Mousse / 74
According to Moritz Scheper, Alan Michael has created —through forms of photo-, hyper-, or super-realism — a distinct kind of pictorial fatalism taking aim at our state of exhaustion, the awful inevitability of our reality.
Jesse Wine converses with Kathy Noble about the emotional agency of limbs; the self-consciousness of sculptures; and houses where a lot of family life has happened.
Dipping herself beneath the pale of consciousness, Sabrina Tarasoff (@badgalsabriri) situates Beth Collar’s work in the logic of a white night: the inversions, leaps, and bounds of a sleepless head anticipating all horrors and delights—“that thing coming.”
Dora Budor retraces #PeterFend’s visionary practice, culminating with the Ocean Earth Construction and Development Corporation, an instrument for pushing earthworks beyond purely aesthetic engagement.
Tau Lewis talks with Hans Ulrich Obrist of her practice, rooted in recycling and inhabited by creatures, and art objects as fossil-repositories of emotional DNA.
Zooming in on the practices of several Taiwan-based artists, Robin Peckham tackles the geopolitical philosophies behind the land-sea dialectic in recent Taiwanese history.
Mousse is a contemporary art magazine, made of interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of feature columns. Mousse is peculiarly printed as a newspaper and bound as a magazine. Mousse keeps tabs on international trends in contemporary culture around the world.