréa Picard and Andrea Lissoni investigate all the aspects—stylistic, formal, conceptual, logistical, discretional—behind the works of Michael Snow and Sharon Lockhart, artists from distant generations who share an extraordinarily innovative way of using the film medium.

Ute Meta Bauer traces a thorough portrait of Aldo Tambellini—activist, artist and poet, and outstanding figure on the New York underground scene—and provides an analysis of his recent work shown at the Venice Biennale.

Food is not just a source of nourishment, but also a complex metaphor of control. Laura McLean-Ferris introduces a conversation with Nancy Lupo and Hayley Silverman, two artists whose works share a relationship with the transformation of matter, and of edible matter in particular.

Tobi Maier explores f.marquespenteado‘s variegated world. Hailing from the Brazilian textile and fashion industry, marquespenteado has shifted the affinities with material culture into his art, making extensive use of embroidery and fabric remnants, amidst many raw and salvaged materials incorporated in maps with Warburgian overtones.

Can contemporary art represent trauma? Trauma resists being represented by its victims, by definition: though they repress it, it cannot be fully erased because its “transmission” offers crucial information to survive. Jennifer Allen ponders an art that cannot be “contemporary” but can only bear retrospective witness.

The Artist as Curator
Available in the international edition and for subscription only

Issue #8 an insert in Mousse Magazine #49
Hélio Oiticica, Apocalipopotese, 1968
Mark Leckey, UniAddDumThs, 2014–15

The Future Is Here
A project edited by Chus Martínez, with contributions by Dirk Baecker, Philippe Bischof, Peter Bläuer, deuxpiece, Marlene Dumas, Marianne Eigenheer, Elena Filipovic, Gina Folly, Ronnie Fueglister, Søren Grammel, Rodrigo Hernández, Klara Hobza, I Never Read, Art Book Fair, Judith Kakon, Ariane Koch & Sarina Scheidegger, Jana Kouril, Basim Magdy, Chus Martínez, Haroon Mirza, Edgar Pieterse, Sandra Beate Reimann, Kilian Rüthemann, SALTS, Ania Soliman, Agnieszka Sosnowska, Tau Tavengwa, Jan Verwoert, Hannah Weinberger, Roland Wetzel, Anicka Yi.

Commissioned by the Department of Cultural Affairs Basel-Stadt.
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July 8, 2015

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