Mousse Publishing – förlag

“The sequence of images across these pages—which I conceived as a traveling shot across the dimension of transition—shares a single cursor. No matter where each image appears to lead us or where our imagination drifts, what unifies them is the evolution of light. It is as if the entire book unfolded during a single day. But it is a day whose time has been reversed.” —Anri SalaThis publication, conceived by museo Madre, is more than a simple book; it is an artists’ book in which Anri Sala interacts with the corpus of paintings by Edi Hila. As Eva Fabbris, the Director of museo Madre, points out in her brief essay, Sala engages Hila’s work in a contemplative and cinematic way, allowing the historical and political consciousness the two share to surface gradually through the sequencing of images.Born thirty years apart in Albania, Hila and Sala share not only a geography but a historical condition. Both were formed at the Academy of Arts in Tirana—Hila as a student and later a professor, and Sala as part of the generation that encountered the institution at the threshold of the regime’s collapse. If Hila’s early career unfolded under the strictures of Socialist Realism and direct censorship, Sala’s began in the vacuum that followed its dissolution.Sala reads the transformations that have marked Eastern Europe—emerging through Hila’s paintings—as conditions that may also be understood in broader, even universal terms. This narration unfolds through both full views and selected details, photographed under Sala’s direction. The guiding “cursor” of the book is the evolution of light. It is as if the entire publication takes place within a single day—yet a day whose time has been reversed. It begins at night and retreats through dusk, late afternoon, early afternoon, high noon, late morning, early morning, until sunrise, completing a full, inverted cycle.

The book Superior and Inferior presents a facsimile reprint of Carla Accardi’s provocatory publication Superiore e Inferioreand the first ever English translation of the full text.First published in 1972 by Italian abstract artist and feminist Carla Accardi (1924–2014), the book Superiore e Inferiorefeatures discussions among girls at a middle school – all between 10 and 13 – about society’s discriminatory behaviourtowards women. They also commented the Manifesto of the revolutionary feminist group Rivolta Femminile – collectivelywritten by Accardi, art critic and feminist activist Carla Lonzi, and Elvira Banotti – which first appeared posted on city wallsin Rome in July 1970. For having discussed sex-related issues with pupils, Accardi was fired and permanently suspended from teaching. (Herletter of dismissal issued by the Italian Ministry of Education forms part of the introduction to the book.)Along the lines of Pasolini’s Comizi d’Amore (Love Meetings), Accardi’s own voice is secondary in the book, giving way tothe thoughts, narratives, opinions, and debates expressed among girls on the role of women and girls, family conflicts andintimate relations.

Published on the occasion of the first solo institutional exhibition dedicated to the work of the American artist Louis Fratino (b. 1993), this volume highlights the profound connection between Fratino’s practice and Italy, a country that has offered the artist with a wide range of topics, imagery, and sensibilities: bridging relationships, emotions, and landscapes, ultimately leading to reflect upon his own art. Satura includes artworks from the past decade, alongside numerous new pieces, providing a comprehensive exploration of the artist's practice.The works presented in this richly illustrated volume draw inspiration from Twentieth-century Italian artists such as Filippo de Pisis, Mario Mafai, Costantino Nivola, Felice Casorati, Carlo Carrà, Fausto Pirandello, and Guglielmo Janni; from the immersive experience of Italian landscapes and cities like Rome, Milan, and Genoa; and from an in-depth exploration of Italian culture, through the reading of poems by Sandro Penna, Patrizia Cavalli, Pier Paolo Pasolini, and writings by Italian gay activist Mario Mieli.

Catalogue of the exhibition cycle initiated by CAC Brétigny around the notion of 'mediation' of works of art (with David Lamelas, Benoit Maire, Dominique Petitgand, Giasco Bertoli, Robert Breer, Esther Ferrer, Felix Gonzalez-Torres, Ben Kinmont, Jirí Kovanda, Martha Rosler...).

Corin Hewitt’s performative installations use exhibition spaces as sites for production. Integrating process and display strategies, Hewitt offers viewers the simultaneous encounter of an artwork and the action that brought it to be. This book, published after the artist’s exhibition at MOCA Cleveland, brings together the documentation of seven installations, produced from 2007 up to the 2013, including preparatory sketches, process shots, exhibition documentation, and discrete photographic works. This visual mass helps understand Hewitt’s practice as a continuum of interconnected actions and materializations, instances of generative discovery and contextual play.

I Work from Home is a survey monograph on American painter Michelle Grabner (born 1962), presenting over 100 works from the past 20 years. The chosen works range from paintings of textile patterns appropriated from household fabrics to her more abstract, metalpoint pieces.

Fiction Non Fiction is a series of readers edited by Bruno Zhu that pairs voices in literary criticism with the material histories of labor, gender, and race. Each volume offers a close reading of fictional and theoretical works to explore how identity politics have been narrativized by liberal institutions across different times and spaces. Volume 1, published in conjunction with Bruno Zhu’s commission License to Live at Chisenhale Gallery, London, delves into the concept of space. Spanning Martinique and colonial Algeria, Jamaican plantations, and 1970s Lisbon, the collection examines the enduring impact of colonial projects that continue to underpin extractive systems today.

Published on the occasion of the exhibition Tom Wesselmann: La Promesse du Bonheur, curated by Chris Sharp with the scientific coordination of Cristiano Raimondi, held at Villa Paloma in Monaco June 29, 2018, through January 6, 2019, this catalogue is a critical overview of a key American Pop artist and an important opportunity to analyze specific aspects of his work: Victorian and post-Victorian sexuality, female agency, postwar economic abundance, beauty, the erotics of anticipation, the politics of the gaze, and strategies of indeterminacy. Every aspect of the book’s design, including its more than 170 color illustrations, is conceived to reflect on the artist’s haptic, indexical painterly approach and oversize scale system. Through Steven Marcus’s concept of “pornotopia” and the perspective of economy and abundance in postwar American society, the critical essay by Chris Sharp examines Wesselmann’s depictions of the sexual, developed formally in the works by means of hyperbole, hierarchies of elements, elision, and omission. The second critical essay by Sabrina Tarasoff leverages Julian Wasser’s iconic 1963 photograph Duchamp Playing Chess with a Nude, the 1969 “breast action” during one of Theodor W. Adorno’s classes, and more to deliberate the intentional in-betweenness in Wesselmann’s work, “interest” as a category preceding definition, semantic versus formal dimensions, and midcentury sensibilities regarding masculinity and female empowerment.

In 2018, Italian photographer Giovanna Silva photographed the streets of Tehran and collected archival documents from the infamous American embassy in the capital of the Islamic Republic. The image-based work is part of a multilayered narrative that encounters the words of architect, researcher and educator Hamed Khosravi. His contribution to the book is part of an ongoing research on social movements and their relationship with architecture. He traces the historical relevance of writer Maryam Firouz, architect Noureddin Kianouri, and their involvement in the progressive journal Bidari-e Ma (Our Awakening). Texts by Hamed Khosravi, Bidari e-Ma, Maryam Firouz, Farrokh-Laqa Alavi, Homayoun Eskandari

"Masks have a long-standing place in the history of societies, having been used for everything from tools of control to protective gear. But they also have a subversive aspect capable of questioning the status quo. Often understood as representations of actual, desired, or imposed social personas, masks hold a special relation to identity, signaling specific attributes and capacities of a person—or the lack thereof. [. ] As a symptom of an era of extreme transformation, masking has gained renewed traction and urgency. From the online avatars used for activism, entertainment, or propaganda to the different dynamics either emptying or occupying our streets, practices of caricature, camouflaging, face swapping, masquerading, mimicry, protection, ridicule, social makeup, and transformation have become a staple of our everyday ritualized lives. Could we, therefore, speculate about an ongoing transformation from Macho’s facial society into a mask(ed) society? Employing and underlining the subversive potential of masking, this exhibition looks into the ongoing radical reshaping of our multiple historical, sociopolitical, gendered, and transcendental identities, inquiring about current processes through which we shape-shift from one to the other. " —Valentinas Klimašauskas, João Laia

Emilio Tadini: The Reality of the Image 1968–1972 is Fondazione Marconi’s second chapter of a broader editorial project dedicated to the study, documentation, and mediation of the history and cultural heritage of this Milanese gallery, and the numerous personalities that have crossed its path. Created with the involvement of prominent figures in the international artistic and curatorial panorama, careful research in archives, and historical reconstruction, the project complements the foundation’s other promotional activities by which it seeks to tell this story, with particular attention to a transversal audience both geographically and generationally. In Emilio Tadini: The Reality of the Image 1968–1972 an unpublished manuscript by Tadini, consisting of forty-three pages of hole-punched graph paper—on which the artist wrote notes relating to the execution of his paintings, ideas for future works and titles for new series—, act as a starting point for a larger study of his position in the early post-war cultural debate, through an essay by Francesco Guzzetti (editor of the publication), and a large documentation of paintings, photographic studies, drawing and collages. Edited by Fondazione Marconi, Gió Marconi, Alberto SalvadoriTexts by Francesco Guzzetti, Emilio Tadini

142 drawings realized over a decade, addressing the commitments, obsessions, and conceptual territories that drive Jim Shaw's practice.Since the late 1970s, Jim Shaw has developed a rich and multifaceted body of work that includes photographs, drawings, paintings, sculptures, installations, films, and musical performances. The publication The Ties That Bind addresses the commitments, obsessions, and conceptual territories that drive Jim Shaw's practice: morality, fictional narratives, conspiracy theories, power dynamics and patriarchy, hair, and forms of cultural production, to name a few. Conceived on the occasion of the eponymous exhibition at M HKA, Antwerp, the publication collects 142 drawings realized between 2013 and 2023. The essays by Calla Henkel and Mark von Schlegell accompany the images, projecting the reader into a fictional dimension interwined with Shaw's practice, relying on his drawings as a backdrop of territories, scenes, characters, and ideas onto which they could project their own narrative.

“Chests fall up and down. Particles fow from inside the lungs into the open air. They comingle until pulled again into another chest. Quietly the bodies exchange gasses, heat, moisture. They create their own weather. Currents twist in the air until coming to rest in a pair of lungs, only to be expelled back into the rafters. All this is invisible. Nothing could be seen if there were eyes open to look. ” —Becket Flannery Isabelle Andriessen investigates ways to physically animate inanimate (synthetic) materials in order to provide them with their own metabolism, behavior and agency. Her sculptures are agents inhabiting the liminal space between sculpture and performance, composed of materials that act and evolve, seemingly beyond control and often irreversibly. On the occasion of the exhibitions DORM (2021) and BUNK (2021), this publication brings together three distinct voices. Sci-fi writer and art critic Mark Von Schlegell contributes a short story in which an engineer is trying to locate a lost AI as a spaceship hurdles of course. In an autonomous photo series photographer Nikola Lamburov reimagines Andriessen's sculptures, capturing their processes in sticky, eerie and surreal landscapes. Through fractals, liquids, vapors and metals, curator Laura McLean-Ferris’s essay traces the state changes that are enacted across Andriessen’s works, and in doing so fnds systems of porous entanglement that fourish in a world without humans.

This publication is part of Close Watch, Pilvi Takala's new commission for the Pavilion of Finland at the 59th Venice Biennale, 23 April – 27 November 2022. The multi-channel installation is based on the artist's experience in the private security industry, where she worked as a fully qualified security guard in one of Finland's largest shopping malls. During her six-month employment period, Takala was interested in navigating the difficulties and ethical dilemmas she would encounter on the job. Featuring notes, interviews and other materials, the publication encapsulates the extensive preparation and field research that informed the work's development to further open up the complexities around private security as both a concept and an industry.

With Postproduction, the third and final issue of In Medias Res, Fluentum's research project on the history of its premises concludes by literally taking stock of both the production of and productivity inherent in moving images. At the core of this publication are new essays on film shot in the building: beginning in the mid-1990s, mere months after the US abandoned its West Berlin headquarters, these films formed part of reunified Germany's nascent creative industry, and continued to be made throughout the 2000s. This chronology is speculatively extended by time-based artworks that were commissioned as part of Fluentum's multiyear program series In Medias Res: Media, (Still) Moving, which this publication both documents and further explores through artistic contributions. Though varying in their commerciality, audience, and aesthetic, they similarly employ the material and ideological architecture of the space as a matrix for creating history, allowing one to uniquely trace how the past becomes real through the present.

Baltic Triennial 14 focused on the geopolitical territory of Central and Eastern Europe, premised on the conviction that in a paradoxical time of fragmented integration, addressing the local is, simultaneously, to question the global. This reader contains a number of texts touching upon the definitions, histories, potentials, and futures of the region which is understood as having a composite, porous constitution and transnational connections. The region’s gravitational pull is further highlighted by the introduction or anticipation of numerous tensions, such as disinformation, human-made industrial disasters, nativist nationalism, and the oppression of non normative identities. Staged before the eruption of Russia'a invasion of Ukraine in February 2022, the Triennial took its title from Vannevar Bush via Egl? Rindzevi?i?t?’s essay on cultural wars “Transforming Cultural Policy in Eastern Europe: The Endless Frontier” (2021). In addition to the texts, this reader includes photo documentation and information from exhibitions and events that were presented across the city of Vilnius: at the Contemporary Art Centre, Atletika, Autarkia, Editorial, Lithuanian Artistis’ Association, Rupert (hosted by Tech Arts) and Swallow.

Traveling in the Dark is an exhibition and a publication by the world-renowned film director, poet, writer, music composer, literary critic, and art theorist Trinh T. Minh-ha, a distinguished professor in the departments of Gender & Women’s Studies and Rhetoric at the University of California, Berkeley. The book is a fully fledged artistic project conceived by Trinh from the script and visuals of her film What about China? and expanded with her writings, poems, and aphorisms as well as various interviews that investigate “a relationship to infinity,” “memory of the mirror,” and the “in-between. ” The book offers an experience with many possible entries, words, voices, thoughts, images, and pauses. As a visual, poetic, and philosophical experience, Traveling in the Dark invites us to rethink and experience “reality” differently from an approach mainly based on knowledge and re-presentation that we already possess or that is imposed on us. In other words: How can we learn to see our world without a priori seeing and knowing? In a time when the “all-seen” and “all-told” invade and control our daily lives, our private spheres and urban spaces, where are the areas of invisibility and shadows that leave us autonomy to see and to think, to say and to represent, to remember and to imagine? Traveling in the Dark engages the visitor and reader in an open montage of visual, sonic, and poetic textures, whose resonances, vibrations, recollections, exchanges, brushes, reflections, and passages undermine any pretense of fixed identity, historical truth, or prescribed territory. The exhibition and publication are supported by the Rockbund Art Museum, Shanghai. Additional text by Larys Frogier, and interviews with Ute Meta Bauer, Kaori Nakasone and Mayumo Inoue, Shivani Radhakrishnan, Benjamin Schultz-Figueroa and Patricia Alvarez Astacio

I have not loved (enough or worked) presents various accounts of love and longing, loneliness and loss, ranging from melancholic-sanguine email letters to case studies on cognitive labour within the Jogja art scene. It explores how our understanding of these tangled, at times tortuous notions shape out relationships to the world as a collective, as pairs and as other social assemblies. This publication accompanies the exhibition I have not loved (enough or worked) at The Art Gallery of Western Australia, which brings together video, photography, painting and sculpture by artists Hai-Hsin Huang, Daisuke Kosugi, Rinko Kawauchi, Sejin Kim, Pixy Liao, Lin Zhipeng (aka 223), Lieko Shiga and Tao Hui. Their works reveal how deeply enmeshed our bodies, and the subjective forces of love and desire, are within the fantasies of the “good life. ” I have not loved (enough or worked) is the second title in the series Unclaimed Ideas. Created as a series of paperback readers, Unclaimed Ideas presents essays and interviews by leading voices and undiscovered talents who change the way we understand art and its relationship to the most critical issues in the world today.

Elizabeth Price SOUND OF THE BREAK accompanies the homonymous Turner Prize winner's extensive solo exhibition at the Schirn Kunsthalle Frankfurt, presenting both new works and works shown in Germany for the first time. The publication, which was largely designed by the artist herself, takes a very unique approach. It presents the elements from which the videos on display are composed—photographs, animation frames, source materials—and at the same time discloses aspects of the artist's working process. As you flip through the book, you move through bodies of material dealing with different but related phenomena, as if following the timeline in one of Price’s videos.