Mousse Publishing is an independent publishing house founded in 2006. Born as a spin-off of Mousse, the contemporary art magazine, Mousse Publishing was created to give every printed project originality, care, and respect. Mousse Publishing makes books with artists, writers, public and private institutions, galleries, and other art and cultural initiatives. Our focus is on artist monographs and artist books, conceived and created in concert with the artist. Mousse Publishing also releases online contents, printed ephemera, and artist editions.
Can plastic planetarism replace neoliberal globalization? This publication is informed by Catherine Malabou’s conception of destructive plasticity—an irreversible destruction of form that makes it possible […]
“Reversibility: A Theatre of De-Creation was inspired by a traumatic event that took place in 2008: the destruction of a work by David Lamelas, Projection […]
This book is the first of two volumes published for the exhibition “Imagine Being Here Now”, the 6th Momentum Biennial, held in Moss, Norway. Writers, […]
Driant Zeneli: Maybe the Cosmos is not so Extraordinary. Albanian Pavilion – 58th International Art Exhibition, La Biennale di Venezia
2019 English and Albanian 146 pages Softcover, 16 × 23 cm ISBN: 9788867493678 € 20 / $ 24.95
Edited by Alicia Knock
Texts by Leonardo Bigazzi, Claudia Buizza, Nicolas Chanon, Maja Ćirić, Daphnée Denis, Avni Dibra, Em’kal Eyongakpa, Marina Fokidis, Petrit Halilaj, Hiwa K, Binelde Hyrcan, Arion Hysenbegas, Alicia Knock, Harmony Korine, Hayoun Kwon, Jimena Mendoza, Lala Meredith-Vula, Thabang Monoa, Temitayo Ogunbiyi, Iheanyichukwu Onwuegbucha, Adrian Paci, Cesare Pietroiusti, Pratchaya Phinthong, Wilfriedo Prieto, Raqs Media Collective, Gabi Scardi, Emilija Škarnulyté, Monika Szewczyk, Lekë Tasi, Feodosiy Tetianych, The Alien, Thu Van Tran, Driant Zeneli, Martin Zet
“Although Maybe the cosmos is not so extraordinary takes on the appearance of fiction, both literary and fairytale like, the artist toys with its illusionism; he exploits the structure of a book and the topos (of travel literature, then of science fiction) of a group of adolescents’ voyage to elsewhere. Zeneli, ‘the guy who touched the sun’ and put the rainbow back in the sky, a constant explorer of failure and disappearance, plunges here into the depths of gravity. He attempts to bring out what is darkest and most secretive at the geological, economic and political level.”—Alicia Knock
Published on the occasion of the 58th Venice Biennale, Driant Zeneli—Maybe the cosmos is not so extraordinary is a catalogue edited by Alicia Knock which adopts the hybrid form of the “artist’s book” and reflects the multidisciplinary nature of Zeneli’s film and sculpture installation made for the Biennale, mixing a series of curatorial texts and works by other artists with a series of drawings that set the rhythm of the book by connecting the various contributions. Maybe the cosmos is not so extraordinary is a book that takes on the form of a literary and spiritual experience divided into separate chapters, ranging from the scientific projection of the cosmos as a space of experimentation and failure, to that of a space of folkloric and literary projection.
Texts by Leonardo Bigazzi, Claudia Buizza, Nicolas Chanon, Maja Ćirić, Daphnée Denis, Avni Dibra, Em’kal Eyongakpa, Marina Fokidis, Petrit Halilaj, Hiwa K, Binelde Hyrcan, Arion Hysenbegas, Alicia Knock, Harmony Korine, Hayoun Kwon, Jimena Mendoza, Lala Meredith-Vula, Thabang Monoa, Temitayo Ogunbiyi, Iheanyichukwu Onwuegbucha, Adrian Paci, Cesare Pietroiusti, Pratchaya Phinthong, Wilfriedo Prieto, Raqs Media Collective, Gabi Scardi, Emilija Škarnulyté, Monika Szewczyk, Lekë Tasi, Feodosiy Tetianych, The Alien, Thu Van Tran, Driant Zeneli, Martin Zet
“Although Maybe the cosmos is not so extraordinary takes on the appearance of fiction, both literary and fairytale like, the artist toys with its illusionism; he exploits the structure of a book and the topos (of travel literature, then of science fiction) of a group of adolescents’ voyage to elsewhere. Zeneli, ‘the guy who touched the sun’ and put the rainbow back in the sky, a constant explorer of failure and disappearance, plunges here into the depths of gravity. He attempts to bring out what is darkest and most secretive at the geological, economic and political level.”—Alicia Knock
Published on the occasion of the 58th Venice Biennale, Driant Zeneli—Maybe the cosmos is not so extraordinary is a catalogue edited by Alicia Knock which adopts the hybrid form of the “artist’s book” and reflects the multidisciplinary nature of Zeneli’s film and sculpture installation made for the Biennale, mixing a series of curatorial texts and works by other artists with a series of drawings that set the rhythm of the book by connecting the various contributions. Maybe the cosmos is not so extraordinary is a book that takes on the form of a literary and spiritual experience divided into separate chapters, ranging from the scientific projection of the cosmos as a space of experimentation and failure, to that of a space of folkloric and literary projection.
Driant Zeneli: Maybe the Cosmos is not so Extraordinary. Albanian Pavilion – 58th International Art Exhibition, La Biennale di Venezia
“Although Maybe the cosmos is not so extraordinary takes on the appearance of fiction, both literary and fairytale like, the artist toys with its illusionism; he exploits the structure of a book and the topos (of travel literature, then of science fiction) of a group of adolescents’ voyage to elsewhere. Zeneli, ‘the guy who touched the sun’ and put the rainbow back in the sky, a constant explorer of failure and disappearance, plunges here into the depths of gravity. He attempts to bring out what is darkest and most secretive at the geological, economic and political level.”—Alicia Knock
Published on the occasion of the 58th Venice Biennale, Driant Zeneli—Maybe the cosmos is not so extraordinary is a catalogue edited by Alicia Knock which adopts the hybrid form of the “artist’s book” and reflects the multidisciplinary nature of Zeneli’s film and sculpture installation made for the Biennale, mixing a series of curatorial texts and works by other artists with a series of drawings that set the rhythm of the book by connecting the various contributions. Maybe the cosmos is not so extraordinary is a book that takes on the form of a literary and spiritual experience divided into separate chapters, ranging from the scientific projection of the cosmos as a space of experimentation and failure, to that of a space of folkloric and literary projection.
