Bøger udgivet af Mousse Publishing

An illustrated atlas on the Yinchuan Biennale's synthesis of ancient and contemporary artThis volume documents the second annual Yinchuan Biennale, exhibiting art that engages areas of the globe that have developed historical significance, such as those parts of Northwest China shaped by the Silk Road.

From Albanian artist Driant Zeneli, a meditation on the cosmos as a space of experimentation and failureThis artist's book reflects the multipronged nature of Zeneli's (born 1983) film and sculpture installation made for the 58th Venice Biennale, mixing curatorial texts and works by other artists with drawings connecting the various contributions.

An artist's creative exploration of an Indonesian self-help publisherMagic Centre is a multimedia installation about a 1960s Indonesian publishing company of the same name, by Jakarta-based artist and curator Ade Darmawan (born 1974), cofounder of the Indonesian artist collective Ruangrupa, which has been selected as artistic director of Documenta 15.

Commissioned by the Ruya Foundation for Contemporary Culture in Iraq and published on the occasion of the 58th Venice Biennale, Fatherland presents the work of Kurdish Iraqi artist Serwan Baran and his investigation of the concept of "fatherland? as opposed to what we traditionally understand as "motherland.? Mixing curatorial texts by Tamara Chalabi and Natasha Gasparian with a series of poems and original letters from the 1980s written by Iraqi soldiers and collected by the artist during the years, Fatherland is both a reflective document that echoes Baran's work and a commentary on the masculine and paternalistic dimension of the political culture in Iraq, a country dominated by men who have often enacted oppressive ideologies.

Published on the occasion of the 58th Venice Biennale and edited by Zara Stanhope and Chris Sharp, Post hoc looks for alternate realities outside "rational? explanations of human experience, through the work of Dane Mitchell. Mitchell's speculative, conceptual practice has a poetic and playful edge in its exploration of relations between living and non-living things and philosophical concepts. His employment of misunderstanding or unconventional scientific forms productively challenges assumptions. While privileging a poetic subjectivity that creates space for doubt, Post hoc is affectively and politically charged: it requires viewers to actively engage and determine their relationship to insistent and profuse loss, and to promise of its continuity.

Published on the occasion of the 58th Venice Biennale and curated by Hyunjin Kim, History Has Failed Us, but No Matter explores the history of modernization in East Asia through the lens of gender and the agency of tradition. Like the namesake exhibition hosted at the Korean Pavilion, the publication looks at the works of the three Korean artists siren eun young jung, Jane Jin Kaisen, and Hwayeon Nam as a challenge to dig into, rethink, and question the canon of the heterosexual male and the modality in which East Asian modernization has been interpreted, while at the same time exploring the emancipatory potential of Asian tradition.

Global Identities collects essays, lectures, and artworks from participants in a 2018 international seminar and exhibition cycle held in Florence aimed at analyzing and reflecting on issues of global identity, particularly within cultural production, the hybridization of language, and postcolonial narratives.

Texts by Peter Doroshenko, David Ebony, Hilary Lewis "Enoc Perez may be counted among a younger generation of artists whose architectonic works would have appealed to the architect and theorist Philip Johnson (1906-2005). The Cleveland-born Johnson designed buildings with remarkable panache, and over the years many of them have become cultural icons. The San Juan-born Perez constructs paintings and sculptures with similar daring and élan. He is well known for evocative paintings of buildings, always aiming to create an indelible and timeless image, an homage to the architecture replete with personal resonance and meaning.¿¿David Ebony In an examination of modernist architecture and contemporary art, Enoc Perez has created a new, multifaceted body of work¿painting, sculpture, instal¬lations at various sites¿that engages Philip Johnson's legacy in Texas. Adopting an incremental paint layering technique that mimics Warholian printmaking, Perez strips these landmarks of their functionality, presenting them as art objects through repetition. Liberty & Restraint invites the viewer to examine their relationship to the urban landscape by challenging the boundary between interior and exterior, and between architecture and art. The catalogue, published on the occasion of his solo show at Dallas Contemporary, features full images of Perez's exhibited works and installation views.

Christophe Gallois and Marion Vergin, in collaboration with Enrico Lunghi and Mariette Schiltz eds.Texts by Enrico Lunghi, Gerald Raunig, Marco Scotini, Elvira Vannini"His work broad¬ened mental horizons and enriched the perception of those who encountered it, because it was a proposal for emancipation. By providing a beautiful and meditative response to the specific situations he was addressing,21 Theis managed to create new places full of promise without ever relying on spec¬tacular effects. The color white, which he used as a tool to free the eyes and elevate the mind, was a philosophy of life. I am sure Vincent van Gogh would have understood.??Enrico Lunghi The work of Luxembourg artist Bert Theis (1952-2016), at once poetic and politically engaged, conceptual and sensitive, personal and collective, evolved from a reflection on the role that art can play in society. Its most prominent manifestations were "platforms? and "pavilions? in various cities across Europe and Asia that visitors, passersby, and locals were encouraged to use for moments of rest, contemplation, exchange, or action?spaces where the idea of a "concrete utopia? took shape. Theis was also one of the main protagonists of the Isola Art Center in Milan, a collective and transversal platform for debate and activism around issues of urban redevelopment, which he cofounded in 2001. Accompanying the first retrospective exhi¬bition of the artist at Mudam Luxembourg - Musée d'Art Moderne Grand-Duc Jean, this monographic pub¬lication surveys his entire career.

"I moved to Lisbon to relax and do nothing, but found myself sucked into an endless stream of dinner parties. The Portuguese give extreme importance to meals; following the legacy of the ancient Greek symposium, all important conversations gravitate around large portions of ameijoas à bulhão pato, rojões à minhota, morce la da régua, and açorda. [...] At one of these banquets I sat next to the artists João Maria Gusmão + Pedro Paiva. And rather than saying I was leading an idle life, I mentioned I was freelancing, writing vacuum cleaner reviews on the internet. I was surprised when they showed interest, and baffled when they asked me to read one??Marco BenePublished on the occasion of the fourth staging of the eponymous exhibition by Alexandre Estrela and João Maria Gusmão + Pedro Paiva at La Casa Encendida in Madrid, Lua Cão isn't just a catalogue, but another of the many constellations that comprise the show. Curated by Natxo Checa, the exhibition?commenced in a cave in the Azores and shortly after travelled to Zé dos Bois in Lisbon, Kuntsverein München in Munich, and lastly to Madrid?is a choreographed and immersive moving-image experiment, which tests the intersection of the three artists' works, 16mm films and digital videos triggered at different moments over the course of a four-hour cycle, like a panoptic cinema. Featuring images from all the four exhibition chapters, a 16 pages reprint of Lua Cão (Tom & Jerry) (Amsterdam: ROMA Publications, 2018), conversations, emails, and essays by a group of critics, curators and participants to the event, the catalogue recounts the phenomenology of the project, all sides of its prism. The journeys inspiring the realization of metaphysical works of art, reflections on imploded cinema, Portuguese gastronomy and the joys of projectionism, considerations on the somatic properties of Lua Cão, loose thoughts on art and time, volcanic tunnels, melon-shaped skulls, spiderwebs, drunken zombies, demonic dogs, and the digestive benefits of Coca-Cola.

What can a hundred-year-old Estonian church's toilet and the public restroom of Flaminio Railway Station in Rome have in common? The answer is in Jaanus Samma's Outhouse by the Church. On the occasion of his first solo show in Rome at Nomas Foundation¿the first Italian exhibition after representing Estonia at 2015 Venice Biennale¿, curated by Eugenio Viola, the Baltic artist has been researching on the borders between public and private space in an environment such as public toilets. Tackling gender and sociological issues, Samma works with an archival approach, documenting the many writings the artist found on the Flaminio public restroom walls and showing the actual remnants of Kodavere's St Michael's Church's outhouse.

Published in occasion of the first retrospective outside Brazil of the Italian-born artist, held at the Nouveau Musée National de Monaco, the book is an opportunity to shed some light on Alfredo Volpi, a name that might not sound too familiar to the European public, but of great popularity in South America. The catalogue offers a thorough exploration in words and images of the painter's peculiar life and career¿from the bounds and relationships with the Brazilian art community, to his special link to the city of São Paulo and his adopted country, leading to the development of his unique artistic language.

The Black Flame of Paradise is the first novel by American artist Zachary Cahill. The book is a proposition for a new model of religious life grounded in the artistic and personal relations to the divine.

On April 17, 1975, the Khmer Rouge marched on Phnom Penh led, among others, by Brother Number One, Pol Pot (real name Saloth Sar). As the city's inhabitants tried to celebrate as best they could Cambodian new year, which falls between 15 and 17 April, on the evening of April 16 fireworks and firecrackers exploded against the background of the darkening sky together with the firing of weapons. The number of dead in the three and a half years of Pol Pot's rule will never be established with precision. With the fall of the Shianouk regime its leading architect also disappeared. Vann Molyvann rebuilt the country taking his inspiration from the temples of Angkor Wat. The Olympic stadium is one of the country's prominent modern buildings. It is said that officials of the Lon Nol government were gathered here to be executed during the revolution. This book by Giovanna Silva and Peter Fröeberg Idling retraces the history of Cambodia, creating a fictional and personal story that looks at the country through the eyes of the two authors.

Abundantly illustrated and collecting several essays and a long conversation with the artist the book Practitioner's Delight has been published on the occasion of Gary Kuehn's (Plainfield, New Jersey, 1939) first solo exhibition in Italy, at GAMeC Galleria d'Arte Moderna e Contemporanea - Bergamo, which presents a significant core of about seventy works, including sculptures, drawings, paintings, and installations, among the most important in the artist's corpus, dating from the early 1960s to the most recent pieces. Both the exhibition and the publication pay homage to the American artist, whose radical language developed from an initial reflection on the physicality of materials and played a significant role in the birth of a new conception of sculpture, equidistant from the subjectivism of Expressionist abstraction and the objectivity and geometric rigor of minimalism. Kuehn participated in watershed exhibitions like the famous 1966 Eccentric Abstraction, curated by Lucy Lippard, and the 1969 When Attitudes Become Form, curated by Harald Szeemann, and spent over five decades exploring the tension between change and deformation, his intent being to refute "the dogma of the cube,¿ as he has repeatedly declared, and "to subvert the force of pure forms.¿

Soft Bone Journey documents a project by Greek American artist Gerasimos Floratos (born 1986), combining paintings produced in his grandmother's café in Cephalonia, Greece, sculptures created in London and the subsequent collaborative installation of Floratos' first solo exhibition at Armada in Milan.

Confronting the intensity of the body as flesh, as phantasm, as organic-ness that is accommodated by rituals and social constructs yet ultimately resists all symbolization, the films of Clarisse Hahn (born 1973) expose a somatic state that is simultaneously biologically ordinary and socially extreme. Clarisse Hahn: Politics of Presence incorporates writings from the various spheres that are central to her work, from contemporary art to cinema, guerilla groups and eroticism; dialogues between Clarisse Hahn, artists, and art historians; and reproductions of (and commentary on) the artworks, photographs, photograms and videograms.

The third volume in New York-based Swiss sculptor Ugo Rondinone's (born 1964) five-part publication series documents the sculptural installation at the Contemporary Arts Center in Cincinnati, featuring all nine bodies of work from his Vocabulary of Solitude series inspired by the color spectrum.

Language plays a crucial role in the work of Polish artist Miroslaw Balka (born 1958), which, over the last 30 years, has addressed the traumas of European history. This book looks at language in Balka's work through essays by Anda Rottenberg and Simone Menegoi and a chronology of Balka's shows since 1985.

This publication accompanies two exhibitions of the sculptures and installations of New York-based artist Sam Anderson (born 1982). The first opened in April 2017 at SculptureCenter in New York and the second in June at the Kölnischer Kunstverein in Cologne.

The videos, drawings and photographs of Milan-based Albanian artist Adrian Paci (born 1969) highlight the experience of political dictatorship in Albania. The Guardians documents an exhibition of works within the Dominican cloisters in Milan, including a short film about Albanian children tending the graves in an abandoned cemetery.

This exhibition catalog for Italian artist Luca Bertolo (born 1968) features multimedia works created between 2012 and 2017, essays and a conversation with the artist. Paintings, neon signs and videos explore connections between word and image, building upon a theme from Feuerbach explored by the Situationists and Susan Sontag.

This catalog accompanies an exhibition of works by Jonathas de Andrade, Lothar Baumgarten, Yervant Gianikian & Angela Ricci Lucchi, Friedemann von Stockhausen, Clemens von Wedemeyer and Aimée Zito Lema, who engage with the myth of Prometheus as the progenitor of culture through non-Western perspectives.

The artists in Rock, Paper, Scissors--Nujoom Alghanem, Sara Al Haddad, Vikram Divecha, Ramin & Ronki Haerizadeh and Hesam Rahmanian, Hind Mezaina, Deepak Unnikrishnan, WTD magazine, Lantian Xie and Mohamed Yousif--enact the habitation of home through playful gestures and acts.

Low Reliefs documents a multi-year research project by New York-based artist Lucy Raven (born 1977) that investigates the human labor and technology that shapes popular imagery. It builds upon previous works, connecting her research on Indian and American bas-reliefs with 3D films.