Issue #70

Mousse Magazine, Milan / Italy

January 13, 2020
January 13, 2020

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In this issue:

Every Force Evolves a Form by Alessandro Bava
The author analyzes the links between early US proto-communist religious groups and the ethical dimension of the design of objects, and the contemporary explosion of spiritual practices arisen in response to the extreme demands of cognitive work and the commodification of emotions.

Studio Formafantasma in Conversation with Alessandro Rabottini
The duo Studio Formafantasma, whose research-based practice is characterized by experimental material investigations, reflects on the urgency of linking design to environmental concerns and responsibility; critical approaches to sustainability; and the role of design in the future.

Clinical Cosmology: Tishan Hsu by Hera Chan
Since the 1970s, Tishan Hsu’s practice has been nurtured by a cosmology that perceives a unity of heaven and humanity. His works often present clinical trials and tribulations where one can see the body exploded. The concern is not to locate the body in relation to technology, but to reconstitute the body anew.

Oceanic Time-Lag: on Mati Diop’s Atlantics by Dora Budor
Mati Diop’s understanding of Dakar has always been filtered by her Senegalese French family’s narratives. The latter inspired a decade-long odyssey that began with the short hybrid documentary Atlantiques (2009) and evolved into the sibylline and enigmatic film Atlantics (2019).

And:

According to Nicholas Tammens, Aaron Flint Jamison’s practice relies on the evocative to explore the relationship between what we more readily recognize as the work of art and the para-artistic work that runs adjacent to and functions with it.

Zachary Formwalt’s works offer a unique approach to the field of vision that we inhabit. In conversation with Joshua Simon, the artist talks about his practice, in which the spatial becomes the central characteristic of the digital.

Cevdet Erek opens up to Hendrik Folkerts about the stages of a commission, and how distance, absence, collaboration, and presence give shape and meaning to his works.

Mousse asked Noah Barker to come up with the name of a peer. The outcome was a chain of references, a “tip of the tongue” between successors of the same “game,” involving Publikationen + Editionen, Zoe Barcza, Charlie Froud, Ben Burgis & Ksenia Pedan.

Marie de Brugerolle investigates the role of exformation in the context of the post-performance debate, analyzing relevant objects in art history and the relations between them.

With Hans Ulrich Obrist, Peter Saul retraces his career, which began in Paris in the early 1960s, and explains how his practice has since evolved into a mix of cartoons, vernacular illustrations, current events, and history painting—amid a dose of chaos, destruction, and grotesque brutality.

And:

A special visual project by Rute Merk and Balenciaga for Mousse.
 

Tidbits:
Tobias Spichtig by Kristian Vistrup Madsen; Gili Tal by Mitchell Anderson; On Coldness and Gorgeousness by Max L. Feldman; Tenant of Culture by Michael Eby; Patrick Staff by Alex Bennett; Aviva Silverman by Harry Burke; Cinzia Ruggeri by Kari Rittenbach; Henrike Naumann by Philipp Hindahl; Berenice Olmedo by Anna Goetz; Julien Creuzet by Laura Herman; Tomaso Binga by Guia Cortassa; Sarah Ortmeyer by Stephanie Cristello; Hugh Hayden by Adam Carr; Eric N. Mack by Viola Angiolini; Simon Lässig by Robert Müller; Jala Wahid by Attilia Fattori Franchini; Zac Langdon-Pole by Francesco Tenaglia.
 

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