Issue #71

Get Mousse issue #71 or subscribe
 

Dear Friends,

In response to the current global health crisis, we have decided to make our spring 2020 issue freely accessible online. From April 8, Mousse 71 is available as usual in its printed version, but you’ll also be able to access its full contents at moussemagazine.it.

Enjoy your reading!  
 

In this issue:

The Spiraled Heart of Abandoned Things: Ann Greene Kelly by Andrew Berardini
“Weathering the sun and rain and chill, they linger, waiting for anyone at all to see in their bedraggled and jilted bodies some new purpose besides disintegration: the tire to become a planter, a tree swing, tread for new cheap shoes—or, in Kelly’s hands, art.” Andrew Berardini on Ann Greene Kelly’s sculptures.

On Psychotic Images and Other Visual Symptoms by Aurélien Le Genissel
Aurélien Le Genissel scrutinizes the techniques that artists, in our image-saturated world, employ to represent psychological demons and the ways we deal with them.

Based on a True Story: Todd Haynes’s Dark Waters and New New Left Cinema by Emily Verla Bovino and Hera Chan
Todd Haynes’s Dark Waters (2019) prompts Hera Chan and Emily Verla Bovino to examine the reliance of U.S. cinema on the purported truth.

A World without Angles: Larry Bell by Marie de Brugerolle
From his first paintings to his angle-cut and unframed standing walls, Larry Bell has explored the interaction of light on surface, and the resulting effects of vision and perception. Marie de Brugerolle investigates his pioneering work.

The Sleeping Beauty Concept Works by Sabrina Tarasoff
Inspecting the oeuvre of Eyvind Earle, lead stylist on Disney’s Sleeping Beauty, Sabrina Tarasoff draws a parallel between the main character’s dormant immobility and Earle’s manner of stilling perspective to say something about our fears and fallibilities.

Beyond Latin America, The Perpetual Quest for Specificity: Gabriel Kuri by Chris Sharp
In conversation with Gabriel Kuri, Chris Sharp underscores the enthralling application of Minimalism in the artist’s practice. The more precise forms are, Kuri asserts, the more effortless they should appear.

Transactional Objects Full of Contexts in Voided Sites by Cédric Fauq
Cédric Fauq sketches the contours of a “renewed” conceptualism. His analysis departs from personal encounters with works by Carolyn Lazard, Ima-Abasi Okon, Cameron Rowland, and Abbas Zahedi, and draws relationships between their practices.

POWWOW
Mousse asked Studio for Propositional Cinema to name a peer. The outcome was a chain of references, a “tip of the tongue” between successors, involving Bea Schlingelhoff, Ramaya Tegegne, Kandis Williams, Deanna Bowen, Vincent Meessen, and Agency.

In-Between Repetition and Variation: Suellen Rocca by Hans Ulrich Obrist
In this conversation dating back to 2018, Hans Ulrich Obrist and the Chicago-born artist Suellen Rocca retrace her long career, from early art classes at the School of the Art Institute of Chicago to her membership in the Hairy Who. Her “picture writing,” resembling hieroglyphs and pictographs, addresses female sexuality, romantic feelings, and domestic life.

Tidbits: Matthew Angelo Harrison by Rahel Aima; Bri Williams by Harry Burke; Elif Saydam by Kristian Vistrup Madsen; Eva Gold by Chloe Stead; D’Ette Nogle by Attilia Fattori Franchini; Virginia Overton by Ian Wooldridge; Jibade-Khalil Huffman by Lumi Tan; Pati Hill by Maurin Dietrich; Theodora Allen by Stephanie Cristello; Gina Fischli by Isabella Zamboni; Olivia Erlanger by Laura Brown; Pierre Guyotat by Estelle Hoy; Christine Sun Kim by Sofia Lemos; Jenna Bliss by Alexandra Symons Sutcliffe; Anthea Hamilton by Laura Herman; Tao Hui by Alvin Li; Aki Sasamoto by Charles Aubin; Jes Fan by Billy Tang; Ko Sin Tung by Ingrid Pui Yee Chu; Anna Witt by Joshua Simon; Tears of a Foreman by Noah Barker; Rebecca Morris by Tenzing Barshee and Camila McHugh.

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