Edoardo Bonaspetti, Publisher
Stefano Cernuschi, Head of Publications
Antonio Scoccimarro, Publishing Editor
Ilaria Bombelli, Publishing Editor
Francesco Valtolina, Art Director
Luigi Amato, Marco Fasolini, Fausto Giliberti, Matteo Gualandris, Massimiliano Pace, Francesco Valtolina
Mousse release editions by international artists.
The exponential development of digital technologies, the advent of social networks, and big data have progressively and inexorably changed our society. We are witnessing the collapse of philosophies of social and urban sharing and the establishment of a new regime that in the name of security is stripping us, with our consent, of every intimate and personal space. The exhibition Please Come Back. The World as Prison? starts out from these considerations to investigate our contemporary society. Control and power systems are explored both physically and metaphorically, seeking an answer to the question: What would we like back in our lives from the “paradise lost” of the modern age? Published on the occasion of the eponymous exhibition at the MAXXI museum, this catalogue features more than fifty works by twenty-six artists that treat prison as a metaphor for the contemporary world, and the contemporary world as a metaphor for prison: technological, hyper-connected, shared, and ever more closely controlled.
Belgian artist Carsten Höller (born 1961) has risen to the fore of the international scene with a practice that revolves around the search for new ways of inhabiting our world. Doubt features 20 large-scale works––installations, videos, and photographs that play with optics and space. This monographic catalogue has been published on the occasion of Carsten Höller’s solo show in Milan at Pirelli HangarBicocca, from April to July 2016.
Published to accompany an exhibition at the Nouveau Musée National de Monaco, this volume, which gathers scientific contributions from leading researchers, art historians, along with in situ installation views, pays tribute to the greatest set designer of the modern era. Viewing theater as a total artwork in which choreography, music, costumes and sets were of equal importance, Léon Bakst worked closely with artists such as Serge Diaghilev, Vaslav Nijinsky, Jean Cocteau, Isadora Duncan, Ida Rubinstein and Igor Stravinsky, transforming the perception of the ballet. Designing Dreams: A Celebration of Léon Bakst highlights Bakst’s finest achievements in stage design, while also revealing his decisive influence in the field of textile design. Conceived especially by Nick Mauss, in parallel to the exhibition design, Designing Dreams presents in detail Bakst's drawings, costume and textile designs, previously unpublished writings on ornament and fashion, new scholarship on Bakst’s sources and the impact of his vision, as well as exhibition views of the scenography realized in situ by Mauss.
Available in five different colors, cloth covers stenciled by Nick Mauss.
Luis Barragán’s house, Louis Kahn wrote after visiting it, is a place that “could have been built a hundred years ago or a hundred years from now.” So, in more ways than one, is The Air is Blue, an exhibition orchestrated in the master's house and studio by Hans Ulrich Obrist and Pedro Reyes, over the course of three years. The ever-growing list of participants comprised at the end forty-seven artists and contributors, including Francis Alÿs, Daniel Buren, Gilbert & George, Dominique Gonzales-Foerster, Joseph Grigely, Rem Koolhaas, Lygia Pape, Anri Sala, Ettore Sottsass, Rikrit Tiravanija, and Niele Toroni. Their interventions collided visions and conversations about poetry, urbanism, music, sexuality, art, and architecture. A catalogue was published in 2006, but never circulated. After ten years, this reprint consists on an integral black-and-white scan of the original book, with a small appendix of previously unpublished images and a new afterword written by Reyes. All on blue paper.
In 2012, thirty life-size puppets were made from jute and straw.This number grew to fifty-four in the course of 2013. This series of puppets was called Die Schmutzigen Puppen von Pommern, after a region extending across northern Germany and Poland. In the spring of 2015 it was decided that a large number of small puppets were to be manufactured from the same material, providing that each should not exceed 35 cm and have a totally different character from one another. A team of six people worked on this series for about 3,000 hours in a small workshop at the canal in Brussels. The undertaking was completed on November 13, 2015. The result was one hundred sixty-four puppets. They were presented at Sant’Andrea de Scaphis, in Rome, and all of them are in this book. The title, “I Piccoli Puppazzi Sporchi di Pruppà,” is after a small hamlet in the southeast of Italy, not far from the town of Stilo.
Co-published with Gavin Brown’s enterprise.