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Mousse

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Mousse

Contemporary art magazine and publishing house based in Milan Mousse is a contemporary art magazine. Instagram: - Twitter:
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Established in 2006 and publishing four issues every year, it features interviews, conversations, and essays by some of today’s most important international figures in criticism, visual arts, and curating. Feature columns keep tabs on international trends in contemporary culture around the world. Mousse is also a publishing house, devoted to imbuing every printed project with originality, care, an

d respect. Mousse Publishing makes books with artists, writers, galleries, biennials, and other art and cultural initiatives both public and private. Mousse Publishing also produces online content, printed ephemera, and artist editions.

21/08/2024

“The task is to blow up the language!” Alice Bucknell reviews Jackie Wang’s “Alien Daughters Walk into the Sun: An Almanac of Extreme Girlhood” (Semiotext(e), 2023); Mashinka Firunts Hakopian’s “The Institute for Other Intelligences” (X Artists’ Books, 2022); and Alenda Y. Chang’s “Playing Nature: Ecology in Video Games” (University of Minnesota Press, 2019).

Visit our website to read the reviews.

Photo: Benedetta Stefani

13/08/2024

“To what degree do institutions ‘flex’ to absorb the positions and forms that art takes on? Is there a point in this flexing where institutional authority is broken down and redistributed?” Richard Birkett on self-organization on the homepage of moussemagazine.it

02/08/2024

“‘How many holes are in your work?’ It’s a question you might expect a writer to ask. But an artist? Kameelah Janan Rasheed isn’t just any artist: ‘I’m a writer who finds different substrates to write on.’ She posed this Socratic quip during a walk-through of her exhibition at REDCAT, Los Angeles. ‘There are holes in this show. I want you to come in and leave your experience.’ Maybe it’s not so much a question of how many holes I find in Rasheed’s exhibition, but about bringing this how into dialogue with ‘what are the holes’ and ‘why do I/we need to get inside them?’”

Visit moussemagazine.it to read the review of Kameelah Janan Rasheed “i want to climb inside every word and lick the salty neck of each letter” at REDCAT, Los Angeles, by Ikechúkwú Onyewuenyi.

01/08/2024

Sonia Fernández Pan argues that entering into public secrets is not only part of Crystal Z Campbell’s artistic process, but also of the lives of these very stories and the circulation of “underloved” archival materials.

Visit moussemagazine.it to read the tidbit.

30/07/2024

The six large first-floor rooms of Le Consortium in Dijon barely contain the productive energy of Isabella Ducrot’s exhibition, aptly titled “Profusione,” “abundance.” Ducrot is ninety-three years old, born in Naples and based in Rome. Presenting a collection of more than seventy artworks comprising work on paper, fabrics and collages, all produced between 2016 and 2024, the artist expresses an expansive desire to create works of a palpable mesmerizing lightness; they vibrate as one passes.

Read now at moussemagazine.it the review by Mariacarla Molè about Isabella Ducrot’s “Profusione.”

23/07/2024

Helena Uambembe’s work examines the complexities of keeping and activating memory. Mistura Allison delves into the artist’s multiverse, in which geography is not merely a static backdrop, but a dynamic field where identity and history are reconstituted.

Visit moussemagazine.it to read the tidbit from Mousse 88–Summer 2024.

19/07/2024

“At Phenomenon, the exhibition evolves over time. Artists and the organizers bustle around the village, fine-tuning the works. You might encounter them in a café, overhear their stories, and share in their current struggles. Artworks suddenly appear on walls, light poles, and bus stations. Daily events include readings, screenings, and curated party nights, creating an almost unavoidable intimacy. Like a slow-paced music festival, a community forms organically.” Ben Livne Weitzman on Phenomenon, a biannual exhibition inviting a small group of artists to present their work and engage with various spaces across the island of Anafi.

Head to moussemagazine.it to read the piece.

18/07/2024

Reminiscent of cut fabric remnants, differently sized colored elements are stretched vertically onto the two fourteen-meter-high walls of the Light Tower in Aachen’s Ludwig Forum für Internationale Kunst. The geometric and amorphous figures of Ulrike Müller’s murals, “Paper Body (ghost)” and “Paper Body (pointer)” (both 2023), fill the four-story space with a mixture of opulent and fragile physicality, shaped by structured color forms and margins and intermediate zones left empty. In view of these hypertrophic snippets of color, the title of Müller’s exhibition—“Monument to My Paper Body”—clearly announces a focus on the juxtaposition of personal-intimate and institutional-public modes of presentation and their significance for the intra-pictorial dialogue.

Follow the link in bio to read the review by Sabeth Buchmann about “Monument to My Paper Body” at , curated by Eva Birkenstock, assisted by Mailin Haberland.

16/07/2024

“I have a strong desire to embrace gossip and the ephemeral as a political action and attitude, and in doing so, to think about love, friendship, and fictional (auto)biographies as an intrinsic strategy in life and art.” revisits the seventh issue of Ephemera magazine, handwritten by in 1978.

Visit moussemagazine.it to read the Reprint column from Mousse 88–Summer 2024.

11/07/2024

Rooted in Indigenous knowledges, Raven Chacon’s work represents a tectonic shift in art making vis-à-vis sonic practices. In dialogue with Pablo José Ramírez, Chacon speaks to an approach that embraces replication and tone in composition, his connection to the performative dimension of silence, and the possibility of an exteriority to Western audibility.

Visit moussemagazine.it to read the conversation.

09/07/2024

Harry Burke analyzes how issues of environmentalism, technology, colonialism, and the occult are interwoven in the films of Riar Rizaldi, who advocates for lived engagement with animistic cosmologies.

Visit our website to read the entire tidbit.

28/06/2024

A groundbreaking figure in video, feminist and socially engaged art, had to wait for decades before her practice—somewhat unclassifiable and hence positioned at the edges of genres and movements—could finally gain full recognition. In our publication, “Nil Yalter: Circular Tension,” author Omar Kholeif takes readers on a journey through the life and work of the artist, fusing the genres of auto/biography to unfurl a social and historical context that examines concepts of ethnicity, the diaspora, and feminism.

In 2024, Nil Yalter participated for the first time at the 60th International Art Exhibition of La Biennale di Venezia, “Stranieri Ovunque—Foreigners Everywhere,” curated by Adriano Pedrosa, and received the Golden Lion for Lifetime Achievement.

Read an excerpt from our publication on moussemagazine.it’s homepage and discover “Nil Yalter: Circular Tension.”

Photo: Mattia Giuntini

26/06/2024

“I believe that poetry offers revolution, hope, rebellion.” Reflecting on historical swells of poetry’s appeal, Allison Grimaldi Donahue considers the reasons why poetry is experiencing a resurgence in the art world, and contemplates the popularity and purpose of a medium that “lives in the continuous present” at a time of great collective uncertainty.

Visit moussemagazine.it to read the Opinions column.

25/06/2024

“How do/shall we explain
the muffled vocabulary of peace
always on the brink/arriving broken into pieces
spread out in a random majesty of here.”

Inspired by the mesmerizing patterns of birds, poet and essayist Erica Hunt contributes two poems, available at our website.

19/06/2024

French–Lebanese artist Valentin Noujaïm repels the colonial continuum, facing at once records of state terror and samples of collective resistance. In his moving-image works, writes Edwin Nasr, the past no longer haunts, but enchants.

Visit our website to read the tidbit.

18/06/2024

Övül Ö. Durmuşoğlu discusses how Maryam Tafakory’s gaze operates almost surgically, revealing a landscape of historical disruptions woven by women. A civic poet and feminist counter-archivist, Tafakory problematizes the Western romanticization of Iranian cinema, shifting our attention to the concealed complexities and complicities of images.

Visit moussemagazine.it to read the monograph.

14/06/2024

Prefacing the main gallery space at ETH Zürich is a large wall covered in handwritten statements. These proclamations, filled with caustic sarcasm about the exclusionary pitfalls of the art world, are taken from artist Beverly Buchanan’s (1940–2015) undated publication I Hope This Helps You Survive Your Gallery Visit, and offer the viewer a playfully ironic introduction to the recent exhibition, "I Broke the House." Juliette Desorges's review of the first exhibition in Europe to foreground Buchanan's five-decade practice, which also features works by historical figures such as Ana Mendieta and Kazuko Miyamato and contemporary artists including Aria Dean, Devin T. Mays and Cameron Rowland, is now online.

13/06/2024

Memories are slippery. For artist , it’s not writing but collecting that is trusted as a method of remembering. To , Waelder’s works can be read as an invitation to coauthor a diary written in space, rather than on paper.

Visit moussemagazine.it to read the tidbit appeared on Mousse 88–Summer 2024.

12/06/2024

“When you call any of the still-active versions of ‘Dial-A-Poem’ today, you hear a pregnant pause. Three seconds of nothing on the other end —enough to make you wonder if this project from 1968 is still working. Then there is John Giorno, the maestro and ringleader, with an announcement. His distinctive accent and charisma, enunciating clearly and as present as ever, drips through the title as he states it each time along with the name of the poet whose work follows. ‘DIAL-A-POEM: ___’” Retracing the genesis of “Dial-A-Poem” (1968–ongoing), explores how (1936–2019) sought to experiment with new ways for poets to make art.

Visit moussemagazine.it to read the essay.

31/05/2024

Artist pens an intimate annotation of Argentinian avant-garde writer ’s revolutionary text, “Museo de la Novela de la Eterna” (1967): “Macedonio understood the novel—or, rather, the Novel, as the book itself is regarded as a character—as a dwelling (museum, estancia) where characters live together.”

Visit our website to read the Reprint of Mousse 87–Spring 2024.

30/05/2024

“Kinship is a headspace, and return is ‘as much about the world to which you no longer belong, as it is about the one in which you have yet to make a home.’” Clem MacLeod reviews Saidiya Hartman’s “Lose Your Mother: A Journey along the Atlantic Slave Route” (2021, Profile Books); Aurelia Guo’s “World of Interiors” (2022, Divided); Etel Adnan, Laure Adler, and Ethan Mitchell’s “The Beauty of Light: Interviews with Etel Adnan” (2024, Nightboat Books); and Etel Adnan’s “Sea and Fog” (2012, Nightboat Books).

Visit our website to read the Books column.

28/05/2024

turns the ephemeral and multiple nature of mass- and social- media imagery into labor intensive unique works that stand in contrast to the fast-paced expectations of the market, as well as the notion of the readymade and the impulse to outsource production common among many conceptual practitioners. analyzes how the artist’s deliberately “inefficient” methods remind us that what receives attentive reverence persists in the collective memory.

Visit our website to read the tidbit.

24/05/2024

In ’s work, we find an image-world depicting humans on a shared plane with other creatures, and a place where a turn toward them is staged. In her large sculptures of creatures, in polystyrene or in bronze cast from polystyrene, the precise expression of the animal, and the point at which it meets the viewer’s gaze, is often disarming, communicating both a connection and a withdrawn unreachability. In this essay, describes the important facets of Saeed’s oeuvre: interspecies closeness, finely observed attention to the expressive language of human and animal bodies, and Styrofoam as a sculptural material.

Visit our website to read the essay appeared on Mousse 87–Spring 2024.

23/05/2024

“‘Milk” as a noun suggests fertility and nourishment, while as a verb, it denotes an activity with negative connotations—as in, milking, sucking, exploiting someone. I love words with double meanings.”A visual essay by , featuring an interview between the artist and .

Visit our website to read the conversation accompanying Mousse 87’s visual essay.

21/05/2024

Building on a recent conversation in Colombo, Sri Lanka, explores ’s polyvalent, urgent, and navigational curatorial practice, which exemplifies a responsiveness derived from her interdisciplinary background in art history, journalism, and political science.

Visit our website to read the Curators column.

20/05/2024

’s art is moved by a sense of both responsibility and urgency—responsibility to learn how to master historical legacies, and urgency to trouble them with new meanings and new forms, “dragging” them into the present even if it requires an act of betrayal or destruction. considers how the artist acknowledges traditions and ancestors’ cultures as an “inextricable influence.”

Visit moussemagazine.it to read the tidbit.

18/05/2024

“At 7 am, the shuttle bus let her and a dozen miners off at the entrance hall marked ‘For Men Only.’ Reading the sign, she felt like an extranjera. An exile returnee. An alien with no return address.” In her upcoming novel, “Atacama,” traces the journey of a q***r brown girl named Ami through the world’s driest desert, a landscape that is replete with colonial imaginaries, the dictator’s crimes, and regenerative potential.

Visit moussemagazine.it to read the Fiction published on Mousse 87–Spring 2024.

17/05/2024

In “The Weight of the Concrete” at Museion Bolzano-Bozen a polyphonic echo chamber opens, and at its center is a body of work by (1929–2022). Based in Turin and working across many artistic media, he was also an acclaimed editor and bookmaker attracted to printing technologies who collaborated with many renowned art-world figures. The exhibition map his interest in different forms of publishing, ranging from newspapers to children’s illustrations and dictionaries, and the artist’s gravitation to abstract forms, given their potential as a space of (semiotic) abstraction, an indeterminacy in poetic language.

Tap the link in bio to read the review by .

16/05/2024

investigates how, for more than a decade, has tweaked the “expansive” choreography genre by combining text, anthropological and ethnographic research, and movement studies. Themes of violence, desire, sexuality, and the psyche meet in her performances, each underscored by a feminist (un)writing of dance that meditates on how female bodies are portrayed today.

Visit moussemagazine.it to read the tidbit.

15/05/2024

looks at the intuitive, collaborative methods that guide multidisciplinary artist as they navigate displacement and trans-temporality within their films. “Vir is interested in seeing everyone’s knowledge unfold, and that’s what the film Daftar is about, to begin with. . . . Everything is constructed too, Vir’s head is bursting with images, ‘everything is a symbol and a mirror.’”

Visit moussemagazine.it to read the Monograph on Vir Andres Hera.

Indirizzo

Mousse HQ Via Decembrio 28
Milan
20137

Orario di apertura

Lunedì	09:00 - 19:00
Martedì	09:00 - 19:00
	22:00 - 19:00
Mercoledì	09:00 - 19:00
Giovedì	09:00 - 05:00
Venerdì	09:00 - 19:00

Telefono

+39028356631

Sito Web

http://moussemagazine.it/cart/?add-to-cart=112310

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Video

Tap the link in bio to read Mistura Allison’s (@mistura.a) tidbit about the multiverse of Helena Uambembe (@uambembe), where geography is not merely a static backdrop, but a dynamic field where identity and history are reconstituted.

“I have a working definition of the siren that is non-audio-centric. It is a call to attention, a call to action, encoding a future-oriented instruction.” Get Mousse 88–Summer 2024 to browse a visual essay by Aura Satz (@aurasatz) and tap the link in bio to read an interview between the artist and Quinn Latimer (@ql_ql_ql_ql). —— Excerpt from Aura Satz “Preemptive Listening” (@preemptivelistening), 2024, HD, 89 min Here: Evelyn Glennie (waterphone, water triangle). Voiceover: Arturo Escobar (anthropologist and environmental philosopher). —— Directed, written and edited by Aura Satz (@aurasatz) Producer: LONO Studio - Luke W Moody (@light.oracles), Aura Satz Associate Producer: Tendai John Mutambu Co-Producers: Mika Taanila (@mikataanila), Jussi Eerola for Testifilmi (@testifilm) Newly reimagined sirens composed by Mazen Kerbaj (@mazenkerbaj), Raven Chacon (@ravenchcn), Evelyn Glennie (@dameevelynglennie), David Toop (@moreskinsound), Elaine Mitchener (@elainemitchener1), Camille Norment (@camillenorment), Laurie Spiegel (@laurie.spiegel), Maja S.K. Ratkje (@maja_s_k_ratkje), Anton Lukoszevieze (@antonannex), BJ Nilsen (@massiftrophies), Ilpo Väisänen, Rhodri Davies (@rhodrijd), FUJI|||||||||||TA (@fujilIIIIIIIIIIta), Sarah Davachi (@sarahdavachi), Christina Kubisch, Moor Mother (moormother), Horomona Horo (@horyfulla13), Debit (@deliabeat), and Kode9 (@kode9). Voices of Khalid Abdalla, Daphne Carr (@daphinatrix), Asantewaa Boykin (@asantewaarn) & Niki jones, Erin Matariki Carr (@erinmatariki), and Arturo Escobar.

What can we learn about our present from the collaboration between artist John Giorno (@giorno_poetry_systems), the human voice, and a machine-operated mass medium? To discuss the pivotal role of sociality in Giorno’s artistic practice—encompassing poetry, visual arts, technology, community activism, and spirituality—we invited writer, speaker, musician, and innovator in the collaborative use of AI and machine learning K Allado-McDowell (@kalladomcdowell) and editor, journalist, and professor Marcus Boon (@marcusboon3001). Their conversation spans poetry, contradiction, memes, social media, and the impact of Buddhism on Giorno’s passion for iteration. Tap the link in bio to read the conversation from the Survey column of Mousse 88–Summer 2024. —— Audio recording from Words Aloud 8 Spoken Word Festival at the @durham.art.gallery, Durham, Ontario, Canada, November 5, 2011.

24 HOURS LEFT: last day to enjoy a 50% discount across our entire catalogue with code SUMMER50. Don’t miss out!

Starting TOMORROW: MOUSSE SUMMER SALE! Enjoy 50% off our entire catalogue until Sunday, July 7, at midnight. Follow us here and subscribe to our newsletter via the link in bio to get the discount code.

Black Friday Sale, now live! Rush to our online shop and apply the code BLACKFRIDAY40 at checkout to get 40% off the entire catalogue. The offer expires on November 26, 2023, at midnight.

Mousse Magazine 80 – Summer 2022: OUT NOW What has Saint Lucy got to do with a best seller on trauma and its effects on the brain and body? An essay from Elvia Wilk’s new book, “Death by Landscape.” The addressee of Lucy Ives’s “Matthew” is a deceased person: a subject all too easily mistaken for a creation of the narrator’s mind. Cory Arcangel, Jordan Wolfson, and Bart van der Heide debate how #MichelMajerus’s practice resisted the oversimplified categorization of painting through an omnivorous sampling, the internet and the white cube as production sites. Kerstin Stakemeier sketches Majerus as the articulator of the endpoint of a painterly Romanticism in furtherance of a Symbolist attitude. Saodat Ismailova speaks with Andrea Lissoni about descending in the chillahonas, underground cells built next to tombs of saints in Asia, and the genesis of “Chillahona.” Melanie Bühler ponders subtle tensions, fragile moods, and feelings of ennui in artworks when vibes are successfully employed. Ufuoma Essi and Rhea Dillon with Alex Bennett, delve into Black British life and history’s legacies, ideas of identity, body, nation, and diaspora. Hera Chan outlines how cultural work is affected during and after political and military upbringings. Tidbits: Matthias Groebel by Moritz Scheper; Karla Kaplun by Anna Goetz; Niklas Taleb by Philipp Hindahl; Daniela Ortiz by Harry Burke; Qualeasha Wood by Alexandra Thomas; Reba Maybury by Krzysztof Kościuczuk; Fahd Burki by Nadine Khalil; Marc Kokopeli by Saim Demircan; Becket MWN by Annie Goodner; Ana Prata by Cristiano Raimondi Book Reviews: Tiona Nekkia McClodden Cover: Michel Majerus, “MOM BLOCK NR. 67,” 1998. © Michel Majerus Estate. Courtesy: Private Collection. Photo: Jens Ziehe

A selection of video works by Peggy Ahwesh. “Bethlehem,” 2009 “Kansas Atlas,” 2019 “Lessons of War,” 2014 “Martina’s Playhouse,” 1989 “Re: The Operation,” 2019 Courtesy: the artist Peggy Ahwesh and Microscope Gallery, New York

Mousse's Christmas deals are here! Don’t miss our three-day sale: 30% off of everything, from Mousse Magazine’s annual subscription to Mousse Publishing's artist books, monographs, and editions. Whether you’re looking for a gift or simply want to treat yourself—rightly so!—we’ve got plenty of options for you: visit www.moussemagazine.it/shop to browse our entire catalog 👀 #moussemagazine #moussepublishing

There’s art, and there’s state-of-the-art: Mousse Magazine and Publishing’s new website, out now. Head to our link in bio to unveil what’s hot off the presses and GET 10% OFF OUR ENTIRE CATALOGUE by subscribing to our brand-spanking-new, redesigned newsletter. Website by Mousse and Giga Design Studio

MOUSSE MAGAZINE AND PUBLISHING’S NEW WEBSITE: OUT NOW The saying goes, one must take responsibility for the furniture inside one’s head—let alone the art! But don’t tremble yet. We are thrilled to announce our new website, bringing together everything Mousse has done in fifteen years as a magazine and a publishing house. And we’ve taken it a step further. Conceived as an all-encompassing merging of Mousse Magazine and Publishing’s former platforms, the new site’s structure and design reflect Mousse’s multifaceted nature, making room for engaging new content, figures, and visions. Visit www.moussemagazine.it to keep tabs on up-to-the-minute trends through new essays, conversations, and reviews written and read by the most vivid voices in international criticism, along with emerging talents and key figures in the cultural debate; browse the exhibitions section for a constantly updated feed of highlights from galleries and institutions worldwide; discover our latest publications through extensive insights; get lost in our archives; and head to our webshop to uncover what’s hot off the presses. Website by Mousse and Giga Design Studio

Mousse #64 for iPad

#Mousse64 for iPad is out! Bring Mousse around with you. Download itunes.apple.com/it/app/mousse-magazine/id475785292?mt=8

Mousse #63 April – May 2018

#Mousse63 We will launch our brand new issue at miart, Fiera Internazionale d'Arte Moderna e Contemporanea, and in various institutions, galleries and spaces around Milan in occasion of the #MilanoArtWeek. See you in Milan. SAÂDANE AFIF C’est l’orchestre qui fait le tableau Eva Huttenlauch MOTHER TONGUE Rose Vickers JACQUELINE KIYOMI GORDON AND C. SPENCER YEH There Is No Front: Sound as Sculptural Material Chiara Giovando PAN DAIJING Never Feeding, Only Generating Andrea Lissoni EVELYN T. WANG Four Women Hendrik Folkerts DOMINIQUE GONZALEZ-FOERSTER Apparitions: Is It Fitzcarraldo or Véra Nabokov? King Ludwig II or Lola Montez? Or Scarlett O’Hara? Roxana Marcoci FORENSIC ARCHITECTURE AND METAHAVEN The Inhabitant and the Map Richard Birkett THE MUSEUM OF TOMORROW: COLONIZING OUR FUTURE T. J. Demos RYAN JOHN KING AND KATYA ZAVYALOVA Foam: Architects Mapping Blockchain onto the World Elvia Wilk NICOLAS MOUFARREGE Prescient Stitches: The Work of Nicolas Moufarrege Élisabeth Lebovici, Mounira Al Solh, and Dean Daderko LISA PONTI AND FRANCO TOSELLI A Narrow Ladder with Which to Steal Apples Hans Ulrich Obrist ET IN ARCADIA WE GO Dieter Roelstraete GHOST STORIES OF ALMOST NOBODY Sabrina Tarasoff HAYV KAHRAMAN The Diasporic Body in Motion Omar Kholeif VIVAN SUNDARAM: IN THE LIVING PRESENT Natasha Ginwala SER BRANDON-CASTRO SERPAS Anxiety Becomes My Work Ross Simonini ULÓNGA Christina Lehnert, Leo Asemota, Nástio Mosquito, Bonaventure Soh Bejeng Ndikung, and Philippe Pirotte LIN MAY SAEED’S SLOW BURN Chris Sharp AT LIBERTY Anastassia Smirnova POST-PERFORMANCE FUTURE Marie de Brugerolle moussemagazine.it/product/mousse-63/