October–November 2012
Lars Bang Larsen tries to stimulate some kind of revolt against the restlessness and vanity of the culture industry with his overwhelming satire.
Thomas Beard discusses with Catalan filmmaker Albert Serra his gigantic effort The Three Little Pigs, a film that tracks down echoes between Goethe, Hitler and Fassbinder.
Adam Kleinman meets up with writer John D’Agata to speak about the essay genre as an attempt to find meaning, and his latest book About a Mountain, which focuses on Las Vegas.
Jens Hoffmann interviews Peter Watkins, one of the most controversial directors living today, hailed as a cinema pioneer for his use of nonprofessional actors, and his presentation of a historical event in the style of modern TV war reporting.
Against the backdrop of the piece by Tino Sehgal at the Tate Modern, Tim Griffin and Kathy Noble weave an extraordinary analysis of the state of the (performance) art.
The paintings of Oscar Murillo come from a long process of sedimentation. The artist tells Catherine Wood about the origins of his interest in places full of traces, and the importance of organizing social events.
Claire Bishop and Julia Bryan-Wilson dwell on participation as an ideologically diverse crux of 20th century art, in the wake of Claire’s new book Artificial Hells: Participatory Art and the Politics of Spectatorship.
Together with Theater Hora, choreographer Jérôme Bel has pursued his project of a radical critique of illusionist spectacle. His Disabled Theater has been a positive shock for the audience, as Bel tells Elisabeth Lebovici.
Through consideration of works by Herzog, Ganz and Huyghe, Zachary Cahill tracks techniques for psychologizing the landscape, providing a schema to re-evaluate the image of nature and the nature of the image.
Is it possible to be a revolutionary and like flowers? This enigmatic question is the title of the latest project by Camille Henrot. Cecilia Alemani meets with the artists to talk about the translative qualities of her work, ranging through anthropology, archaeology and sociology.
In NICE TO MEET YOU: Calla Henkel & Max Pitegoff explain to Ana Teixeira Pinto the economics of the young artist; Filipa Ramos talks with Mariana Caló & Francisco Queimadela about their work on different conceptions of Time and the pursuit of proximity to nature; Bob Nickas tells Davina Semo that her works suggest an emotional weight through materiality and physical presence. James Hoff, an avid reader of Veneer, met with Aaron Flint Jamison, artist and editor of the magazine, to talk about its extraordinary handmade quality, and the irresistible virtues of purple-heart wood.
Until a few years ago, giving the world the slip was a possible action and choice. But today, surveillance technology and self-propagating data sprawl make vanishing seem like an impossible feat. Is that really the case? The answer comes from Lauren Cornell.
REPORTING FROM:
NEW YORK – With Darren Bader the sewing machine and the umbrella meet again on a dissecting table, now joined by some guacamole and a French horn. The artist sets up poetically absurd encounters. Is Bader’s art mere nominalism? Peter Eleey tries to find out.
PARIS – The work of David Douard is a seething laboratory, a sort of subversive virus that captures the viewer through organic mechanisms of display. Thomas Boutoux had no fear of ensnarement, and discussed the matter with the artist.
LOS ANGELES – The installations of Samara Golden are waking dreams in which the mirror functions as a passage that can be crossed only by the artist. Andrew Berardini has investigated her work and the ambiguous nature of mirrors.
LONDON – Benedict Drew works with a variety of artistic media, informed by an interest in audio technology and experimental music. He talks to Saim Demircan about how noise music influences his practice.
PLUS:
Michael Portnoy speaks with musical outlaw and recumbent utopian Goodiepal. Never taking the easy way out, the artist bikes hundreds of kilometers across Europe to play pre-recorded lectures and gives away money he borrowed from the mob.
Daniel Hillis is mainly a scientist and an inventor. He has invented parallel super-computers and a database that has improved the Google search engine. He speaks to Hans Ulrich Obrist about his mechanical clock, designed to keep time for the next 10,000 years.
Charlotte Prodger rips online videos, collects personal anecdotes and uses the legacy of structural film and queer subjectivity to explore the tensions and contradictions that arise between form and content. Isla Leaver-Yap met with the artist.
The conversation between artist Bonnie Camplin and writer Lucy Reynolds is guided by a three- card tarot reading, touching on several topics from how witchcraft might be seen as a practice of psycho-physical curiosity to the sinister implications of technological “function creep.”
Chelsea Haines investigates art that takes on psychoanalysis as a subject, from the footnotes of Freud to the neurotic compulsions and inner recesses of the individual psyche.
Pick up your copy at Frieze, FIAC and Artissima.
Stay tuned, Mousse #35 Digital soon available on iTunes App Store.
Cover: Goodiepal, Kommunal Klon Komputer 2, 2012
