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Mousse #35, October-November 2012

Mousse Publishing
27 × 37.5 × 1 cm

Lars Bang Larsen tries to stimulate some kind of revolt against the restlessness and vanity of the culture industry with his overwhelming satire.

Thomas Beard discusses with Catalan filmmaker Albert Serra his gigantic effort The Three Little Pigs, a film that tracks down echoes between Goethe, Hitler and Fassbinder.

Adam Kleinman meets up with writer John D’Agata to speak about the essay genre as an attempt to find meaning, and his latest book About a Mountain, which focuses on Las Vegas.

Jens Hoffmann interviews Peter Watkins, one of the most controversial directors living today, hailed as a cinema pioneer for his use of nonprofessional actors, and his presentation of a historical event in the style of modern TV war reporting.

Against the backdrop of the piece by Tino Sehgal at the Tate Modern, Tim Griffin and Kathy Noble weave an extraordinary analysis of the state of the (performance) art.

The paintings of Oscar Murillo come from a long process of sedimentation. The artist tells Catherine Wood about the origins of his interest in places full of traces, and the importance of organizing social events.

Claire Bishop and Julia Bryan-Wilson dwell on participation as an ideologically diverse crux of 20th century art, in the wake of Claire’s new book Artificial Hells: Participatory Art and the Politics of Spectatorship.

Together with Theater Hora, choreographer Jérôme Bel has pursued his project of a radical critique of illusionist spectacle. His Disabled Theater has been a positive shock for the audience, as Bel tells Elisabeth Lebovici.

Through consideration of works by Herzog, Ganz and Huyghe, Zachary Cahill tracks techniques for psychologizing the landscape, providing a schema to re-evaluate the image of nature and the nature of the image.

Is it possible to be a revolutionary and like flowers? This enigmatic question is the title of the latest project by Camille Henrot. Cecilia Alemani meets with the artists to talk about the translative qualities of her work, ranging through anthropology, archaeology and sociology.

In NICE TO MEET YOU: Calla Henkel & Max Pitegoff explain to Ana Teixeira Pinto the economics of the young artist; Filipa Ramos talks with Mariana Caló & Francisco Queimadela about their work on different conceptions of Time and the pursuit of proximity to nature; Bob Nickas tells Davina Semo that her works suggest an emotional weight through materiality and physical presence. James Hoff, an avid reader of Veneer, met with Aaron Flint Jamison, artist and editor of the magazine, to talk about the its extraordinary handmade quality, and the irresistible virtues of purple-heart wood.

Until a few years ago, giving the world the slip was a possible action and choice. But today, surveillance technology and self-propagating data sprawl make vanishing seem like an impossible feat. Is that really the case? The answer comes from Lauren Cornell.



NEW YORK – With Darren Bader the sewing machine a

  1. Mousse #35, October-November 2012

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