Mousse #65

Mousse #65

Mousse Magazine

Ambera Wellmann, On Green, 2018. Courtesy the artist.

October 10, 2018
Mousse #65
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The Myths of Succulent Concrete: The Sculptures of Kathleen Ryan by Andrew Berardini
In the words of Andrew Berardini, Kathleen Ryan is an archaeologist who discovered a goddess in the ruins of Los Angeles’s alternate future.

The Emo-Romantic Turn by Michal Novotný
An essay about an attitude defined by imagination, expression, and the question of authenticity, post–internet art.

Rage against the Machine: The Theatrical Whirlwinds of Reza Abdoh by Krist Gruijthuijsen in Conversation with Negar Azimi, Tiffany Malakooti
A pioneer in experimental theatrical productions is the subject of a conversation that touches on the complications of representation and the mechanics of museology.

Creating Coincidence: Virgil Abloh and Emily Segal in Conversation
An exchange of ideas and anecdotes regarding the role of art, trends, and consumption in cultural developments, and possibilities for personal success in the contemporary mediascape.

I Didn’t Go Home: Takesada Matsutani in Conversation with Hans Ulrich Obrist
Throughout the decades of his career, adopting a discipline against the grain, Takesada Matsutani has continuously developed his voice and discovered new potentials for the inner subjective dimension.

Weirdly Harmonious Interactions of Unrelated Stuff: Oneohtrix Point Never in Conversation with Aram Moshayedi
Oneohtrix Point Never is the recording alias of the electronic musician, composer, and producer Daniel Lopatin. He has released eight full-length albums, most recently Age Of (2018, Warp Records), and also presents his work in galleries and museums.


Zoë Paul and Laura Herman discuss how age-old objects—when handled properly—can create connections inside communities.

Jennifer Bolande talks to Marie de Brugerolle about how thresholds, filming effects, and peripheral spaces shape her practice.

Wendy Vogel on queer feminist stand-up comedy, and the translation of comedy into contemporary art.

In conversation with Patrick Goddard, the artist-run spaces Piper Keys, 3632RLS/Le Bourgeois, and Attilia Fattori Franchini reflect on display and production strategies of resistance against austerity and post-Brexit London.

Omar Kholeif explores the researches and practices of a heterogeneous landscape of pioneering artists who created a historical and cultural heritage in the Middle East.

Kathy Noble discusses choreography as a form of contemporary institutional critique in the work of Phoebe Berglund and Madeline Hollander.

Chris Sharp on exhibition making and the troubled relationship between writing, language, and emotions.

Sabrina Tarasoff unfolds how the fairy tale carries us back to a primordial vulnerability where everything was “for the first time.” 

Mitch Speed writes about the role of art in contemporary neoliberalism, and the precarious condition of art workers.

Joshua Simon dialogues with João Laia on contemporary visual discourses and the exhibition model as a space for political action.

Jeffrey Gibson, in conversation with Johanna Burton, describes his practice as a mediation of modes of identification between objects and audiences.

Bendix Harms talks to Ross Simonini about the absurd lexical world at work in his pictorial practice.

Tenzing Barshee evokes a short visit to Brazil, through the tropical winter and a country in crisis.

Wong Ping opens up with Alvin Li about his singularly rich and pop-like visual language, replete with social critique.

Fatoş Üstek analyzes her process of conceptualizing visceral, physical, and virtuous registers of intimacy.

In conversation with Fredi Fischli and Niels Olsen, Lena Tutunjian explains how her work channels individualism, the nuclear family, and Subway coffee.


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