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Mousse #32, April-May 2012

Mousse Publishing
27 × 37.5 × 1 cm

In this issue:

Morgan Fisher creates works that avoid subjectivity. Films that explore exhaustive combinations of possibilities, monochromes that elude compositional free will. The artist Christopher Williams met him to talk about his universe where everything makes perfect sense.

Andrea Lissoni met with the Portuguese director Pedro Costa, creator of fascinating, seductive and disturbing films, conveying a sense of monumental space through a gaze in which crudeness and sensuality coexist in eternal tension.

Taking his cue from the exhibition “This Will Have Been: Art, Love & Politics in the 1980’s”, curated by Helen Molesworth, Dieter Roelstraete reassesses the decade of individualism, bringing out its epochal breakthroughs, starting with activism based on sexual, post-colonial and racial identity.

The teaching of curating is a field of discussion still fraught with questions – a sea of potential but also of risky, uncharted courses. Jens Hoffmann and Johanna Burton moderate a conversation on curatorial studies, in an attempt to analyze the strengths and weaknesses of today’s educational programs.

On a number of occasions, Hans Ulrich Obrist has met with Freeman Dyson, one of the leading scientists of our time, discovering that his method is not so far from that of artists. Behind a great mathematician, in fact, lurks a refined connoisseur of literature and the arts.

The artistic method of Raphael Hefti consists in fully understanding the properties of a material in order to take it to extremes. Alexis Vaillant gets an introduction to the world of the artist’s projects, triggered by subjecting specific materials to the extreme effects of particular treatments.

The history of contemporary art is paved with collisions between art and language. Julian Myers gathers and interprets them, from Greenberg’s rejection of language to the reversal of modernist argumentation, all the way to the examination of the emblematic work of Art & Language and Dana DeGiulio.

Andrew Berardini supplies answers to the dilemma of the ongoing, unprecedented power of the historical works of Robert Barry – as well as the more recent ones – through the vastness of their intangible physical and mental boundaries.

The American Amy Gerstler is recognized as one of the outstanding poetic voices of the nation. The conversation with Catherine Taft intertwines the birth of her love for literature, poetry and art with anecdotes and recollections of writers and artists, from Dennis Cooper to Mike Kelley.

In NICE TO MEET YOU, Jonathan Griffin analyzes the sculptures of Chadwick Rantanen, which appear as spatial fractures; Toril Johannessen explains to Adnan Yildiz how revolutions act on the notion of time; Hugh Scott-Douglas illustrates, for Ruba Katrib, how contingencies pervert his methods of duplication, producing unique things.


Reporting from:

NEW YORK – Matt Hoyt creates compositions of sculptural objects based on careful research on synthetic ma

  1. Mousse #32, April-May 2012

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