Issue 27 out now

Issue 27 out now

Mousse Magazine

February 1, 2011

Issue #27
February / March 2011

In December, Ute Meta Bauer and Dan Graham met up in New York for a conversation whose scope was determined by their many shared interests and long friendship, as well as a passion for literature that, inevitably, is connected to an extraordinary storytelling ability…

Hans Ulrich Obrist and Stuart Comer got together with William (Bill) Leavitt for a long conversation on his first retrospective at Los Angeles MOCA, an event that John Baldessari celebrates in his introductory portrait of the artist.

For PART OF THE PROCESS, Ronald Van de Sompel talked with Sven Augustijnen about the artist’s new film, Spectres, which focuses on the decolonization of the Belgian Congo, especially the circumstances surrounding the murder of Patrice Lumumba. A dark work that tracks the phantoms of history into their most hidden retreats.

You need to read Chus Martínez‘s text at samba rhythm. Samba is a movement of the body that reverberates in the movement of the social body. It is also a way to neutralize the system, as the author explains.

The art world is flooded with printed matter. Dieter Roelstraete analyzes this phenomenon for PORTFOLIO in relation to the work of Zin Taylor, who is unquestionably an exquisite narrator.

To Andrew Berardini, the greatest achievement of Brian Bress‘s work is that it makes us keenly aware of how much television entertainment has shaped our mental processes. Yarn Man and his bizarre friends make this clear to us.

Building houses out of nothing and against all odds. Abraham Cruzvillegas has translated the experience of autoconstruccion into several initiatives, which he talked about with Vincenzo de Bellis.

Fiete Stolte lives in a parallel reality. Not a different world from ours, but the same one according to a different model of time. One where nights are not always dark, nor days always light. Jennifer Allen tried to synchronize herself with the artist’s new calendar, for HARK!

ARTIST PROJECT: Jeremy Deller, introduced by an interview with Peter Eleey.

Reporting from:

PARIS: Pierre Huyghe‘s recent project The Host and the Cloud is a difficult work to define; one could attempt to say that it is the cinematic result of a live experiment, with a new synthesized entity added in post-production. Pierre Huyghe talks to Vincent Honoré about the degree to which reality can be undermined.

LONDON: Beatrice Gibson‘s work investigates voice and sound, and the concept of collectivity. The film A Necessary Music creates an intersection between experimental music and the voices of people who live on Roosevelt Island. Isla Leaver-Yap, intrigued by the “collaborative composite”, talks about it with the artist.

BERLIN: Maximilian Zentz Zlomovitz is hooked on subway tunnels and on a fantastic, uncanny world of homeless graffiti artists and post-atomic scraps of technology. He confessed this to Gigiotto Del Vecchio.

NEW YORK: Cecilia Alemani meets up with Karthik Pandian, discovering how his works manage, through architecture, to speak of many things, from the power of the sun to that of human beings.

LOS ANGELES: Jonathan Griffin talked to Brian Kennon, one of the most active and generous participants in the Los Angeles art scene: from his collaborative work with other artists to the independent publishing house 2nd Cannons.

ARTIST PROJECT: James Coleman.


Maeve Connolly revisits James Coleman‘s seminal work So Different… and Yet (1980), discovering how each different exhibition context amplifies the work’s possibilities.

To Giuseppe Chiari, music is an image and the image is music. Elena Volpato looks back over the Florentine artist’s work in LOST AND FOUND.

Zarouhie Abdalian‘s work lives on the threshold of invisibility, yet is capable of conjuring up such significant alterations as to undermine the concept of a site’s integrity. In an interview with the artist, Jens Hoffmann explored how places and events have influenced his recent work.

Wilfried Huet suggests three significant artists’ texts for REPRINT.

The idea of an artist voluntarily distancing himself from the art world is a phenomenon that never ceases to fascinate those who belong to that world. Chris Sharp examines the chimera of authenticity and the reasons for its negative attraction.

Self-organization and counter-consciousness are buzzwords for Stephen Willats, and his diagrams are dynamic models of a new reality. With the artist, Emily Pethick re-examines the meaning of his multidisciplinary incursions, from cybernetics to philosophy.

Subtract things, make them deteriorate, find the work’s weak point to achieve a gradual shift in identity. That’s Lara Favaretto‘s goal. The artist talks to Francesco Garutti about how to produce reality by putting the work in the background compared to its transformation.
Sarah Lehrer-Graiwer takes an exemplary spin through the ground-breaking production of Sister Corita, who drew on the colors of the world and the messages of commerce to talk about love and revolution.

Adam Carr would have liked to interview Gareth Moore. And in a certain sense, he did. If nothing else, through nine improvised alter egos of the artist—ranging from Catrin Lorch to Caoimhim Mac Giolla Leith.

TEN FUNDAMENTAL QUESTIONS OF CURATING, a project curated by Jens Hoffmann, sponsored by Fiorucci Art Trust and Mousse Publishing, explores the multifaceted physiognomy of the curator. The third of ten dossiers features João Ribas answering the question “What to do with the contemporary?” plus selected illustrations by Matthew Buckingham. *

* Available only in subscription copies in Italy.

Pierre Huyghe, The Host and the Cloud, 2011.
Courtesy: The Artist and Marian Goodman Gallery, New York /Paris
Photo: Ola Rindal

From Mousse Publishing:

Pleure qui peut, rit qui veut. Premio Furla 2011
The catalogue for the 8th edition of the Furla Prize is structured as an anthology of five small monographs for each finalist: Alis/Filliol, Francesco Arena, Rossella Biscotti, Matteo Rubbi, Marinella Senatore, are introduced by a critical text or a conversation between the selecting curtators and accompanied by an extended selection of the artists’ most representative and significant works. Since its establishment, the Prize has been the leading award for young emerging Italian artists. The catalogue, published this year by Mousse, constitues a unique source for the discovery and understanding of a promising artistic generation.

Drawing Room Confessions
Drawing Room Confessions is a self funded publication. For every issue, we invite one artist to play the serious and playful game of the conversation. Each section follows a set of rules, only the player change, as interviewers from a wide range of fields contribute to a portrait of the artist at a certain time.
 Drawing Room Confessions series is edited by Vincent Honoré and Manuela Ribadeinera, and designed by Åbäke.

First two issues featuring Charles Avery and Jason Dodge.

BLM 2002-2010. Fondazione Bevilacqua La Masa
In its over one hundred years of activity, the Bevilacqua La Masa Foundation has organised ninety-four collective exhibitions for young artists, has arranged cultural events such as conferences and meetings, and has provided space for exhibitions of artists of acknowledged international repute. The book is an archive of the happenings during the last nine years, a summing-up of the situation composed by those who shaped it. With texts by: Chiara Casarin, Stefano Colletto, Elisabetta Meneghel and Angela Vettese.

The catalogue Abitanti, which brings together Sissi‘s most significant works from 1999 to 2011, takes its title from the artist’s latest exhibition, opening February 4 at Fama Gallery in Verona. Sissi’s best-known works are presented in this volume with a never-before-published collection of private inspirations and images, and an introductory text by Danilo Eccher.


Daniel Sinsel

Catalogue published on the occasion of Daniel Sinsel first solo exhibition at Chisenhale Gallery, London, the first in a public institution. With an essay by Andrew Bonacina. It is produced by Mousse in association with Sadie Coles HQ, London and with support from The Breeder, Athens; Office Baroque, Antwerp; and Galerie Micky Schubert, Berlin.

Peep-Hole Sheet #07: Pavel Büchler

Unpublished original text by the German artist Pavel Büchler. Produced for Peep-Hole, Milan.


For Andrea Zittel‘s first solo exhibition in an Italian museum – “Between Art and Life”, curated by Alberto Salvadori and sponsored by Osservatorio Arti Contemporanee (OAC) and Fondazione Pitti Discovery, in partnership with Andrea Rosen Gallery in New York, Galleria Massimo De Carlo in Milan, and Sadie Coles HQ in London – Mousse Publishing will be putting out a monographic catalogue dedicated to this American artist, one of the most interesting, original figures on the international contemporary art scene.

Aldo Spoldi

Published on the occasion of Aldo Spoldi’s double solo exhibition at Fondazione Marconi and Studio Marconi ’65 in Milan, Un Dio non può farsi male / A God can’t hurt himself is an Italian/English book written by virtual philosopher Andrea Bortolon, an ingenious way for the artist to gather and convey his thoughts on contemporary world.

Navid Nuur

Published for the “Post Parallelism” exhibition at Kunst Halle Sankt Gallen, opening in February 2011, Bored at the Museum, Bored at the Studio is a two-way book in which Navid Nuur has collected a hundred images found on the Internet, depicting the “creative boredom” that often seizes visitors to traditional museum spaces: a phenomenon well-described by Giovanni Carmine in the introductory text “To Be, or Not to Be (Bored)”.

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February 1, 2011

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