December 2015—January 2016
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Mousse 51 is a photo issue dedicated to exhibitions from 1985 to 1995, the last ten years or so before exhibitions went online, and possibly, before the exhibition view became a requisite genre. Up to 20 years ago, galleries and museum, art magazines and schools had no websites; viewing a show would mean, quite simply, visiting it. A great number of seminal shows—from small but consequential artists’ debuts in private galleries, to the innovative biennial iterations in new territories and continents, to thematic and now historicized institutional exhibitions—were richly studied, avidly discussed, but poorly photographed, if at all. This issue is an album of recommendations, for which we are very grateful to all the writers, artists, curators, dealers, and friends who accepted to share with us their favorite shows.
The Artist as Curator
Issue #10 an insert in Mousse Magazine #51
This is the last installment of The Artist as Curator, a serial publication* examining the fundamental role artists have played as curators, from the postwar period to the present, edited by Elena Filipovic, that appeared as a special insert in Mousse over the past two years. In this issue, Natalie Musteate discusses Womanhouse (1972) by Judy Chicago, Miriam Schapiro, and the CalArts Feminist Art Program, while Ekaterina Degot addresses Avdey Ter-Oganyan’s Toward the Object from 1992. This installment is realized in partnership with the Centre d’art Contemporain Genève and Museo Marino Marini, Florence.
A complete anthology of the series will be published in the Spring 2016.
*Available in the international edition and for subscription only
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