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.
“I like those places that ask intriguing questions and give no clear answers,” states Liu Xiaodong in the introductory phrases to the catalogue for his 2015 three-chapter exhibition Painting as Shooting, declaring that “predictable and overly planned things are uninteresting.” Often described as a painter director, he has traveled the world observing difficult aspects of the human condition, finding common threads linking experiences in contexts as diverse as rural China, border conflicted Israel/Palestine, refugee laden Europe, and most recently, the “metal graves” of Bangladesh, a land of paradoxes. The artist chronicles his observations from a distance in daily diary entries, sketching and photographing scenes from reality and arranging them into a storyboard. He sets up scenes to paint on site, but also if needed, he turns his studio into a space for “post-production” when life’s special effects become overwhelming. The artist transforms the inhabitants of the place he observes into lead characters of his silent film of a painting, rather than placing them in their usual roles as background noise in the saga that is life. – Diana Campbell Betancourt
The book Utopia/Dystopia is a companion to the curatorial project by the same title that opened at Lisbon’s MAAT – Museum of Art, Architecture and Technology. It is not exactly an exhibition catalogue, but rather a reader containing previously unpublished essays on the ongoing transition from the five-hundred-year old literary notion of utopia, toward the pervasive, everyday imposition of its mirror image: dystopia.
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