Mousse Magazine & Publishing

Mousse 90–The Fiction Issue: OUT NOW Mousse celebrates its 90th issue with a collectible edition, with a special design and format, entirely focused on fiction. “What does it mean when we say that fiction has more than meets the eye? It might suggest that, as writer and artist Pierre Guyotat had it, we must ‘try in jolts, so awkward, to take heart.’”

Published on the occasion of the eponymous exhibition curated by Karen Irvine at the Museum of Contemporary Photography (MoCP), “Dawit L. Petros: Prospetto a Mare” delves into Petros’s ongoing examination of the intricate connections between Italy, East Africa, Libya, and North America, particularly focusing on Eritrea, Ethiopia, and Somalia. This solo exhibition, alongside its accompanying publication, illuminates the ways in which colonialism and cultural memory are etched into the visual fabric and architectural landscape of Chicago. Petros’s inquiry aligns seamlessly with the mission of the museum, contributing to contemporary dialogues on visual art and its impact on our collective understanding of history, society, and identity. Within the pages of this publication, esteemed scholars—Lindsay Caplan, Teresa Fiore, Ruth Iyob, Cristina Lombardi-Diop, and Onur Öztürk—engage in thought-provoking explorations of Petros’s work. Publishing Editor: Ilaria Bombelli (Mousse) Design: Matteo Gualandris (Mousse)

During the Architecture Week in New York, Mousse and Head Hi launched Giovanna Silva’s latest work, “Days Without Number,” at the Center for Architecture. The book is a collection of more than 700 photos shot by Silva during the last three years of walks through NYC. Organized as a calendar, it defies any sense of linear time or chronology, presenting instead a puzzle of images. Co-Published by Head Hi, the book features a text by Alexander Frere-Jones. Publishing Editor: Ilaria Bombelli (Mousse) Design: Alessandro Schino (Mousse) The volume is now available for purchase at moussemagazine.it!

The publication “Farkhondeh Shahroudi” marks the artist’s US debut exhibition, of weeping trees (2024), at the Goethe-Institut e.V. New York. Rather than serving as an exhibition catalogue, it presents a retrospective glance at the pivotal moments and major series in Shahroudi’s practice, stretching as far back as her figurative paintings from her time as a student and extending as recently as the 2024 works made during her residency at the International Studio & Curatorial Program (ISCP) in Brooklyn. In this publication, the authors dive into Shahroudi’s rich practice, privileging the artwork and contextualizing her artmaking within a wider concept of worldbuilding. Edited by Zachary B. Feldman, Ph.D. Publishing Editor: Ilaria Bombelli (Mousse) Design: Anna Azzali (Mousse)

To mark the opening of the exhibition at Collezione Giancarlo e Danna Olgiati, Mousse and MASI Lugano - Museo d'arte della Svizzera italiana are pleased to announce the publication of the catalogue “Yves Klein e Arman. Le Vide et Le Plein.” Curated by Bruno Corà and designed by MARIO BOTTA ARCHITETTI , the show examines the complementary practices of lifelong friends Yves Klein and Arman. In 1958, Klein held a show at Paris’s Iris Clert Gallery titled “Le Vide” (The Void), in which he removed all the art from the walls and display cabinets and re-whitewashed the space. Two years later, Arman occupied the same gallery with “Le Plein” (The Full-Up), in which he stuffed the rooms with enough trash to be seen from outside through the windows. Klein aimed to override the notion of art as synonymous with the material production of works, while Arman made clear the industrial essence of modern humanity. Using these two contrasting exhibitions as a starting point, “Le Vide et Le Plein” explores the poetics of Klein and Arman, and synthesizes their divergent practices as two compatible tenets of Nouveau Réalisme. This richly illustrated publication, which is now available at moussemagazine.it, features essays by Bruno Corà and Tobia Bezzola, an interview with architect Mario Botta, a dedicated section on the exhibition design by Botta, and wide-ranging supplementary exhibition histories and biographies compiled by Aldo Iori.

“Residencies Reflected” looks at international artist residencies through the lens of societal and ecological transformation. It examines both the creative experimentation and artistic freedom these residencies foster, as well as the knowledge they generate about places, environments, and communities. Through nine essays and one interview, the contributors—curators, artists, and academics—discuss their potential as unique ecosystems for artistic practice, unveiling the creative processes intrinsic to them. The publication is edited by Irmeli Kokko and produced by Saari Residence in collaboration with Mousse.

Tomorrow, 6PM, join us at MADRE - Museo d'Arte contemporanea DonnaREgina for the launch of our new publication “Alessandro Di Pietro: Ghostwriting Paul Thek.” The book, edited by Cornelia Mattiacci and Peter Benson Miller, is conceived as a compendium of texts and notes generated for the artist Alessandro Di Pietro as he developed the exhibition project “Ghostwriting Paul Thek: Time Capsules and Reliquaries.” The traveling exhibition—which appeared at The Watermill Center, New York; CAN Centre d'art Neuchâtel; Palazzo Monti, Brescia, Italy; and Fondazione Nicola Del Roscio, Rome—presented pieces conceived in dialogue with the work of the legendary US artist Paul Thek (1933–1988). The texts, notes, and other original sources featured in the volume—ranging from essays to WhatsApp messages, diary entries, and newspaper pages—are presented in the languages in which they were contributed by the twenty-five authors involved. They re-create the intellectual context for the development of Thek’s/Di Pietro’s intertwined ideas, blurring fact and fiction and maintaining a certain ambiguity of authorship. The publication’s sole reprint comes from Chris Kraus’s “Aliens & Anorexia” (2000). With special contributions by Carlo Antonelli, Paisid Aramphongphan, Giulia Bini, Anna Castelli, Dustin Cauchi, fabio cherstich, Luigi Alberto Cippini, Guido Costa, Paul Cotton, Anna Cuomo, Allen Frame, Niccolò Gravina, Noah Khoshbin, Chris Kraus, Owen Laub, Cornelia Mattiacci, Peter Benson Miller, massimo minini, Dr. phil. Susanne Neubauer, Leonie Radine, Federico Sargentone, Oliver Shultz, Stella Succi, Pier Mauro Tamburini, and Jeppe Ugelvig. A special thanks to Paola Clerico. Publishing Editors: Ilaria Bombelli (Mousse) Emma Passarella (Mousse) Graphic Design: Massimiliano Pace (Mousse)

“Islands of Kinship: A Collective Manual for Sustainable and Inclusive Art Institutions” is the result of a two-year collaboration within the platform Islands of Kinship, which interconnects six mid-scale visual art institutions across diverse regions in Europe (Prague, Bratislava, Bitola/Skopje, Cologne, Helsinki, Riga). In this publication a unique group of curators, artists, and experts involved in their respective organizations as inclusion and sustainability coordinators reflect on social and environmental responsibility in artistic and institutional practice from theoretical, political, and practical perspectives. Through essays, mind maps, codes of conduct, and lists of principles and recommendations, they address issues such as accessibility, just representation, and participation.

Dear readers, do you sometimes read poems? Then again, who says that poetry should (only) be read? Like John Giorno, we focus on the powers of the human voice, performed as spoken word, recorded, broadcasted, reverberated. Alexis Pauline Gumbs, in her upcoming biography of Audre Lorde, speaks of “survival poetics.” Poetics and politics cross paths, as we hope our pages will likewise do. Mousse 88–Summer 2024 is now available at our website.

“I’ve always had a sense of humor about my work. It amuses me to think that someone looking at one of these paintings might think, ‘Peter Halley has finally given up and become an abstract painter.’” —Peter Halley “Peter Halley: Cell Grids” immerses us in the colorful staging of the eponymous 2021–22 exhibition curated by Peter Doroshenko at Dallas Contemporary. “This publication,” Doroshenko observes, “aims to elucidate the true essence of Halley’s “Cell Grid” paintings through thoughtful interpretation, unlocking the complex interplay between the visual and the conceptual in his work.” Publishing Editor: Ilaria Bombelli (Mousse) Editorial Coordinator: Emma Passarella (Mousse) Graphic Design: Francesco Valtolina (Mousse)