Mousse #42 out now
February–March 2014
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In this issue:
On Art and Film, Art and Moving Images, Ross Birrell and David Harding, Yve Laris Cohen, Con Jobs, Douglas Coupland, Heinrich Dunst, Jimmie Durham, Ed Fornieles, Brennan Gerard and Ryan Kelly, Patrick Jackson, Wyatt Kahn, Amar Kanwar, Isabel Lewis, Liberation through Laziness, Heather Phillipson, Organic Photography, Torbjørn Rødland, Surrealism and Tags, Philippe Thomas, Brad Troemel, The Artist as Curator.
THE ARTIST AS CURATOR is a serial publication* examining the fundamental role artists have played as curators, from the postwar period to the present. The series is edited by Elena Filipovic and made possible by an engaged group of art institutions and foundations, each of which is supporting the research and publication of one installment of the project. Issue #1 is devoted to an Exhibit by Richard Hamilton and Victor Pasmore, with an essay by Isabelle Moffat, and to John Cage’s Rolywholyover A Circus for Museum by John Cage, discussed by Sandra Skurvida. This issue is supported by Bergen Kunsthall.
Contemporary capitalism prods us to stick with the program and do our best. Sven Lütticken offers fascinating insights into the concepts of sleep and boredom and the potential of refusal as a counter-politics of the times.
Martin Herbert investigates Ed Fornieles‘s role play-driven social events, repurposed social media projects, and sculptural installations which explore the formatting—and, potentially, freeing—of subjectivity.
Performer, dancer and curator Isabel Lewis calls her works “occasions.” They blend physical and intellectual aspects, engaging the audience while defying theatrical conventions. Lewis talks with Hans Ulrich Obrist, looking forward to a work in the making: the creation of architectures of odors.
Douglas Coupland has suddenly discovered that he was the prophet behind the video game Minecraft. In his text, he follows a trail of miniature Lego bricks leading from the National Building Museum of Washington DC to the extraordinarily nimble little fingers of a five-year-old digital native.
Apsara DiQuinzio asks Ed Atkins, Eric Baudelaire, Nathaniel Dorsky, Mark Lewis, Lucy Raven, Ben Rivers, Anri Sala, and Hito Steyerl to probe the current dynamics between contemporary art and moving images.
Amar Kanwar has blazed a unique trail between cinema and visual art. A conversation with Andrea Lissoni attempts to investigate the artist’s approach, method, vision and stance.
Flickr, Instagram, Google Image Search, the iPhone: how to understand the extraordinary expansion and transformation of photographic practice in digital networks? With this question in mind, Jacob King looks back to the photographic activities of Surrealism.
The strange and ugly, yet also familiar and ordinary, photographs of Torbjørn Rødland catch us in a mixture of reactions, triggering shivers and comfort at the same time. Jens Hoffmann introduces some works of the artist, while photographer Lucas Blalock asks Rødland about his meditations on the medium.
Photography has become the intrinsic and organic container of our lives and identity, but artist Christoph Westermeier never had his picture taken as a child. Jennifer Allen analyzes his (photographic) work.
Following Chris Dercon‘s proposal of a conversation on the theme of art and film and the relationship between the two, George Clark poses some questions to the director of Tate Modern, Tine Fisher (director of CPH:DOX) and Jean-Pierre Rehm (director of FIDMarseille).
NICE TO MEET YOU: David Everitt Howe discusses with Brennan Gerard and Ryan Kelly their new exhibition Timelining; Kevin McGarry interviews Brad Troemel on his artistic production made, among other materials, of crypto-currency; Sam Korman talks to Wyatt Kahn about his work between the second and third dimensions.
Jimmie Durham develops a narrative in steps marked by European trees and those of other lands, described with a literary clarity that calls forth the aroma of their wood.
Reporting from:
New York: Jenny Jaskey sits down with Yve Laris Cohen to discuss his practice within both visual art and dance, and his performances which push a given form to its limits.
Los Angeles: Andrew Berardini has reverently pondered all the settings crowded with objects of Patrick Jackson, in search of meaning, capturing murmurs on the verge of an eternally postponed confession.
London: Heather Phillipson‘s exhibitions are obstacle courses: sounds, dangling objects, rapid image changes surge forth to rebuff bodies and block passive observation. Everything is liquid and permeable, a flow in which Laura McLean-Ferris navigates in conversation with the artist.
Ross Birrell and David Harding‘s joint projects create a depth in which artistic, political and historical facts coexist through their poetic counterparts. Filipa Ramos met with them during the opening days of their solo show at Kunsthalle Basel.
Samantha West. There is something quite suspect about a woman who doesn’t know what vegetable goes into tomato soup. John Menick has his own take on this: for the release of the film Her by Spike Jonze, Warner Bros might just have invented a sophisticated promotional stunt.
For LOST AND FOUND, Luca Lo Pinto offers a personal reinterpretation of Philippe Thomas’ complex and fascinating career, and involves Claire Fontaine, Mario Garcia Torres, Egija Inzule & Tobias Kaspar, Pierre Leguillon, and Cesare Pietroiusti in outlining a “singular-plural” portrait.
Heinrich Dunst‘s practice involves paintings and extensive installations, linked to texts and word fragments. Nicolaus Schafhausen interviews the artist about his practice, addressing matters of art, language, variation and iteration.
*Available in the international edition and for subscription only.
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