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.
This publication, itself a reversed object, retraces Tarek Atoui’s multidisciplinary interventions, events, concerts, and workshops that condensed into The Reverse Sessions, a project that unfolded in three stages at the Dahlem Museum during the last Berlin Biennale, and at kurimanzutto in Mexico City. The Reverse Sessions followed the genesis of sound making, from museum objects not intended to be played (Dahlem Sessions), to scores composed after those sounds, to instruments created to perform those very scores. Over the summer of 2016, Atoui’s makeshift instruments were activated again at Tate Modern, for The Reverse Collection.
Lebanese-born sound artist Tarek Atoui is known for his exploration of performance as a complex, open, and dynamic process. His ongoing reflections on the notion of the musical instrument have led him to investigate the history of classical Arab music and to collaborate with a school for the deaf to learn how students hear and perceive sound. By traversing such a wide range of fields, he constantly changes roles, shifting from performer to computer programmer, from researcher to artistic director.
Designed by Goda Budvytyte.
The first reference monograph on the artist, this catalogue follows the first institutional exhibitions of Roccasalva held at the MAGASIN in Grenoble and at the Kölnischer Kustverein in Cologne. For over ten years, Pietro Roccasalva has been developing a body of work that is difficult to define but can be considered one of the most wilful contributions to contemporary art. It centers around painting, which has flowered in a manner that is sometimes akin to the old masters and can be seen to spur his engagement with other forms, such as drawing, sculpture, installation, performance, film, and photography. These different outputs are connected by narratives from his conceptual universe. Roccasalva interweaves personal experiences with references to art history, literature, and music as well as to cinema in such a way that it is not uncommon for the works to shift between various levels of reality and fiction. At the same time, they are linked systematically, with each work making reference to its immediate predecessor. In a sense, the artist’s oeuvre functions like an enormous house of mirrors—a labyrinth that seems, more than occasionally, to be furnished with concave or convex mirrors.
Published in conjunction with Antonis Pittas’s exhibition at Hordaland Art Centre, in Bergen, Road to Victory is a conceptual publication that extends Pittas’s artistic practice as well as an anthology of essays reflecting on his work and its various contexts. Together the book and exhibition present an artist-initiated re-reading of the seminal work of exhibition designer, Herbert Bayer, whose 1942 exhibition Road to Victory at the Museum of Modern Art in New York presented a highly aestheticised and celebratory representation of the American involvement in the Second World War.
In revisiting this moment in the history of exhibitions, Pittas draws our attention to the embedding of propagandistic elements in artistic display conventions, ranging from the Russian avant-garde to the contemporary moment. Bringing into constellation a history of affect and abstraction in the exhibition space, the Road to Victory project brings together archival fragments, spatial transformations, new sculptural works, and textual contributions by a host of acclaimed authors. Each component is integral to the entire project, and intentionally sustains the suggested relationships between economic, historical, political and aesthetic trajectories.
Designed by Project Projects
Co-published with Hordaland Art Centre, Bergen
“The absolute secret of permanent creation: not deciding, not choosing, not wanting, not owning, aware of self, wide awake. SITTING QUIETLY DOING NOTHING.” —Robert Filliou.
Published to document the recent Filliou retrospective at M HKA, the Museum of Contemporary Art Antwerp, this book centres on the transcript of an extensive conversation between the French artist and the Brussels-based art critic Irmeline Lebeer, recorded on seven cassette tapes in August 1976 in Flayosc in Southern France. This conversation is structured as an abécédaire and touches on a variety of topics to do with Filliou’s art and thinking, from amitié (friendship) to zen. It was supposed to become an extensive monograph but was never published until now.
Robert Filliou: The Secret of Permanent Creation gives today’s reader direct insight into the mind and the practice of this extraordinary artist, whose influence on subsequent generations cannot be overestimated. Now, in the second decade of the twenty-first century, is the time to realise that Robert Filliou was one of the greatest artists of the twentieth century, apart from being a significant playwright and poet. This book helps contemporary readers grasp his significance. It contains many black-and-white illustrations and colour plates of nearly all the 192 works in the exhibition at M HKA.
Designed by Sara De Bondt
Copublished with M HKA, Antwerp, and Editions Lebeer Hossmann, Brussels
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.