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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.

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.

14/05/2024

If the overall tone of Berlin Gallery Weekend is that of a system that believes itself invulnerable (and perhaps it is) and of business as usual, it is comforting to find a critical gaze, gestures of opposition, moments of doubt and provisionality, and aesthetic resistance in the work on display. If one looks closely, one can find some thought-provoking exhibition-making that speaks to the dissonance of the context in which all this is produced and situated.”

Visit our website by clicking the link in bio to read ’s roundup.

13/05/2024

Historian analyzes the enduring arguments of one of the most influential anti-imperialist activists and thinkers of the twentieth century, , who theorized and treated the psychological agony of colonial rule. “The production of colonial spaces entails the destruction of existing spaces, and the imposition of new norms of breathing, eating, living, commuting, governing, and building.”

Visit moussemagazine.it to read the Thinkers column.

10/05/2024

examines ’s concept of the “suggesture,” as indicative of a moment of attentional focus capable of eclipsing the violence of conventional systems of representation. To her, in Buhlungu’s sculptural, textual, and sonic suggestures, the absence of the artist does not impede the production or dissemination of knowledge.

Visit moussemagazine.it to read the monograph on Simnikiwe Buhlungu.

09/05/2024

In the follow-up to her previous column, unpacks the rapid transformation of art’s systems, as well as our moods and responses thereto, reflecting on the importance of reintroducing traits like spontaneity and “childness” into our practices and languages. “We still build highly normative institutional spaces unable to sustain the flows of life. Spontaneous behavior is, actually, mightily endangered, if not already extinct.”

Visit moussemagazine.it to read the Opinions column.

08/05/2024

While questioning notions of self, connects layers of letters and images with an unpolished aesthetic. Precarious portrait photos, cartoonish drawings, rough graffiti jokes, and self-aphorisms render a safe space of expression without any photoshop filters, or fake backgrounds. unpacks how the artist bridges visual installation with verbal performative action to make her audience rethink social norms and question power structures.

Visit moussemagazine.it to read the tidbit.

07/05/2024

“Across shifts in time, space, and scale, connections jump across subjects and references to amplify the densities that exist in the gaps and distances between seemingly disparate things—from the subterranean to the cosmic, Wong Kit Yi conjures a world where spirits and specters exist among us, like ghost images.”

Visit our website to read Stephanie Bailey’s review of “+852 Ghost-Jpg” at PHD Group, Hong Kong.

06/05/2024

’s practice mines the racial-colonial underpinnings of the Dutch cultural archive—whether in the food one eats, the flowers one plucks, or the neighborhood one lives in. Examining Caner’s artistic trajectory, delves into how, while the artist's concerns remained rooted in critical examinations of the image and the power dynamics inherent in the relationship between viewer and viewed, the tone of the work underwent a sharp shift from the documentarian to the poetic.

Visit moussemagazine.it to read the entire tidbit.

04/05/2024

“While I was on the phone with discussing his latest exhibition, ‘Before and After Writing’ at Galerie Gisela Captain’s space at Palazzo Degas in Naples, an earthquake hit New York, where he was speaking from. Neither of us immediately understood what was occurring—he was reporting mugs toppling off trembling shelves in real time—but we agreed that it ironically compounded the show’s underlying theme of dread and apprehension.” By .

Visit moussemagazine.it to read the review.

03/05/2024

’s (1973–2023) oeuvre focuses on the lives of animals and human-animal relations. In sculptures and reliefs, drawings and paintings, she tells stories of animal subjugation, liberation, and cohabitation with humans, working toward a new iconography of interspecies solidarity. , , , and discuss the ways she regarded herself as an activist, but one who used means other than taking to the streets, and her resistance to distinguishing between her art and her political activities; her vision of a serene interspecies community where every being is equal in rights and freedoms, and animals’ charged role in her fables as creatures who shift the narrative toward different planes of existence, leaning into a possible zoomorphization of humans.

Visit moussemagazine.it to read the conversation.

01/05/2024

Thinking through the radical physicality of ’s photographs, poet asks what it means to make work that breaks with archival intelligibility, closing the cycle of the year-long criticism column edited by . “Sociogenic formalism implicates the violence that runs through every thing that art touches, but that need not be in art always.”

Visit moussemagazine.it to read the Criticism column from Mousse 87.

30/04/2024

considers as a research artist, one who approaches video, installation, writing, and curation as means of building and synthesizing knowledge. Through her film works, Joumaa presents Tripoli as an illusion, suggesting that its dysfunctions are not incidental errors, but direct ripple effects of its shortsighted planning, delving into the social psychology of the built environment.

Visit moussemagazine.it to read the tidbit.

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

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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/

Elena Filipovic and Hans Ulrich Obrist presenting The Artist as Curator #MoussePublishing @friezeartfair

miart, Fiera Internazionale d'Arte Moderna e Contemporanea Sunday 2 April Opening times: 11 am-7 pm #miartalks 11:30 am-12 pm Awarding Ceremony - Premio Rotary Club Milano Brera per l’Arte Contemporanea e i Giovani Artisti 12:30 - 1:30 pm Skulptur Projekte Münster or What’s So Special About an Exhibition Taking Place on a Decennial Rhythm? 2-3 pm The Spectacle of the Useful: New Biennials of Design and Architecture 4-5 pm The Next Documenta Should Be Curated by an Artist – 14 Years Later 5.30-6.30 pm Patronage and Production: Recurring Needs in Recurring Exhibitions Teaser by #MousseAgency #ArtofGesture

miart 2017 teaser

miart, Fiera Internazionale d'Arte Moderna e Contemporanea Saturday 1 April Opening times: 12-7 pm #miartalks 1-2 pm Wiring the Circuits: Global Biennials and their Future Scenarios 3-4 pm Institutions and Biennials: Shifting Functions and Changing Models 5-6 pm Thinking beyond the Nation in the National Pavilion Model Teaser by #MousseAgency #ArtofGesture

miart 2017 teaser

miart, Fiera Internazionale d'Arte Moderna e Contemporanea Friday 31 March opening times: 12-7 pm #miartalks 12:45-1 pm Welcome speech 1-2 pm The Biennial Factor: Impacting the Context 3-4 pm The Occasional Alternatives 5:30-6:30 pm In Between Times: The Legacy of Biennials as Place Makers Teaser by #MousseAgency #ArtofGesture

miart 2017 teaser

miart, Fiera Internazionale d'Arte Moderna e Contemporanea opening today! Preview by invitation 6 pm. Pad. 3, Gate 5 - fieramilanocity - Viale Scarampo Teaser by #MousseAgency #ArtofGesture