Quali sono gli orari 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

Mousse

Casa
Italia
Milan
Mousse

Contemporary art magazine and publishing house based in Milan Mousse is a contemporary art magazine. Instagram: - Twitter:
(1)

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.

$In this newly commissioned text, Makenna Goodman () maps the rhythms of a fractured, divided world oscillating between c...$

18/12/2024

In this newly commissioned text, Makenna Goodman () maps the rhythms of a fractured, divided world oscillating between chaos and dormant hope—a zeitgeist of contemporary preoccupations and anxieties where destruction and creativity intertwine, rendering the everyday both unbearable and beautifully absurd.

Tap the link in bio to read “Modern Metronome.”

17/12/2024

“Aleksandra Domanović understands how the primacy of public monuments has faded with the dissolution of Yugoslavia, where she was born and spent her young years. Through her work, she reflects on the possibility for a monument to exist in multiple forms, transcending its architecture and gesturing toward the sovereignty of technological achievements, material or immaterial.”

Follow the link in our bio to read Gabriela Acha’s review of Aleksandra Domanović’s show at Kunsthalle Wien.

28/11/2024

“The exhibitions that matter are those that, as Clarice Lispector said about writing, ‘try to open up somehow.’” shares a collection of thoughts, quotations, and self-described misinterpretations he has been gathering over the past few years.

Visit moussemagazine.it to read the Curators column.

23/11/2024

In Charisse Pearlina Weston’s art, Baroque aesthetics make a comeback. Yet, to Pujan Karambeigi, her sculptures replace the seventeenth-century preference for marble with glass, lead, and concrete, resulting in a drama of materials presented in three acts: order gives way to dynamism; substance is replaced by appearance; and, finally, the sculpture embodies an anguish of the soul.

Visit moussemagazine.it to read the tidbit about Charisse Pearlina Weston’s practice.

20/11/2024

Philosopher is well known for his diagnoses of digital-age ills, especially how we exhaust ourselves via screen addiction and the continual pursuit of achievement. His contemplative remedy for “burnout” tends to receive less attention. describes it in the excerpts from “Byung-Chul Han: A Critical Introduction” (Polity Press, 2024), co-authored with Ethan Stoneman and Robert Wyllie.

Visit our website to read the Thinkers column.

07/11/2024

“Maybe this isn’t capitalism anymore but something worse. Whatever it is, it doesn’t just want to extract labor and desire; it wants to connect directly to the drive, to stimulate and replicate it.” McKenzie Wark dials into Shu Lea Cheang’s practice, one that has, since the 1990s, been pushing the limits of media art. Through genre bending films, Cheang proposes a language for working in and against an environment that is toxic, unstable, and extractive, inviting us to consider the enduring role of media activism in a world shaped by pervasive monitoring and control.

Visit moussemagazine.it to read the essay by .

04/11/2024

To Liberty Andrien, an uncanny presence transcends the material forms of Beatrice Bonino’s sculptures. Existing as bodies held in palpable tension, they convey an unsettling sense of crisis—or perhaps ambivalence, of fleeting moments suspended in time.

Visit moussemagazine.it to read the entire tidbit.

28/10/2024

Stemming from the artist’s ongoing research on extractivism and colonialities, explores how creates a propositional space in which neglected or overlooked social realities find symbolic expression, recognition, and legibility.

Visit moussemagazine.it to read the entire monograph.

23/10/2024

In the Criticism column on artists’ writings edited by Mira Dayal, artist and educator jina valentine looks at how her work forms her life and labor beyond the studio, where the stakes, effects, and potential consequences of naming and protesting social injustices can be far greater. How is a “problem” registered?

Visit our website to read the entire piece.

22/10/2024

kechúkwú Onyewuenyi analyzes how Karimah Ashadu’s work echoes a movement that’s as much about finding oneself as it is about finding one’s place in history.

Visit moussemagazine.it to read the Monograph from Mousse 89–Fall 2024.

24/09/2024

Published on the occasion of the first solo institutional exhibition dedicated to the work of the American artist (b. 1993), “Louis Fratino. Satura” highlights the profound connection between Fratino’s practice and Italy, a country that has offered the artist with a wide range of topics, imagery, and sensibilities: bridging relationships, emotions, and landscapes, ultimately leading to reflect upon his own art. The volume includes artworks from the past decade, alongside numerous new pieces, providing a comprehensive exploration of the artist’s practice.

The works presented in this richly illustrated publication draw inspiration from Twentieth-century Italian artists such as , , , , , , and ; from the immersive experience of Italian landscapes and cities like Rome, Milan, and Genoa; and from an in-depth exploration of Italian culture, through the reading of poems by , , , and writings by Italian gay activist .

Get your copy of “Louis Fratino. Satura” at Mousse’s online shop and the museum’s bookstore. The volume includes texts by Stefano Collicelli Cagol (), Giorgio Di Domenico (), Filippo Bosco (.bosco), Chiara Portesine (), Michele Bertolino ()and a special poster featuring the painting “You and Your Things.”

21/09/2024

“‘Vai, Vai, Saudade’ at MADRE, Naples, with nearly two hundred works by over fifty artists spread across around twenty rooms, sees curator Cristiano Raimondi () eschewing monumentality for the sake of fragility, trading totalizing narratives for an ebb and flow of histories introduced as encounters between close and more distant individuals—but, as the exhibition goes on to prove, never complete strangers. And, quite aptly, it starts with words.”

Visit our website to read the review of “Vai, Vai, Saudade” at MADRE, Naples, by Krzysztof Kościuczuk.

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.

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

Notifiche

Lasciando la tua email puoi essere il primo a sapere quando Mousse pubblica notizie e promozioni. Il tuo indirizzo email non verrà utilizzato per nessun altro scopo e potrai annullare l'iscrizione in qualsiasi momento.

Contatta L'azienda

Invia un messaggio a Mousse:

Video

It’s that time of the year again! We’re reopening our offices for the annual Archive Sale—your chance to explore piles of magazines, stacks of artist’s books, and sample copies of exhibition catalogues, all at very small prices. Join us on 13–14 December, from 10am to 6pm, at via Decembrio 28, Milan. For this special occasion, we’ll also be previewing Mousse 90 – The Fiction Issue and a unique tote to bring our goods home with you. Looking forward to meeting you! Photo: Dario Catellani (@dariocatellani)

Less than 24 hours left! Rush to our online shop and apply code BLACKFRIDAY50 at checkout to get 50% off all Mousse’s books, magazines and subscriptions.

Mousse’s Black Friday Sale is now live! Get 50% off everything by applying code BLACKFRIDAY50 at checkout. Offer ends tomorrow, November 30, at midnight.

The volume “Alfredo Volpi: Lucca–São Paulo (1896-1988)” accompanying the first Italian exhibition at @centropecci, Prato, that celebrated #AlfredoVolpi, a key figure of Brazilian modernism, is now available at the link in bio. Born in Lucca in 1896 and having moved to São Paulo at the age of two, Volpi intertwined his art with the transformations of the twentieth century, combining modernity, tradition, and popular motifs. His works address universal themes while maintaining a strong connection to local culture, exploring representation, abstraction, daily life, and religious iconography. Volpi’s unique style drew inspiration from the vernacular architecture of São Paulo, European avant-gardes such as #PaulCézanne, #HenriMatisse, #PietMondrian, #JosefAlbers, and Italian artists like #CarloCarrà and #GiorgioMorandi. The exhibition, curated by Cristiano Raimondi (@cristianoraimondi) and organized with the support of the Alfredo Volpi Institute of Modern Art and @almeidadale, covers four themes central to his work from the 1940s to the 1970s, his most prolific period. This richly illustrated publication highlights Volpi as a great colorist and master craftsman, and his works as products of a methodical and meditative process, characterized by two-dimensional geometric patterns and the use of color as a structural element. In the 1950s, Volpi’s urban views transformed into a geometric syntax, revisited in the following decades. The exhibition also celebrates the 150th anniversary of Italian immigration to Brazil, highlighting the influence of Italian cultures in Brazilian artistic languages. Volpi—the man and the historic figure—is also personally described in the exhibition and catalogue thanks to extensive research and archival materials published here for the first time. Get your copy at the link in bio.

Map your visit to Paris’ art exhibitions’ with Oomph, Mousse’s curated selection of the best shows in town during October 2024. Visit our website for the list of the shows.

OUT SOON: The very first monograph on the at once fragile yet flamboyant work of Bruno Pélassy (1966, Laos – 2002, Nice) featuring unpublished materials from the artist’s archive. Trained in textile and jewellery design, Pélassy incorporated techniques from both haute couture and second-hand cultures of a throwaway society, blending fragile materials like glass and crystal with everyday objects. Significantly shaped by an early diagnosis of HIV at the age of twenty-one, the artist’s work ponders the ambivalent poetics of death. His creations range from sculptures and bijoux to films and drawings, challenging rigid norms of gender, nature, and social values, and offering a sensual, eccentric, and multifaceted vision. Launching in Paris at @progra.mm.e on November 8! Follow the link in bio to receive a notification when the volume is available. — Video from Bruno Pélassy, “family & friends”

Browse London Oomph, Mousse’s curated selection of the best shows in town. Visit our website for the exhibitions’ index.

Mousse 89–Fall 2024: OUT NOW Second Cover SURVEY: SHU LEA CHEANG (@shulea2) (A) Art of the Interzone McKenzie Wark (@mckenziewark3000) (B) We Ate a Sheep. We Lost the Plot. Shu Lea Cheang (@shulea2), Lauren Cornell (@lauren1cornell), and Tiffany Sia (@t1ffany4scal3) in conversation OPINION: You Made Me Do This Martin Herbert (@martinlherbert) MONOGRAPH: ADELITA HUSNI BEY (@house.of.platitudes) Things Don’t Fall Apart Because They Are Laboriously Kept Together #AnaTeixeiraPinto MONOGRAPH: KARIMAH ASHADU (@karimahashadu) Cannot Resist Seeing Ikechúkwú Onyewuenyi (@ike_chuks) THINKERS: #Byung-ChulHan: Vita Contemplativa #Steven Knepper CURATORS: Glints of Light on Broken Glass Anthony Huberman (@anthonyhhhhhhh) CURATORS: Notes to Self #SohrabMohebbi CRITICISM: In the Weeds: Policy Problems by jina valentine (@jina.valentine) invited by guest editor Mira Dayal (@miradayal) REPRINT: “Lights, Camera, Now-Time! Polly II: Plan for a Revolution in Docklands”: Marina Vishmidt on a New Film by Anja Kirschner* by #MarinaVishmidt selected by #DannyHayward and Kerstin Stakemeier (@ke_stake) TIDBITS: Beatrice Bonino (@betsabeabo) by Liberty Adrien (@liberty.adrien) Charisse Pearlina Weston (@cerisexquise) by Pujan Karambeigi (@notmypublicthoughts) #KobbyAdi by Stephanie Bailey (@stephanie_waiyi_bailey) #GregoryJ.Markopoulos by Matthew Lyons (@alsowentmyth) Wei Yang (@vazn3y) by Alex Bennett (@swoony_b) BOOKS: #LouisFratino VISUAL: ALIA FARID Elsewhere, 2013–ongoing Alia Farid (@alia_farid), #KaelenWilsonGoldie

Mousse 89–Fall 2024: OUT NOW Cover: Shu Lea Cheang (@shulea2), “FLUIDØ” (detail from still), 2017 SURVEY: SHU LEA CHEANG (@shulea2) (A) Art of the Interzone McKenzie Wark (@mckenziewark3000) (B) We Ate a Sheep. We Lost the Plot. Shu Lea Cheang (@shulea2), Lauren Cornell (@lauren1cornell), and Tiffany Sia (@t1ffany4scal3) in conversation OPINION: You Made Me Do This Martin Herbert (@martinlherbert) MONOGRAPH: ADELITA HUSNI BEY (@house.of.platitudes) Things Don’t Fall Apart Because They Are Laboriously Kept Together #AnaTeixeiraPinto MONOGRAPH: KARIMAH ASHADU (@karimahashadu) Cannot Resist Seeing Ikechúkwú Onyewuenyi (@ike_chuks) THINKERS: #Byung-ChulHan: Vita Contemplativa #Steven Knepper CURATORS: Glints of Light on Broken Glass Anthony Huberman (@anthonyhhhhhhh) CURATORS: Notes to Self #SohrabMohebbi CRITICISM: In the Weeds: Policy Problems by jina valentine (@jina.valentine) invited by guest editor Mira Dayal (@miradayal) REPRINT: “Lights, Camera, Now-Time! Polly II: Plan for a Revolution in Docklands”: Marina Vishmidt on a New Film by Anja Kirschner* by #MarinaVishmidt selected by #DannyHayward and Kerstin Stakemeier (@ke_stake) TIDBITS: Beatrice Bonino (@betsabeabo) by Liberty Adrien (@liberty.adrien) Charisse Pearlina Weston (@cerisexquise) by Pujan Karambeigi (@notmypublicthoughts) #KobbyAdi by Stephanie Bailey (@stephanie_waiyi_bailey) #GregoryJ.Markopoulos by Matthew Lyons (@alsowentmyth) Wei Yang (@vazn3y) by Alex Bennett (@swoony_b) BOOKS: #LouisFratino VISUAL: ALIA FARID Elsewhere, 2013–ongoing Alia Farid (@alia_farid), #KaelenWilsonGoldie

Out Soon: Mousse 89–Fall 2024 With contributions from: Shu Lea Cheang (@shulea2), McKenzie Wark (@mckenziewark3000), Lauren Cornell (@lauren1cornell), Tiffany Sia (@t1ffany4scal3), Martin Herbert (@martinlherbert), Adelita Husni Bey (@house.of.platitudes), #AnaTeixeiraPinto, Karimah Ashadu (@karimahashadu), Ikechúkwú Onyewuenyi (@ike_chuks), #Byung-ChulHan, #Steven Knepper, Anthony Huberman (@anthonyhhhhhhh), #SohrabMohebbi, jina valentine (@jina.valentine), Mira Dayal (@miradayal), #DannyHayward, #MarinaVishmidt, Kerstin Stakemeier (@ke_stake), Beatrice Bonino (@betsabeabo), Liberty Adrien (@liberty.adrien), Charisse Pearlina Weston (@cerisexquise), Pujan Karambeigi (@notmypublicthoughts), #KobbyAdi, Stephanie Bailey (@stephanie_waiyi_bailey), #GregoryJ.Markopoulos, Matthew Lyons (@alsowentmyth), Wei Yang (@vazn3y), Alex Bennett (@swoony_b), #LouisFratino, Alia Farid (@alia_farid), and #KaelenWilsonGoldie. Audio from the conversation between Shu Lea Cheang (@shulea2), Lauren Cornell (@lauren1cornell), and Tiffany Sia (@t1ffany4scal3). Tap the link in bio to subscribe to Mousse Magazine, receive print issues, and access our entire digital archive.

ᴛʜɪᴄᴋ ᴀᴛᴍᴏꜱᴘʜᴇʀᴇꜱ, Nebula’s Public Program, curated by Bianca Stoppani (@abinoppst), runs in Venice on October 17–18, 2024, in collaboration with Palazzo Grassi Pinault Collection Venezia. Follow @moussemagazine for a special live coverage of the conversations, panels, and screenings probing the poetic concerns evoked by #NebulaVenice’s eight video installations, as well as wider questions concerning the act of seeing and the sensory experiencing of moving images. The participants include: 2050+ (@2050.plus), Maria Alicata (@maria_alicata), #MaraAmbrožičVerderber, Giorgio Andreotta Calò (@studiogiorgioandreottacalo), Karimah Ashadu (@karimahashadu), Lucia Aspesi (@luciaaspesi), Cristina Baldacci (@crismi77), #ErikaBalsom, Leonardo Bigazzi (@leonardobigazzi), Lucrezia Calabrò Visconti (@lucreziacalabrovisconti), #KristGruijthuijsen, #NavHaq, Sharon Hecker (@heckersharon), Fatima Hellberg (@fatimahellberg), #EleniIkoniadou, Chrissie Iles (@chrrrissie), Saodat Ismailova (@saodatismailova), Amal Khalaf (@amalandaplan), Helena Kritis (@helenakritis), Basir Mahmood (@basir_mahmood), Diego Marcon (@die.marcon), Lorenzo Mason Studio (@lorenzomasonstudio), Ari Benjamin Meyers (@kunsthalleformusic), Matteo Pasquinelli (@matteo.pasquinelli), Ippolito Pestellini Laparelli (@ippopeste), Alessandro Rabottini (@alessandro.rabottini), Mark Rappolt (@markrappolt), Giulia Rispoli (@giuliarisp), #FrancescoSpampinato, Mike Sperlinger (@mikesperlinger), Carla Subrizi (@carlasubrizi), Paola Ugolini (@ugolinip), #AnaTeixeiraPinto, Valentine Umansky (@valentine.umansky), and Isobel Whitelegg (@belisowhitelegg) among others. The program is free and open to all.