October–November 2015
www.moussemagazine.it
Get issue #50 or subscribe
iPad edition #50 and subscription available soon on Apple Newsstand
Dear friends, salut.
Mousse
is happy to be in Paris at FIAC.
Please come find the new issue (#50!), The Artist as Curator, plus new and recent publications at our stand (espace 0.A25) in the Nave of the Grand Palais.
Also, Mousse will be at the new Paris Internationale fair.
In this issue: Kelly Akashi, A.K. Burns, Dance and the Art World: Alexandra Bachzetsis, Trajal Harrell, Adam Linder, Dance Factory, Oscar Enberg, Esprit de l’escalier, Bruno Gironcoli, Irena Haiduk, Knot Theory: Tying Art, Psychoanalysis and Topology, Mernet Larsen, Calvin Marcus, The Materiality of Digital Forms, New Narratives of Relevance, The Politics of Art, Richard Rezac, Yves Scherer, Sentiment Analysis, Monir Shahroudy Farmanfarmaian & Frank Stella, Jim Shaw
The American Frank Stella and the Iranian Monir Shahroudy Farmanfarmaianhave long been friends, sharing a deep interest in geometry seen as an inescapable foundation for artistic output. Hans Ulrich Obrist and Suzanne Cotter met with the two artists to trace back through progressions and turning points in their respective careers.
What fatal attraction draws art and architecture together? Sabrina Tarasoff, starting with the hard-to-translate French expression “esprit de l’escalier,” analyzes the bedazed feeling of looking at works whose outer tension subverts meaning through an unexpected ability to suddenly take on structure.
The expression “negative space” usually applies to the area surrounding the subject, yet it is precisely this space that offers the greatest potential and freedom. A.K. Burns puts negative space at the center of a new video project, for which she describes the first episode, A Smeary Spot, to Lauren Cornell.
David Everitt Howe investigates the implications of the fascination of museums for performative events specifically linked to dance. Through conversations with choreographers Trajal Harrell, Adam Linder and Alexandra Bachzetsis, new modes of exploration of this field emerge.
Sven Lütticken analyzes the encounter between two novel realities: a temporalized and “eventized” museum and a desublimated dance that requires greater time and physical effort, raising new questions not just about the mingling of audience and performer, but also about concepts like labor and value.
Richard Rezac‘s sculptures are forms that conform to our bodies: objects of a size we can easily deem “domestic,” triggered by the logic of what surrounds us, based on geometry. Judith Russi Kirshner met with the artist to talk about his recent output and its growing materic complexity.
As she tells Sarah Lehrer-Graiwer, Kelly Akashi‘s recent work concentrates on the new perspective of space as a container. The volumetric take on space combines with the temporal aspect of objects the viewer is invited to perceive with sensual intensity.
The world is truly not as it seems. Our limited senses construct much less accurate and detailed scenarios than those perceived by the nose of a dog or the echolocation of a dolphin. Mernet Larsen goes beyond this limited perspective, reconstructing a universe in which everything has the force of revelation. Andrew Berardini describes it for us.
Nice to Meet You:
Chris Sharp meets Oscar Enberg, whose sculptures grow like erratic narratives remixing reality.
For Calvin Marcus the devil is a device of introspection, a distortion of perspective needed to get off the beaten track, as he explains to Michael Darling.
Nikola Dietrich encountered Yves Scherer to talk about his work constructing dream scenes in which chocolate women resemble Emma Watson and romanticism becomes a way of determining a path of action.
Visibility in the art world is often ratified by conventional figures, but Chus Martínez has come across artists who give rise to a collective organ capable of altering “a given ecology through careful pollination of the art field.”
“Sentiment analysis”: a sphere of statistics that does not set out to understand the subjectivity of the individual, but rather to “mine” millions of opinions to orient the production and marketing of consumer goods, and more. John Menick examines the birth, development and techniques of this sort of pseudo-science.
Knots make for fascinating speculations, not just in relation to string theory and the “theory of everything,” but also because they have tickled the fancy of many an intellectual. Carolyn Christov-Bakargiev approaches this complex subject in a conversation with physicist William Irvine, artist Ed Atkins, and Jean-Michel Vappereau, psychoanalyst and mathematician.
Art institutions in the Western world are constantly on the lookout for artists capable of becoming agents of social change. Artist Irena Haiduk tells Monika Szewczyk how this desire may be fulfilled in the arena of consultancy, although at a price.
What precisely should the role of art be in reflecting, absorbing, or fomenting political change? Jens Hoffmann invites the artists Eric Baudelaire, Nina Beier, Maryam Jafri, Naeem Mohaiemen, and Pratchaya Phinthong to talk about the intersections of art, politics, and activism.
A conversation between Jim Shaw and Natalie Bell touches on the vast American mythology on which the artist’s work feeds, especially that in which vernacular emblems, absurd religions, excessive aesthetics and apocalyptic visions converge, wandering the byways of counterculture to collide in erudite historical and artistic references.
Charlotte Matter traces back through Bruno Gironcoli‘s career. Not ascribable to a specific movement or a particular era, the sculptural production of this fascinating outsider seems to exist out of time, evoking past and future without belonging to either.
Erika Balsom and Omar Kholeif bring to light a whole series of interpretations of the post-digital, from video games as world generators to the concept of IRL which, since the advent of native mobile apps, is no longer a synonym for “offline.” In this new context, reassuring concepts like the “cloud” conceal the end of the era of ownership, and the start of an age of access, in which we are all eternal tenants.
The Artist as Curator
Available in the international edition and for subscription only
Issue #9, an insert in Mousse Magazine #50
Martin Kippenberger, MOMAS-Museum of Modern Art Syros, 1993-97
Lucy McKenzie and Paulina Ołowska, Nova Popularna, 2003
Daily blog
Subscribe to our newsletter
Follow us on Facebook / Twitter / Pinterest / Instagram
Books by Mousse Publishing
Film & video on vdrome.org
