Bøger udgivet af Mousse Publishing

Joshua Leon's first book accompanies his new commission at Chisenhale Gallery, London. The outcome of two years of writing and documenting his own research processes, the publication comprises original writing by Leon alongside archival imagery. Tracing history, memory and self across time and site, the text traverses locations including a synagogue in Bordeaux, an American bar in Vienna and a veneer factory in London's East End to reflect on the experiences of the Jewish diaspora in Europe and the formation of contemporary Jewish identity. Throughout, archival materials and images collected by Leon-architectural blueprints, immigration documents, musical scores and family photographs-visually trace slippages between personal and wider social histories. At once a fragment, a memoir and poetic prose, The Process details the varied ideas, intellectual figures and experiences that coalesce in Leon's work, whilst complicating the role of artistic production in acts of repair, restoration and remembrance.

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to the exhibition design, Designing Dreams presents in detail Bakst's drawings, costume and textile designs, previously unpublished writings on ornament and fashion, new scholarship on Bakst's sources and the impact of his vision, as well as exhibition views of the scenography realized in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.

Artistic explorations of happiness as a form of resistance and compassionThe catalog Happily Ever After, following the show at Malmö Konstmuseum, brings together Scandinavian artists who explore the human psyche in an era of increasing contempt for weakness. Artists such as Iris Smeds and Hannah Toticki address topics including mindfulness, welfare state profits and the tech industry.

Body parts, shoes and houses inhabit Wine's ceramic vessels, towers and spinning mobilesNew York-based British artist Jesse Wine's (born 1983) expressive clay sculptures investigate notions of the body and how it cohabits with capitalist society and the urban landscape. Sculpture brings together a substantial body of work produced between 2016 and 2023.

Texts by Terry R. Myers and Nicholas HatfulOliver Osborne is not the first painter to make pretty choice paintings that are about choice, or, better yet, about doing something about choice itself: something critical yet open, timely yet mindful of history. The categories in which his paintings could be situated remain well-placed themselves not because they have been kept in their place as dogma but rather because many artists have worked hard to resist those aspects of choice that have too often and too easily become limiting, if not exclusionary and reactionary. Abstract, representational, high, low, painting, picture, even colour and line are less likely than maybe ever to fit into any construct of either/or. Not that long ago any hint of such a resistance to definition was usually taken as evidence of a lack of commitment or conviction, a verdict rendered more often than not on the basis of modernist doctrine. Now, of course, new painters are emerging after postmodernism has moved from theory to doctrine itself, and, to my eyes (and ears), it's clear that another paradigm is emerging, one that pushes against not only the either/or but also any continuation of the 'death of painting' narrative. It seems to me that that story now seems to many of these emerging painters as having been exhausted by those of us who lived through a parent-child relationship with both modernism and postmodernism that was (and may still be) ambivalent. There have been, fortunately, some agile and reliable 'runaways' such as Laura Owens, who, as demonstrated in a recent interview, is very much on point  about what the death of painting wasn't able to extinguish: 'painting does things , and why wouldn't you use all the things it does?'This is the attitude adjustment that emerging painters such as Oliver Osborne have taken on and then intensified to up their game. Well versed in crucial aspects of image culture (its production and analysis), and with an anything-but-lacking desire for the material conditions of making and, yes, the dexterity of both hand and brain, Osborne has already established in his work that the long-standing ways and means of painting (long, long before modernism) are not all that played out after all.

This catalogue accompanies an exhibition held at Lismore Castle in Ireland in Summer 2013. The book records an extraordinary collection of monuments and follies, including paper monuments, dispersed or performative memorials, and various forms of unrealised or unrealisable structures.

Published for the exhibition Disposition, this slim but satisfying catalogue is composed of a series of pictures, close ups and words about the two major projects Ai Weiwei has created for Zuecca Project Space within the context of the 55th Venice Biennale.

Although the Californian conceptual artist Robert Kinmont's work dates back to the late 1960s and the beginning of 1970s, this is the first monograph ever. Kinmont is primarily concerned with his environment, the Californian landscape. He works with simple, mostly natural materials, and places them in relation to his body and his life. Probably his best known work, entitled 8 Natural Handstands (1969/2005), a series of photographs showing the artist doing handstands in abandoned landscapes, on the edges of cliffs, river beds, forests and deserts, was illustrated in Lucy Lippard's famous book Six Years: The Dematerialization of the Art Object from 1966 to 1972. Not so long afterwards, Kinmont retreated from art practice for the following three decades. Recent solo exhibitions in Glarus and Bremen have been the occasion for a long overdue publication. Kinmont is back. With texts by Alexandra Blättler, Stefanie Böttcher, Robert Kinmont, Aoife Rosenmeyer, Sabine Rusterholz Petko

Published in coordination with the first solo show by Matthew Brannon in an Italian art institution, the catalogue 'In Italy It's Called "Department Store At Night" The Rest Of The World Knows It As "Postcards & Death Certificates" is organised as two independent volumes contraining an unpublished novel by the American writer 'Antelope' an essay by Alan Reid in the form of a set of "imaginary" letters sent to Brannon himself, "Unanswered Letters," and a critical text by the curator of the exhibition and co-editor of the catalogue Alberto Salvadori.

An integral part of the work of An Order of Things II, presented by Petra Feriancova in the 55th Venice Biennale, the catalogue An Order of Things I forms the prelude, memory, inventory, extension and, above all, systematic organisation of that tangible experience, those collections physically arrayed before our eyes, according to criteria the viewer slowly intuits beyond the mute nature of the images.

The catalogue illustrates Signer's project for All'Aperto through a fine selection of images and documentation, to narrate the genesis, production and installation of this site specific piece, as well as the action that took place at the opening. There is preface by Anna Zegna and an introduction by Andrea Zegna.

This catalogue accompanies the exhibition by Cezary Bodzianowski, 'This Place is Called the Hole', the first museum retrospective of the work of one of the most original figures on the contemporary art scene. Bodzianowski has been part of this scene since the mid 1990's; he is known as the author of slight, sometimes hardly perceptible interventions, disturbing the natural course of day to day life and inserting an element of the absurd, anarchising poetry into it. The accompanying publication aims to sum up the artist's creative output to date.

For the past several years Will Benedict has been working professionally as a photographer, painter and tourist. This April at Gio' Marconi, Benedict will present Bonjour Tourist, new works relying on various combinations of gouache paintings and cut-out studio portraits, mounted in customized aluminium and foamcore frames. Organized in distinct series, they fulfill the nominal categories of newscasters, postcards, flags, couples having dinner and nations peeking in through windows. Compared to the kind of aesthetic stimulation experienced while watching TV the works are like watching two, maybe three channels at the same time. In Benedict's works the buzzing clamor of things, places, foods and people are fossilized in lavishly painted waxed foamcore passepartout, freezing the sadness of the tourist and audience (the same thing) into an ever so slight hypomanic mixture of euphoria and irritability. Frozen along with everyone and everything in these passepartouts are paintings on canvas depicting a tits and penis nationalism that sells food at restaurants, plane ticket to exotic locals, walls or stamps.

Colorful windows, panels and altarpieces create a contemporary sacred space within an art museumInspired by church architecture and decoration, Danish artist Alexander Tovborg (born 1983) transforms the galleries of the Kunsthal Charlottenborg into an immersive, sacred atmosphere of space, shaped according to Tovborg's own interpretation of Christian iconography.

Grand Illusion is a photographic series of screenshots from Google Cultural Institute's "Museum View" of Baroque European palaces-objects of beauty and manifestations of power whose gold encrusted ornamentation points to the colonial activities abroad that made this kind of wealth possible. While the monarchies and empires of the past used beauty as an expression of their authority, technology, in its mediation of the world, often operates without an aesthetic agenda. Throughout this series, the covert power of technology makes itself visible only through accidents such as glitches, a glimpse of the machine in the mirror, the AI blurring the faces of statuary.

Benoit Pieron: Slumber Party is the first book by the French artist, published on the occasion of his 2023 commission at Chisenhale Gallery, London. Continuing his practice of applying a vital softness to the hard spaces of the hospital, this new publication is inspired in both form and content by waiting room magazines as a site of intervention and diversion. Installation views accompany a visual essay by Pieron documenting the processes behind the commission. A series of activities have been devised by artists ClayAD, Paul Maheke, Roxanne Maillet and Pieron. Each invites the reader to either draw on or rip out pages to help pass the time; making and remaking the book anew for each reader. The book considers how to transform the often stale or distressing atmosphere of a medical waiting room with a sense of possibility and renewed imagination. These activities are accompanied by texts from Chisenhale Gallery's Director Zoé Whitley, the exhibition's curator Oliva Aherne, and ClayAD, as well as a conversation between Piéron and artist Paul Maheke that traverses subjects from the fallibility of healthcare and the work of Félix González-Torres, to the allure of vampires and soft toys. This publication is made possible through the generous support of Lead Supporter, Fondation Pernod Ricard, and Headline Supporters, Fluxus Art Projects and The Clare McKeon Charitable Trust with additional thanks to the Chisenhale Gallery Publishing Supporters' Circle, and Galerie Sultana.

Inverting the "voiceover" cliche, Bergsmark advocates for a new approach to filmmaking in both theory and practiceSwedish film director, artist and researcher Ester M. Bergsmark (born 1982) playfully explores the concept of "voice under" in this volume. Their texts critically examine cinematic conventions regarding desire, trans experiences and visibility--as seen in the films of Andrei Tarkovsky, Carolee Schneemann, Derek Jarman and others.

Pulpy and provocative, D'Angelo's works confront conventional thinking and reveal subconscious ideas of lust and fearDrawing on camp horror and pop culture, the works of Korean American artist Christa Joo Hyun D'Angelo (born 1983) are inspired by bloodthirsty vampires, bad romance, South Korean cinema and Hollywood blockbusters, creating imagery that is equally haunting and seductive.

A photo essay that encapsulates the architectural splendor of Naples Italian photographer Giovanna Silva (born 1980) highlights the decorative forms that populate the chromatic landscape of Naples. The result is part anthropological and costume study, part photographic research on urban architectures and part artistic reflection on a historical event.

Wall assemblages and totemic sculptures with help from a surprising assistantHouston-based sculptor Joseph Havel (born 1954) consistently challenges traditional perceptions of form, texture and space through his sculptures to address themes such as ecology, fragility, balance and transformation. His most recent exhibition featured work coauthored with his pet parrot, Hannah, during the Covid pandemic.

A meditation on inspiration and progression: Dorazio reinterprets Balla, 50 years laterTitled after a collection of poems by Giuseppe Ungaretti, Dove la luce is a visual exploration of the affinity between two great Italian painters of the 20th century: Giacomo Balla (1871-1958), master of Futurism, and Piero Dorazio (1927-2005), whose "grids" of 1960 were inspired by the former's Iridescent Interpenetrations of 1912.

Malleable, soft materials, together with their "shells," form Ahlers' approach to cultural sciences and gender politics Within her practice, German artist Daphne Ahlers (born 1986) works with the concepts of "soft sculpture" and "shell sculpture." Through her use of the malleable, adaptable features of foam, latex and other synthetic materials, Ahlers draws on symbols of patriarchal images and transforms them into alternative forms of expression.

Dynamic sculptural responses to urban planning researchThis first ever monograph on the German artist Benjamin Hirte (born 1980) spotlights his research and sculptural work from recent years. The book delves into topics such as housing and public space--with Vienna and New York City, the artist's homes, as prominent places of interest.

Documenting the full history and output of an iconic Milan art galleryGió Marconi retraces the history of Studio Marconi, an exhibition space founded by his father Giorgio Marconi in 1965. The book includes the gallery's 10th anniversary publication alongside full reproductions of other periodic publications such as magazines, newsprint and bulletins.

Charrière's immersive environments voice concerns on our changing climateFrench-Swiss conceptual artist Julian Charrière (born 1987) addresses urgent ecological concerns stemming from his fieldwork at volcanoes, glaciers and oil palm plantations. This volume accompanies a recent exhibition, which interrogates the damaging effects of fuel sources and the power of flame as both destruction and renewal for our warming planet.