Mousse #64 out now

Yoonsuk Jung, Lash (still), 2018. © Yoonsuk Jung. Courtesy: Ilmin Museum of Art, Seoul.

 

Issue #64

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Punk Pagan Trickster Feminist Sci-Fi Shaman: Kris Lemsalu by Andrew Berardini
Kris Lemsalu is a shaman and a show-woman indeed. What spells might she be casting?

Passive Voice: Notes on the Found Object, Now by Mitch Speed
An essay that unwinds the psychological reaction upon encountering artworks that are, arguably, barely artworks at all.

Instagenic by Nick Currie
A survey about the “picturesque,” about what we consider worthy of making into a picture and why, concentrating mostly on photography and Instagram.

Women and Media, Then and Now: Ericka Beckman, Dara Birnbaum, Lynn Hershman Leeson by Emily Watlington
Three pioneering media artists who have been working since the 1970s around representations of women, voices and censorship, as well as agency and decision making, share critical thoughts and concerns regarding media past and present.

And:

Ghislaine Leung opens up with Noah Barker about her recent works, material parity, constitutional critique, and her upcoming exhibition at Chisenhale, London.

Raphaela Vogel talks to Tenzing Barshee about the different elements that tie into and carry the narrative in Ultranackt, her latest show at Kunsthalle Basel.

Zach Blas on the social, ethical, and spatial dynamics of airport architecture and biometric devices.

Emanuel Rossetti converses with Milan Ther about spaces in photography, repetition, and variation.

Kari Rittenbach analyzes the conceptual coping mechanisms of Jay Chung and Q Takeki Maeda’s oeuvre.

In conversation with Fredi Fischli and Niels Olsen, Women’s History Museum explain how their work reinterprets the established characteristics of the museum and the fashion industry.

American Artist in dialogue with Rahel Aima on black GUIs, slipperiness and refusal as a counter to surveillance, police brutality, and cultural appropriation.

Shen Xin unfolds to Alvin Li how her filming practice tracks the global circulation of power and its afflictions.

Ana Teixeira Pinto investigates the social implications that the “future” embodies by retracing the histories and motifs of artists who have been reclaiming the term since its implementation in art history.

Paul Clinton and Ulrike Ottinger discuss colonialism, ethnography, sexuality, ideology, and feminist insubordination.

Sabrina Tarasoff on the Los Angeles literary scene of the Beyond Baroque Literary Arts Center.

Chris Sharp writes about the seemingly naive candor and heroic trust of Kate Newby’s work.

Bouchra Khalili, in dialogue with Hendrik Folkerts, describes her practice as being at the intersection of cinema and performance, and presents her latest film, Twenty-Two Hours.

Wendy Vogel on Aliza Shvarts’s daring performance work, operating in between fiction, virality, and media sensationalism.

Hettie Judah points to the crucially distinct, yet interconnected, elements that bond the paintings (and the lives) of the artist couple Rose Wylie and Roy Oxlade.

Ross Simonini traces the career of Gladys Nilsson, who first gained renown as an artist when she began exhibiting as a member of the Hairy Who in Chicago.

Agenda
A 37 90 89: Beyond the Museum by Dries Verstraete; Martha Rosler and Hito Steyerl: War Games by Riccardo Conti; Leonor Antunes: a thousand realities from an original mark by Michele Robecchi; Caleb Considine: Sandpaper Tongue by Ashton Cooper; Gianfranco Baruchello by Isabella Zamboni; Second Yinchuan Biennale by Anna Lovecchio; 10th Berlin Biennale by George Vasey; RIBOCA – Riga International Biennial of Contemporary Art by Agnieszka Gratza; Bruce Nauman: Disappearing Acts by Jennifer Piejko; Adelita Husni-Bey: Adunanza by Ilaria Bombelli; Kerstin Brätsch_Ruine / KAYA_KOVO by Bianca Stoppani; Hyperobjects by Marie de Brugerolle; Monika Baer: Die Einholung by Milan Ther; Paul Nash: Sunflower Rises by Mike Cooter.

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