Mousse #66
Winter 2019

Mousse #66
Winter 2019

Mousse Magazine

Adam Stamp, Untitled (Your phone’s off the hook, but you’re not), 2018. Courtesy the artist.

January 28, 2019
Mousse #66
Winter 2019
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In this issue:

Painting Tempi. Everyone Else Is a Troll: Sophie von Hellermann by Tenzing Barshee
The artist discusses how her paintings convey a sense of immediacy and an eloquent procedure of applied thinking.

Letters: David Horvitz in Conversation with Yann Chateigné
In fall 2018, David Horvitz and Yann Chateigné wrote letters to each other—focusing on works as attempts of emancipation from standardized time and on matters of absence and connectivity.

Enigma Variations: Helen Lundeberg by Andrew Berardini
“Let’s begin at the end. Pass through the hard edges of her country and the science fiction of her colors, and as the decades fall away, we’ll finally return to a room in California and the painter herself, summoning the cosmos.” Andrew Berardini backtracks through Lundeberg’s oeuvre.

Queer Abstraction (Or How to Be a Pervert with No Body). Some Notes toward a Probability by Travis Jeppesen
An essay articulating the concept that “All abstraction is fundamentally queer, because queerness is an abstract state of being”—delineating this “dystopian” notion with references to figuration, multiplication, dilution of the self, and empathy, among other things.

An Unpardonable Mannerism of Style by Rose Vickers
Rose Vickers on the relationship between aesthetics, ethics, and utility, with reference to particular aspects of art practice.

Little World, Little World: The Art of Judging a Book by Its Cover by Dieter Roelstraete
A reflection on the power exerted by a handful of artists over the visual imagination of the academic publishing world.



Adam Stamp and Sabrina Tarasoff carry on a jet-lagged, culturally dizzied conversation about his recent activities.

Yuki Okumura shares with Caroline Dumalin ideas behind his current film project and the preceding works that informed it.

Katya Tepper and Rahel Aima on the nature of her friendly yet violent artistic practice affected by a chronic illness.

Attilia Fattori Franchini speaks to Tony Cokes about the use of language as sociopolitical tool, and the subversion of inverting the relationship between text and image.

Emanuele Coccia on Tomás Saraceno’s recent work and how it established his art as an innovative theoretical contribution to rethinking the boundaries of our planet.

Lucy Cotter reflects on Mario García Torres’s artistic practice, raising questions about its relationship to time and space.

Darren Flook probes the uncommon features of Paramount Ranch’s art fair with Alex Freedman and Robbie Fitzpatrick, who started the fair in 2014 with Liz Craft and Pentti Monkkonen.

Conversing with Omar KholeifCelia Hempton discusses the body as a site of representation and how the discomfort between herself and her subjects becomes a spot for creativity.

Marie de Brugerolle explores the concept of “Post-Performance Painting,” focusing on approaches toward practices  considering paintings as scripts, stages, characters, and props.

Elise Lammer retraces David Gothard’s vision as director of Riverside Studios in the 1980s: hosting the likes of Laurie Anderson, Samuel Beckett, and Joan Miró, among others, he put the former film studios on the international map.

Cédric Fauq analyzes the act of “exhibiting” blackness, moving from exhibitions that are “about” blackness to devise ones that are “in” and “through” blackness.

Betye Saar speaks with Hans Ulrich Obrist of her childhood memories and a long-standing use of personal memorabilia, black derogatory images, found objects. 


Ryan Mosley by George Vasey; Stuart Middleton by Francesco Tenaglia; Karin Schneider by Maria Inés Plaza Lazo; Raqs Media Collective by Aurélien Le Genissel; Antarctica. An Exhibition on Alienation by Max L. Feldman; Jacqueline Humphries by Felix Bernstein; Wang Haiyang by Tianyuan Deng; Jesse Darling by Isabella Zamboni; Danh Vo by Francesco Scasciamacchia; Soshiro Matsubara by Gabriela Acha; Phyllida Barlow by Louisa Elderton; Biennale de l’Image en Mouvement by João Laia; Anna Franceschini by Michele D’Aurizio; Hannah Quinlan and Rosie Hastings by Rosanna McLaughlin; Public Movement by Giovanna Manzotti; Darren Bader by Jonathan Griffin.


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