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2020
NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words "KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his RICHARD TUTTLE "MATTER" AT MARIAN GOODMAN, PARIS •MOUSSE Richard Tuttle is one of the most singular and influential artists working today, whose extraordinary work eludes classification and dissolves the boundaries of sculpture, painting, drawing, installation and printmaking. Since his first exhibition in New York in 1965, Richard Tuttle has employed the strongest of soft touches on a groundbreaking explo- ration into the poetry “DIALOGO. CARLO SCARPA AND ETTORE SOTTSASS PRESENTED BY On the occasion of the 57th Venice Biennale and the centenary of Ettore Sottssas birth, the architect Charles Zana presents the exhibition “DIALOGO”, which brings together more than 60 pieces. From the meeting of the two Italian architects, Carlo Scarpa and Ettore Sottsass Who have in common to have explored various artistic fields, flows an extraordinary dialogue whose PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words "KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his RICHARD TUTTLE "MATTER" AT MARIAN GOODMAN, PARIS •MOUSSE Richard Tuttle is one of the most singular and influential artists working today, whose extraordinary work eludes classification and dissolves the boundaries of sculpture, painting, drawing, installation and printmaking. Since his first exhibition in New York in 1965, Richard Tuttle has employed the strongest of soft touches on a groundbreaking explo- ration into the poetry “DIALOGO. CARLO SCARPA AND ETTORE SOTTSASS PRESENTED BY On the occasion of the 57th Venice Biennale and the centenary of Ettore Sottssas birth, the architect Charles Zana presents the exhibition “DIALOGO”, which brings together more than 60 pieces. From the meeting of the two Italian architects, Carlo Scarpa and Ettore Sottsass Who have in common to have explored various artistic fields, flows an extraordinary dialogue whose PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating UNLOCKING STRUCTURES, KEY INSIDE: WIN MCCARTHY •MOUSSE by Leonie Radine In these times of confinement, with their imposed precarity, self-reflection, and nostalgia, Win McCarthy’s work seems timelier than ever. The New York-based artist was born in Brooklyn and has lived there ever since, witnessing many changes in the urban landscape and reflecting in his art on what it means to inhabit BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE McKenzie Wark is the author of Reverse Cowgirl (Semiotext(e) / Native Agents, 2020), Capital Is Dead: Is This Something Worse? (Verso, 2019), and Philosophy for Spiders: On the Low Theory of Kathy Acker, forthcoming from Duke University Press. She is a professor JANA EULER “THE TRAVELING LEGENDS OF THE MORECORNS” AT This is strange realism, but it’s a strange reality. All serious art, however funny, is a way of trying to describe what in fact is going on, what people actually do and feel, how people relate to everything else in this belly of the universe, the womb of things to be and tomb of things that were, this “UNSETTLED OBJECTS” AT SHARJAH ART FOUNDATION •MOUSSE MAGAZINE by Ruba Al-Sweel Curated by Omar Kholeif, director of collections and senior curator at Sharjah Art Foundation, Unsettled Objects cuts through the mantle and into the core of the imperial connotations of an art world that has become increasingly “globalized.” On view are more than thirty artists whose work has been acquired through morethan
PETER HUJAR “BACKSTAGE” AT MAUREEN PALEY, LONDON •MOUSSE Maureen Paley is pleased to present the fourth solo exhibition of photographs by Peter Hujar at the gallery. The exhibition presents a series of images that capture performers backstage in New York theatres and nightclubs during the 1970s and early 1980s. By presenting this exhibition at a time when many performance spaces have been shuttered worldwide, the gallery FLAMINIA VERONESI “MASCULIN / FEMININ” AT CASTIGLIONI Flaminia Veronesi’s symbolic universe is so free, so rich in quotations, associations and visual inventions, mythological echoes and dreamlike fantasies, that it seems almost reductive to argue it in words. However, I will try. And it is precisely by starting with the Masculin Féminin that the artist entitles her debut solo exhibition.A reconnaissance of
VITTORIO BRODMANN AT GALERIE GREGOR STAIGER, MILAN •MOUSSE We are delighted to return to Milan to resume our exhibition program with a show by Swiss artist Vittorio Brodmann. Originally planned as a solo presentation at Art Basel Hong Kong, which we could not attend due to severe travel restrictions, this body of work will insteadinaugurate our
RICHARD TUTTLE "MATTER" AT MARIAN GOODMAN, PARIS •MOUSSE Richard Tuttle is one of the most singular and influential artists working today, whose extraordinary work eludes classification and dissolves the boundaries of sculpture, painting, drawing, installation and printmaking. Since his first exhibition in New York in 1965, Richard Tuttle has employed the strongest of soft touches on a groundbreaking explo- ration into the poetry RICCARDO SALA “HEILIGENSCHEIN” AT ALMANAC INN, TURIN Heiligenschein is a German word for an optical phenomenon otherwise known as hotspot. Its literal meaning is “holy splendour” and that which surrounds with a bright halo, quite literally, is the viewer’s doppelgänger, for it appears around the shadow of the viewer’s head when casted on a dewy surface. Riccardo Sala’s first solo showlingers
MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words RICHARD TUTTLE "MATTER" AT MARIAN GOODMAN, PARIS •MOUSSE Richard Tuttle is one of the most singular and influential artists working today, whose extraordinary work eludes classification and dissolves the boundaries of sculpture, painting, drawing, installation and printmaking. Since his first exhibition in New York in 1965, Richard Tuttle has employed the strongest of soft touches on a groundbreaking explo- ration into the poetry “DIALOGO. CARLO SCARPA AND ETTORE SOTTSASS PRESENTED BY On the occasion of the 57th Venice Biennale and the centenary of Ettore Sottssas birth, the architect Charles Zana presents the exhibition “DIALOGO”, which brings together more than 60 pieces. From the meeting of the two Italian architects, Carlo Scarpa and Ettore Sottsass Who have in common to have explored various artistic fields, flows an extraordinary dialogue whose PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words RICHARD TUTTLE "MATTER" AT MARIAN GOODMAN, PARIS •MOUSSE Richard Tuttle is one of the most singular and influential artists working today, whose extraordinary work eludes classification and dissolves the boundaries of sculpture, painting, drawing, installation and printmaking. Since his first exhibition in New York in 1965, Richard Tuttle has employed the strongest of soft touches on a groundbreaking explo- ration into the poetry “DIALOGO. CARLO SCARPA AND ETTORE SOTTSASS PRESENTED BY On the occasion of the 57th Venice Biennale and the centenary of Ettore Sottssas birth, the architect Charles Zana presents the exhibition “DIALOGO”, which brings together more than 60 pieces. From the meeting of the two Italian architects, Carlo Scarpa and Ettore Sottsass Who have in common to have explored various artistic fields, flows an extraordinary dialogue whose PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating UNLOCKING STRUCTURES, KEY INSIDE: WIN MCCARTHY •MOUSSE by Leonie Radine In these times of confinement, with their imposed precarity, self-reflection, and nostalgia, Win McCarthy’s work seems timelier than ever. The New York-based artist was born in Brooklyn and has lived there ever since, witnessing many changes in the urban landscape and reflecting in his art on what it means to inhabit BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE McKenzie Wark is the author of Reverse Cowgirl (Semiotext(e) / Native Agents, 2020), Capital Is Dead: Is This Something Worse? (Verso, 2019), and Philosophy for Spiders: On the Low Theory of Kathy Acker, forthcoming from Duke University Press. She is a professor JANA EULER “THE TRAVELING LEGENDS OF THE MORECORNS” AT This is strange realism, but it’s a strange reality. All serious art, however funny, is a way of trying to describe what in fact is going on, what people actually do and feel, how people relate to everything else in this belly of the universe, the womb of things to be and tomb of things that were, this “UNSETTLED OBJECTS” AT SHARJAH ART FOUNDATION •MOUSSE MAGAZINE by Ruba Al-Sweel Curated by Omar Kholeif, director of collections and senior curator at Sharjah Art Foundation, Unsettled Objects cuts through the mantle and into the core of the imperial connotations of an art world that has become increasingly “globalized.” On view are more than thirty artists whose work has been acquired through morethan
SANYA KANTAROVSKY “THE HOUSE OF THE SPIDER” AT MODERN ART “The spider’s web is exposed to the elements of nature: heat, cold, wind and rain. In fact, the web does not protect the spider from anything, as its main function is to provide the spider with insects for food. It is the least secure, and the least stable, of structures. Any human being who believes he or VITTORIO BRODMANN AT GALERIE GREGOR STAIGER, MILAN •MOUSSE We are delighted to return to Milan to resume our exhibition program with a show by Swiss artist Vittorio Brodmann. Originally planned as a solo presentation at Art Basel Hong Kong, which we could not attend due to severe travel restrictions, this body of work will insteadinaugurate our
FLAMINIA VERONESI “MASCULIN / FEMININ” AT CASTIGLIONI Flaminia Veronesi’s symbolic universe is so free, so rich in quotations, associations and visual inventions, mythological echoes and dreamlike fantasies, that it seems almost reductive to argue it in words. However, I will try. And it is precisely by starting with the Masculin Féminin that the artist entitles her debut solo exhibition.A reconnaissance of
PIOTR ŁAKOMY “COMBINED VESSELS” AT GALERIA STEREO, WARSAW Combined Vessels is a continuation of the exhibition Vessel which was held in Fall 2020 at the gallery Simian in Copenhagen. The current exposition consists of selected “vessels” extended with a group of works which I call “gardens” and which have been created parallelly. The title Combined Vessels refers directly to the idea ofcontinuity
RICHARD TUTTLE "MATTER" AT MARIAN GOODMAN, PARIS •MOUSSE Richard Tuttle is one of the most singular and influential artists working today, whose extraordinary work eludes classification and dissolves the boundaries of sculpture, painting, drawing, installation and printmaking. Since his first exhibition in New York in 1965, Richard Tuttle has employed the strongest of soft touches on a groundbreaking explo- ration into the poetry MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and “UNSETTLED OBJECTS” AT SHARJAH ART FOUNDATION •MOUSSE MAGAZINE by Ruba Al-Sweel Curated by Omar Kholeif, director of collections and senior curator at Sharjah Art Foundation, Unsettled Objects cuts through the mantle and into the core of the imperial connotations of an art world that has become increasingly “globalized.” On view are more than thirty artists whose work has been acquired through morethan
SANYA KANTAROVSKY “THE HOUSE OF THE SPIDER” AT MODERN ART “The spider’s web is exposed to the elements of nature: heat, cold, wind and rain. In fact, the web does not protect the spider from anything, as its main function is to provide the spider with insects for food. It is the least secure, and the least stable, of structures. Any human being who believes he or BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
UNLOCKING STRUCTURES, KEY INSIDE: WIN MCCARTHY •MOUSSE by Leonie Radine In these times of confinement, with their imposed precarity, self-reflection, and nostalgia, Win McCarthy’s work seems timelier than ever. The New York-based artist was born in Brooklyn and has lived there ever since, witnessing many changes in the urban landscape and reflecting in his art on what it means to inhabit FEW ILLUSIONS: JOSIANE M.H. POZI •MOUSSE MAGAZINE by Kari Rittenbach No small consequence of the global pandemic has been the manner in which video content abruptly proliferated through almost every aspect of daily life, often telephonically, on pocket-size screens in lieu of social contact, therapy session, exhibition format, language lesson, and in some cases, political reality. Guy Debord’s mediatic nightmare seemed JANA EULER “THE TRAVELING LEGENDS OF THE MORECORNS” AT This is strange realism, but it’s a strange reality. All serious art, however funny, is a way of trying to describe what in fact is going on, what people actually do and feel, how people relate to everything else in this belly of the universe, the womb of things to be and tomb of things that were, this THE SWAMP OF MASCULINITY: FLORIAN KREWER •MOUSSE MAGAZINE by Stanton Taylor Florian Krewer’s cute-chaotic paintings sift their way through a swamp of fraught masculinity. His cast of macho man-children and trans girls fight, fuck, and fall their way through the big city. Often outdoors, they feel like a throwback to a time not so long ago yet almost forgotten—when conflicts and desires NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
TOMMY MALEKOFF “THE GEOGRAPHY OF NOWHERE” AT ZERO In May, I drove by Southside Johnny’s for the first time in almost a decade. Passing a shopping center just afterward, I noticed the iconic shingled, trapezoid-shaped roof of a Pizza Hut, with the name and markings removed: it had been turned into a flower shop. MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and “UNSETTLED OBJECTS” AT SHARJAH ART FOUNDATION •MOUSSE MAGAZINE by Ruba Al-Sweel Curated by Omar Kholeif, director of collections and senior curator at Sharjah Art Foundation, Unsettled Objects cuts through the mantle and into the core of the imperial connotations of an art world that has become increasingly “globalized.” On view are more than thirty artists whose work has been acquired through morethan
SANYA KANTAROVSKY “THE HOUSE OF THE SPIDER” AT MODERN ART “The spider’s web is exposed to the elements of nature: heat, cold, wind and rain. In fact, the web does not protect the spider from anything, as its main function is to provide the spider with insects for food. It is the least secure, and the least stable, of structures. Any human being who believes he or BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
UNLOCKING STRUCTURES, KEY INSIDE: WIN MCCARTHY •MOUSSE by Leonie Radine In these times of confinement, with their imposed precarity, self-reflection, and nostalgia, Win McCarthy’s work seems timelier than ever. The New York-based artist was born in Brooklyn and has lived there ever since, witnessing many changes in the urban landscape and reflecting in his art on what it means to inhabit FEW ILLUSIONS: JOSIANE M.H. POZI •MOUSSE MAGAZINE by Kari Rittenbach No small consequence of the global pandemic has been the manner in which video content abruptly proliferated through almost every aspect of daily life, often telephonically, on pocket-size screens in lieu of social contact, therapy session, exhibition format, language lesson, and in some cases, political reality. Guy Debord’s mediatic nightmare seemed JANA EULER “THE TRAVELING LEGENDS OF THE MORECORNS” AT This is strange realism, but it’s a strange reality. All serious art, however funny, is a way of trying to describe what in fact is going on, what people actually do and feel, how people relate to everything else in this belly of the universe, the womb of things to be and tomb of things that were, this THE SWAMP OF MASCULINITY: FLORIAN KREWER •MOUSSE MAGAZINE by Stanton Taylor Florian Krewer’s cute-chaotic paintings sift their way through a swamp of fraught masculinity. His cast of macho man-children and trans girls fight, fuck, and fall their way through the big city. Often outdoors, they feel like a throwback to a time not so long ago yet almost forgotten—when conflicts and desires NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
TOMMY MALEKOFF “THE GEOGRAPHY OF NOWHERE” AT ZERO In May, I drove by Southside Johnny’s for the first time in almost a decade. Passing a shopping center just afterward, I noticed the iconic shingled, trapezoid-shaped roof of a Pizza Hut, with the name and markings removed: it had been turned into a flower shop. ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating “UNSETTLED OBJECTS” AT SHARJAH ART FOUNDATION •MOUSSE MAGAZINE by Ruba Al-Sweel . Curated by Omar Kholeif, director of collections and senior curator at Sharjah Art Foundation, Unsettled Objects cuts through the mantle and into the core of the imperial connotations of an art world that has become increasingly “globalized.” On view are more than thirty artists whose work has been acquired through more than two decades of the Sharjah Biennial and the FLAMINIA VERONESI “MASCULIN / FEMININ” AT CASTIGLIONI Flaminia Veronesi’s symbolic universe is so free, so rich in quotations, associations and visual inventions, mythological echoes and dreamlike fantasies, that it seems almost reductive to argue it in words. However, I will try. And it is precisely by starting with the Masculin Féminin that the artist entitles her debut solo exhibition.A reconnaissance of
VITTORIO BRODMANN AT GALERIE GREGOR STAIGER, MILAN •MOUSSE We are delighted to return to Milan to resume our exhibition program with a show by Swiss artist Vittorio Brodmann. Originally planned as a solo presentation at Art Basel Hong Kong, which we could not attend due to severe travel restrictions, this body of work will insteadinaugurate our
JA'TOVIA GARY “THE GIVERNY SUITE” AT MMK ZOLLAMT To occupy the venues of art history and introduce new imagery to them is one of art’s raisons d’être. An image is always an expression of a specific perspective, way of thinking, and present. In her work The Giverny Suite (2019), Ja’Tovia Gary shows the extent to which not only images, but also how we see them, are COLTER JACOBSEN “FATHOM” AT CORVI-MORA, LONDON •MOUSSE Tommaso Corvi-Mora is thrilled to present an exhibition of new work by Colter Jacobsen, his seventh at the gallery. “There are a few things to have in mind when looking at Colter Jacobsen’s art. First, he is less interested in creating something new than in seeing something already there. Which doesn’t mean his art is unsurprising. In fact, LOST AND FOUND: THE WELL-TRAVELED OBJECTS OF ALEX AYED by Kaelen Wilson-Goldie Somewhere along the way—in the process, during the journey from one place to another, on a trip to a destination that seems all but impossible to reach, while driving in a car or looking at the sky and dreaming up the idea of building a boat—the artist Alex Ayed makes his “THE FILMS OF GUILLAUME DUSTAN (2000-2004)” AT FRI ART There won’t be any outer revolution before we experience the inner revolution. And that’s the most profound thought of the 20th century: first you reform the individual in their entirety, i.e. dandyism, masochism, and sadism – liberation in every sense, disruption of all senses and what not, experimenting with conscious intoxication, bohemian existence, FERNANDA BRUNET, ROBERT JANITZ, JAVIER PELÁEZ “WORK, STORY Work, Story, Pleasure exhibition is made up by Fernanda Brunet (Mexico City, 1964), Robert Janitz (Alsfeld, Germany, 1962) and Javier Peláez (Mexico City, 1976), with a selection of works in a two-dimensional and three-dimensional format that reveals a series of meditations on color, surface and shape that together make it possible to highlight aquality
JOACHIM BANDAU “DIE NICHTSCHÖNEN: WORKS 1967–1974” AT Joachim Bandau was just over thirty years old when he began to forge the body of sculptures and drawings that marks a distinctive phase in his early practice. In 1967, he had begun the creation of his amorphous, vaguely humanoid sculptures built up from mannequin segments in combination with then-new industrial materials, and already by 1974, he announced the abrupt end of this MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
CAMERON JAMIE AT GLADSTONE GALLERY Gladstone Gallery is pleased to present an exhibition of new works by Cameron Jamie, the artist’s first exhibition with the gallery in Brussels. Jamie, who works in various media, including drawing, sculpture, printmaking, film and performance, debuts a new series of ceramic masks that both foreground his intervention into the traditional practice of the medium THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words THE SOUND OF PASSING TIME: CHRISTINE SUN KIM •MOUSSE MAGAZINE by Sofia Lemos Christine Sun Kim explores sound through drawing, painting, and performance. Aware of the world as socio-material volume, she combines aspects of musical notation, body language, and American Sign Language (ASL), expanding on their communicative potential. Composing through forms of temporal deprogramming embedded in the materiality of sound and language, Kim’s practice STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
CAMERON JAMIE AT GLADSTONE GALLERY Gladstone Gallery is pleased to present an exhibition of new works by Cameron Jamie, the artist’s first exhibition with the gallery in Brussels. Jamie, who works in various media, including drawing, sculpture, printmaking, film and performance, debuts a new series of ceramic masks that both foreground his intervention into the traditional practice of the medium THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words THE SOUND OF PASSING TIME: CHRISTINE SUN KIM •MOUSSE MAGAZINE by Sofia Lemos Christine Sun Kim explores sound through drawing, painting, and performance. Aware of the world as socio-material volume, she combines aspects of musical notation, body language, and American Sign Language (ASL), expanding on their communicative potential. Composing through forms of temporal deprogramming embedded in the materiality of sound and language, Kim’s practice STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating COLTER JACOBSEN “FATHOM” AT CORVI-MORA, LONDON •MOUSSE Tommaso Corvi-Mora is thrilled to present an exhibition of new work by Colter Jacobsen, his seventh at the gallery. “There are a few things to have in mind when looking at Colter Jacobsen’s art. First, he is less interested in creating something new than in seeing something already there. Which doesn’t mean his art is unsurprising. In fact, MERCEDES AZPILICUETA “BONDAGE OF PASSIONS” AT GASWORKS by Amy Jones Characterized by a multidisciplinary practice spanning performance, textile, and video, Argentinian-born, Amsterdam-based artist Mercedes Azpilicueta brings together an ever-expanding range of references—from art history to club culture—to explore unheard voices from the past and the formation of cultural memory. Working with a diverse cohort of collaborators, including ARIA DEAN “SHOW YOUR WORK LITTLE TEMPLE” AT GREENE NAFTALI And I went to the temple/Which portrayed nothing. Aria Dean’s work across media is defined by what she calls “a fixation on the subject and its borders,” and Show Your Work Little Temple extends that relentless questioning into new formal territory. Her first solo exhibition at Greene Naftali debuts two bodies of work that filtertraditional art
MONIKA BAER “LOOSE CHANGE” AT GREENE NAFTALI, NEW YORK Monika Baer has spent three decades inventing forms to convey the inner workings of her chosen medium, bringing painting’s disparate visual traditions into productive conflict. Her second solo exhibition at Greene Naftali features two new groups of paintings and works on paper, alternating between styles and techniques—often within asingle work.
JASON HIRATA “FROM NOW IN THEN” AT FANTA-MLN, MILAN To open the frame of when an artwork happens and where an exhibition takes place, and to connect the activities of an exhibition with the activities of public and private life, Fanta-MLN presents its 19th exhibition at 21b Via Merano, Milan: FROM NOW IN BETH COLLAR “BASHER DOWSING” AT VON AMMON CO, WASHINGTON Washington DC: von ammon co is pleased to announce its eleventh project at 3330 Cady’s Alley, Basher Dowsing, a solo show by Berlin-based multidisciplinary artist Beth Collar. The exhibition’s namesake is William “Basher” Dowsing, an English Puritan iconoclast whose mandate was the destruction and removal of idols and objects of superstition from buildings in Cambridgeshire and Suffolk “THE FILMS OF GUILLAUME DUSTAN (2000-2004)” AT FRI ART There won’t be any outer revolution before we experience the inner revolution. And that’s the most profound thought of the 20th century: first you reform the individual in their entirety, i.e. dandyism, masochism, and sadism – liberation in every sense, disruption of all senses and what not, experimenting with conscious intoxication, bohemian existence, FERNANDA BRUNET, ROBERT JANITZ, JAVIER PELÁEZ “WORK, STORY Work, Story, Pleasure exhibition is made up by Fernanda Brunet (Mexico City, 1964), Robert Janitz (Alsfeld, Germany, 1962) and Javier Peláez (Mexico City, 1976), with a selection of works in a two-dimensional and three-dimensional format that reveals a series of meditations on color, surface and shape that together make it possible to highlight aquality
JOACHIM BANDAU “DIE NICHTSCHÖNEN: WORKS 1967–1974” AT Joachim Bandau was just over thirty years old when he began to forge the body of sculptures and drawings that marks a distinctive phase in his early practice. In 1967, he had begun the creation of his amorphous, vaguely humanoid sculptures built up from mannequin segments in combination with then-new industrial materials, and already by 1974, he announced the abrupt end of this MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
CAMERON JAMIE AT GLADSTONE GALLERY Gladstone Gallery is pleased to present an exhibition of new works by Cameron Jamie, the artist’s first exhibition with the gallery in Brussels. Jamie, who works in various media, including drawing, sculpture, printmaking, film and performance, debuts a new series of ceramic masks that both foreground his intervention into the traditional practice of the medium THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words THE SOUND OF PASSING TIME: CHRISTINE SUN KIM •MOUSSE MAGAZINE by Sofia Lemos Christine Sun Kim explores sound through drawing, painting, and performance. Aware of the world as socio-material volume, she combines aspects of musical notation, body language, and American Sign Language (ASL), expanding on their communicative potential. Composing through forms of temporal deprogramming embedded in the materiality of sound and language, Kim’s practice STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
CAMERON JAMIE AT GLADSTONE GALLERY Gladstone Gallery is pleased to present an exhibition of new works by Cameron Jamie, the artist’s first exhibition with the gallery in Brussels. Jamie, who works in various media, including drawing, sculpture, printmaking, film and performance, debuts a new series of ceramic masks that both foreground his intervention into the traditional practice of the medium THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words THE SOUND OF PASSING TIME: CHRISTINE SUN KIM •MOUSSE MAGAZINE by Sofia Lemos Christine Sun Kim explores sound through drawing, painting, and performance. Aware of the world as socio-material volume, she combines aspects of musical notation, body language, and American Sign Language (ASL), expanding on their communicative potential. Composing through forms of temporal deprogramming embedded in the materiality of sound and language, Kim’s practice STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating COLTER JACOBSEN “FATHOM” AT CORVI-MORA, LONDON •MOUSSE Tommaso Corvi-Mora is thrilled to present an exhibition of new work by Colter Jacobsen, his seventh at the gallery. “There are a few things to have in mind when looking at Colter Jacobsen’s art. First, he is less interested in creating something new than in seeing something already there. Which doesn’t mean his art is unsurprising. In fact, MERCEDES AZPILICUETA “BONDAGE OF PASSIONS” AT GASWORKS by Amy Jones Characterized by a multidisciplinary practice spanning performance, textile, and video, Argentinian-born, Amsterdam-based artist Mercedes Azpilicueta brings together an ever-expanding range of references—from art history to club culture—to explore unheard voices from the past and the formation of cultural memory. Working with a diverse cohort of collaborators, including MONIKA BAER “LOOSE CHANGE” AT GREENE NAFTALI, NEW YORK Monika Baer has spent three decades inventing forms to convey the inner workings of her chosen medium, bringing painting’s disparate visual traditions into productive conflict. Her second solo exhibition at Greene Naftali features two new groups of paintings and works on paper, alternating between styles and techniques—often within asingle work.
ARIA DEAN “SHOW YOUR WORK LITTLE TEMPLE” AT GREENE NAFTALI And I went to the temple/Which portrayed nothing. Aria Dean’s work across media is defined by what she calls “a fixation on the subject and its borders,” and Show Your Work Little Temple extends that relentless questioning into new formal territory. Her first solo exhibition at Greene Naftali debuts two bodies of work that filtertraditional art
JASON HIRATA “FROM NOW IN THEN” AT FANTA-MLN, MILAN To open the frame of when an artwork happens and where an exhibition takes place, and to connect the activities of an exhibition with the activities of public and private life, Fanta-MLN presents its 19th exhibition at 21b Via Merano, Milan: FROM NOW IN BETH COLLAR “BASHER DOWSING” AT VON AMMON CO, WASHINGTON Washington DC: von ammon co is pleased to announce its eleventh project at 3330 Cady’s Alley, Basher Dowsing, a solo show by Berlin-based multidisciplinary artist Beth Collar. The exhibition’s namesake is William “Basher” Dowsing, an English Puritan iconoclast whose mandate was the destruction and removal of idols and objects of superstition from buildings in Cambridgeshire and Suffolk “THE FILMS OF GUILLAUME DUSTAN (2000-2004)” AT FRI ART There won’t be any outer revolution before we experience the inner revolution. And that’s the most profound thought of the 20th century: first you reform the individual in their entirety, i.e. dandyism, masochism, and sadism – liberation in every sense, disruption of all senses and what not, experimenting with conscious intoxication, bohemian existence, FERNANDA BRUNET, ROBERT JANITZ, JAVIER PELÁEZ “WORK, STORY Work, Story, Pleasure exhibition is made up by Fernanda Brunet (Mexico City, 1964), Robert Janitz (Alsfeld, Germany, 1962) and Javier Peláez (Mexico City, 1976), with a selection of works in a two-dimensional and three-dimensional format that reveals a series of meditations on color, surface and shape that together make it possible to highlight aquality
JOACHIM BANDAU “DIE NICHTSCHÖNEN: WORKS 1967–1974” AT Joachim Bandau was just over thirty years old when he began to forge the body of sculptures and drawings that marks a distinctive phase in his early practice. In 1967, he had begun the creation of his amorphous, vaguely humanoid sculptures built up from mannequin segments in combination with then-new industrial materials, and already by 1974, he announced the abrupt end of this MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
CAMERON JAMIE AT GLADSTONE GALLERY Gladstone Gallery is pleased to present an exhibition of new works by Cameron Jamie, the artist’s first exhibition with the gallery in Brussels. Jamie, who works in various media, including drawing, sculpture, printmaking, film and performance, debuts a new series of ceramic masks that both foreground his intervention into the traditional practice of the medium THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words THE SOUND OF PASSING TIME: CHRISTINE SUN KIM •MOUSSE MAGAZINE by Sofia Lemos Christine Sun Kim explores sound through drawing, painting, and performance. Aware of the world as socio-material volume, she combines aspects of musical notation, body language, and American Sign Language (ASL), expanding on their communicative potential. Composing through forms of temporal deprogramming embedded in the materiality of sound and language, Kim’s practice STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
CAMERON JAMIE AT GLADSTONE GALLERY Gladstone Gallery is pleased to present an exhibition of new works by Cameron Jamie, the artist’s first exhibition with the gallery in Brussels. Jamie, who works in various media, including drawing, sculpture, printmaking, film and performance, debuts a new series of ceramic masks that both foreground his intervention into the traditional practice of the medium THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words THE SOUND OF PASSING TIME: CHRISTINE SUN KIM •MOUSSE MAGAZINE by Sofia Lemos Christine Sun Kim explores sound through drawing, painting, and performance. Aware of the world as socio-material volume, she combines aspects of musical notation, body language, and American Sign Language (ASL), expanding on their communicative potential. Composing through forms of temporal deprogramming embedded in the materiality of sound and language, Kim’s practice STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating COLTER JACOBSEN “FATHOM” AT CORVI-MORA, LONDON •MOUSSE Tommaso Corvi-Mora is thrilled to present an exhibition of new work by Colter Jacobsen, his seventh at the gallery. “There are a few things to have in mind when looking at Colter Jacobsen’s art. First, he is less interested in creating something new than in seeing something already there. Which doesn’t mean his art is unsurprising. In fact, MERCEDES AZPILICUETA “BONDAGE OF PASSIONS” AT GASWORKS by Amy Jones Characterized by a multidisciplinary practice spanning performance, textile, and video, Argentinian-born, Amsterdam-based artist Mercedes Azpilicueta brings together an ever-expanding range of references—from art history to club culture—to explore unheard voices from the past and the formation of cultural memory. Working with a diverse cohort of collaborators, including MONIKA BAER “LOOSE CHANGE” AT GREENE NAFTALI, NEW YORK Monika Baer has spent three decades inventing forms to convey the inner workings of her chosen medium, bringing painting’s disparate visual traditions into productive conflict. Her second solo exhibition at Greene Naftali features two new groups of paintings and works on paper, alternating between styles and techniques—often within asingle work.
ARIA DEAN “SHOW YOUR WORK LITTLE TEMPLE” AT GREENE NAFTALI And I went to the temple/Which portrayed nothing. Aria Dean’s work across media is defined by what she calls “a fixation on the subject and its borders,” and Show Your Work Little Temple extends that relentless questioning into new formal territory. Her first solo exhibition at Greene Naftali debuts two bodies of work that filtertraditional art
JASON HIRATA “FROM NOW IN THEN” AT FANTA-MLN, MILAN To open the frame of when an artwork happens and where an exhibition takes place, and to connect the activities of an exhibition with the activities of public and private life, Fanta-MLN presents its 19th exhibition at 21b Via Merano, Milan: FROM NOW IN BETH COLLAR “BASHER DOWSING” AT VON AMMON CO, WASHINGTON Washington DC: von ammon co is pleased to announce its eleventh project at 3330 Cady’s Alley, Basher Dowsing, a solo show by Berlin-based multidisciplinary artist Beth Collar. The exhibition’s namesake is William “Basher” Dowsing, an English Puritan iconoclast whose mandate was the destruction and removal of idols and objects of superstition from buildings in Cambridgeshire and Suffolk “THE FILMS OF GUILLAUME DUSTAN (2000-2004)” AT FRI ART There won’t be any outer revolution before we experience the inner revolution. And that’s the most profound thought of the 20th century: first you reform the individual in their entirety, i.e. dandyism, masochism, and sadism – liberation in every sense, disruption of all senses and what not, experimenting with conscious intoxication, bohemian existence, FERNANDA BRUNET, ROBERT JANITZ, JAVIER PELÁEZ “WORK, STORY Work, Story, Pleasure exhibition is made up by Fernanda Brunet (Mexico City, 1964), Robert Janitz (Alsfeld, Germany, 1962) and Javier Peláez (Mexico City, 1976), with a selection of works in a two-dimensional and three-dimensional format that reveals a series of meditations on color, surface and shape that together make it possible to highlight aquality
JOACHIM BANDAU “DIE NICHTSCHÖNEN: WORKS 1967–1974” AT Joachim Bandau was just over thirty years old when he began to forge the body of sculptures and drawings that marks a distinctive phase in his early practice. In 1967, he had begun the creation of his amorphous, vaguely humanoid sculptures built up from mannequin segments in combination with then-new industrial materials, and already by 1974, he announced the abrupt end of this MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
CAMERON JAMIE AT GLADSTONE GALLERY Gladstone Gallery is pleased to present an exhibition of new works by Cameron Jamie, the artist’s first exhibition with the gallery in Brussels. Jamie, who works in various media, including drawing, sculpture, printmaking, film and performance, debuts a new series of ceramic masks that both foreground his intervention into the traditional practice of the medium THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words THE SOUND OF PASSING TIME: CHRISTINE SUN KIM •MOUSSE MAGAZINE by Sofia Lemos Christine Sun Kim explores sound through drawing, painting, and performance. Aware of the world as socio-material volume, she combines aspects of musical notation, body language, and American Sign Language (ASL), expanding on their communicative potential. Composing through forms of temporal deprogramming embedded in the materiality of sound and language, Kim’s practice STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
MOUSSE MAGAZINEABOUTISSUESADVERTISESUBSCRIBEART BASELPAUL CHAN Mousse 70. An Index of Shadows: Sarah Ortmeyer. CONVERSATIONS. Anne Imhof “Faust” at German Pavilion, Venice Biennale. CONVERSATIONS. “Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New York. CONVERSATIONS. Empathy and ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating NATACHA DONZÉ “CORTEGE” AT PARLIAMENT GALLERY, PARIS Natacha Donzé “Cortege” at Parliament gallery, Paris, 2020. Natcha Donzé, If you can’t breathe, you can’t scream, 2019. Natcha Donzé, Generative Language, 2020. Natcha Donzé, Les essaims, 2020, Parliament gallery is delighted to present the work of Swiss artist Natacha Donzé for the first exhibition in its programme,October 9th to
"KEHINDE WILEY: SAINT LOUIS" AT SAINT LOUIS ART MUSEUM Kehinde Wiley creates large-scale oil paintings of contemporary African American subjects in poses that recall grand traditions of European and American portraiture. His models—real people dressed in their own clothing—assume poses adapted from historic paintings. Wiley’s portraits often feature ornate and decorative backgrounds, elements of which surround and sometimes weave around his BOOK REVIEWS BY MCKENZIE WARK •MOUSSE MAGAZINE It’s a book that refuses the gated communities of the gentrified city just as it does the gated communities of suburban minds who produce and consume so much of what passes for literary. It’s a book, like those by Plante and Som, where a girl can breathe. McKenzie Wark is the author of Reverse Cowgirl (Semiotext (e) / Native Agents,2020
CAMERON JAMIE AT GLADSTONE GALLERY Gladstone Gallery is pleased to present an exhibition of new works by Cameron Jamie, the artist’s first exhibition with the gallery in Brussels. Jamie, who works in various media, including drawing, sculpture, printmaking, film and performance, debuts a new series of ceramic masks that both foreground his intervention into the traditional practice of the medium THE SUBJECT TELLS THE STORY: BENDIX HARMS •MOUSSE MAGAZINE Bendix Harms and Ross Simonini in conversation The German painter Bendix Harms has done few interviews, and so far, all of them have been on his own terms: published by his gallery, and conducted with friends and fellow painters. The talks provide an opening into his lexical world, a place where he invents words THE SOUND OF PASSING TIME: CHRISTINE SUN KIM •MOUSSE MAGAZINE by Sofia Lemos Christine Sun Kim explores sound through drawing, painting, and performance. Aware of the world as socio-material volume, she combines aspects of musical notation, body language, and American Sign Language (ASL), expanding on their communicative potential. Composing through forms of temporal deprogramming embedded in the materiality of sound and language, Kim’s practice STINE DEJA AND MARIE MUNK “SYNTHETIC SEDUCTION” AT ANNKA Annka Kultys Gallery is pleased to present an exhibition of works by two London-based Danish artists, Stine Deja and Marie Munk. This is the first time the pair have worked together. Munk’s recent series of interactive sculptural works will be shown alongside Deja’s immersive moving image pieces. The exhibition, entitled Synthetic Seduction, questions and explores fundamental emotions, PAMELA ROSENKRANZ “OUR PRODUCT” AT THE SWISS PAVILION Pamela Rosenkranz “Our Product” at the Swiss Pavilion, Venice Biennale. Neotene, Silicone, Evian, Viagra, Bionin, and Necrion, among others, are the materials from which Pamela Rosenkranz’s work is made of. We’re arguably more familiar with the esoteric promises with which some of these products are imbued than we are with thematerial
ABOUT •MOUSSE MAGAZINE About . A – Mousse is a contemporary art magazine. Established in 2006, and publishing four issues every year, Mousse is made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating COLTER JACOBSEN “FATHOM” AT CORVI-MORA, LONDON •MOUSSE Tommaso Corvi-Mora is thrilled to present an exhibition of new work by Colter Jacobsen, his seventh at the gallery. “There are a few things to have in mind when looking at Colter Jacobsen’s art. First, he is less interested in creating something new than in seeing something already there. Which doesn’t mean his art is unsurprising. In fact, MERCEDES AZPILICUETA “BONDAGE OF PASSIONS” AT GASWORKS by Amy Jones Characterized by a multidisciplinary practice spanning performance, textile, and video, Argentinian-born, Amsterdam-based artist Mercedes Azpilicueta brings together an ever-expanding range of references—from art history to club culture—to explore unheard voices from the past and the formation of cultural memory. Working with a diverse cohort of collaborators, including MONIKA BAER “LOOSE CHANGE” AT GREENE NAFTALI, NEW YORK Monika Baer has spent three decades inventing forms to convey the inner workings of her chosen medium, bringing painting’s disparate visual traditions into productive conflict. Her second solo exhibition at Greene Naftali features two new groups of paintings and works on paper, alternating between styles and techniques—often within asingle work.
ARIA DEAN “SHOW YOUR WORK LITTLE TEMPLE” AT GREENE NAFTALI And I went to the temple/Which portrayed nothing. Aria Dean’s work across media is defined by what she calls “a fixation on the subject and its borders,” and Show Your Work Little Temple extends that relentless questioning into new formal territory. Her first solo exhibition at Greene Naftali debuts two bodies of work that filtertraditional art
JASON HIRATA “FROM NOW IN THEN” AT FANTA-MLN, MILAN To open the frame of when an artwork happens and where an exhibition takes place, and to connect the activities of an exhibition with the activities of public and private life, Fanta-MLN presents its 19th exhibition at 21b Via Merano, Milan: FROM NOW IN BETH COLLAR “BASHER DOWSING” AT VON AMMON CO, WASHINGTON Washington DC: von ammon co is pleased to announce its eleventh project at 3330 Cady’s Alley, Basher Dowsing, a solo show by Berlin-based multidisciplinary artist Beth Collar. The exhibition’s namesake is William “Basher” Dowsing, an English Puritan iconoclast whose mandate was the destruction and removal of idols and objects of superstition from buildings in Cambridgeshire and Suffolk “THE FILMS OF GUILLAUME DUSTAN (2000-2004)” AT FRI ART There won’t be any outer revolution before we experience the inner revolution. And that’s the most profound thought of the 20th century: first you reform the individual in their entirety, i.e. dandyism, masochism, and sadism – liberation in every sense, disruption of all senses and what not, experimenting with conscious intoxication, bohemian existence, FERNANDA BRUNET, ROBERT JANITZ, JAVIER PELÁEZ “WORK, STORY Work, Story, Pleasure exhibition is made up by Fernanda Brunet (Mexico City, 1964), Robert Janitz (Alsfeld, Germany, 1962) and Javier Peláez (Mexico City, 1976), with a selection of works in a two-dimensional and three-dimensional format that reveals a series of meditations on color, surface and shape that together make it possible to highlight aquality
JOACHIM BANDAU “DIE NICHTSCHÖNEN: WORKS 1967–1974” AT Joachim Bandau was just over thirty years old when he began to forge the body of sculptures and drawings that marks a distinctive phase in his early practice. In 1967, he had begun the creation of his amorphous, vaguely humanoid sculptures built up from mannequin segments in combination with then-new industrial materials, and already by 1974, he announced the abrupt end of this×
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Mousse 73
AN IMAGE IS NEVER ENOUGH: JEREMIAH DAYREAD MORE
Mousse 73
POUR LA FORME: MATT PAWESKIREAD MORE
Mousse 73
VEGETABLE BEAUTY PURE OF EXCHANGE: BRANDON NDIFEREAD MORE
CONVERSATIONS
The Octopus-Like Museum: MACRO, Rome Transforming the different exhibition rooms into various columns, which welcome different forms of expression—music, graphic design, exhibition making, printed matter—is an attempt to render intelligible and coherent an experience usually fragmented and rhizomatic when visiting these enormous architectural boxes.Mousse 73
Headiness: Naoki Sutter-Shudo In the word-sculpture Theorie (2017), Japanese-French artist Naoki Sutter-Shudo disorients literary systems of meaning to similar end. Woodblock letters in an alpine green are speckled with frail daisies; each letter is a mirror of itself. In this twin aspect, Theorie is laden with the vertigo of love with no reason or rationality.CONVERSATIONS
Continuing the Heart’s Path: Fernanda Laguna When Fernanda Laguna had her first exhibition at Buenos Aires’s Centro Cultural Ricardo Rojas in 1995, she decided to take her then-boyfriend’s advice to “follow your heart’s path,” and she’s been following it ever since. MOST READ (1/2) __ __Mousse 70
An Index of Shadows: Sarah OrtmeyerCONVERSATIONS
Anne Imhof “Faust” at German Pavilion, Venice BiennaleCONVERSATIONS
“Dreamlands: Immersive Cinema and Art, 1905–2016” at Whitney Museum of American Art, New YorkCONVERSATIONS
Empathy and Contradictions: Eric BaudelaireCONVERSATIONS
Hide and Seek: Puppies PuppiesCONVERSATIONS
Ill Suns: Arthur Jafa and Sondra PerryMousse 73
Poetic Justice for Yu Man-hon: Cici Wu New York-based artist Cici Wu is interested not only in the materiality of the tools and machines we use to observe the world, but also in the myriad ways our worldly experiences are propelled by subtle interactions among language, memory, rituals, sociopolitical structures, and different states of awareness and emotions that can be triggered by moving images and their ambient effects.CONVERSATIONS
We Are All at Sea: Practice, Ethics, and Poetics of “Hydrocommons” Astrida Neimanis, RIBOCA2—2nd Riga International Biennial of Contemporary Art 2020 Bodies of water as a feminist figuration is thus about relationship and care. It is about sustaining and holding other kinds of bodies, and bathing new kinds of bodies into being. In this sense, bodies of water as figuration is necessarily about difference, too.ESSAYS
New Pictures for the Old Ceremony: Julien Nguyen’s Floating WorldMousse 73
The Crushing Weight of the Comfortable: Rodney McMillianREVIEWS
Krištof Kintera “THE END OF FUN!” at Ikon Gallery, BirminghamEXHIBITIONS
Quadriennale d’arte 2020 “FUORI” curated by Sarah Cosulich and Stefano Collicelli Cagol at Palazzo delle Esposizioni, Rome__ OLDER POSTS
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