Böcker utgivna av Mousse Publishing

This catalogue accompanies an exhibition held at Lismore Castle in Ireland in Summer 2013. The book records an extraordinary collection of monuments and follies, including paper monuments, dispersed or performative memorials, and various forms of unrealised or unrealisable structures.

Published for the exhibition Disposition, this slim but satisfying catalogue is composed of a series of pictures, close ups and words about the two major projects Ai Weiwei has created for Zuecca Project Space within the context of the 55th Venice Biennale.

Published in coordination with the first solo show by Matthew Brannon in an Italian art institution, the catalogue 'In Italy It's Called "Department Store At Night" The Rest Of The World Knows It As "Postcards & Death Certificates" is organised as two independent volumes contraining an unpublished novel by the American writer 'Antelope' an essay by Alan Reid in the form of a set of "imaginary" letters sent to Brannon himself, "Unanswered Letters," and a critical text by the curator of the exhibition and co-editor of the catalogue Alberto Salvadori.

An integral part of the work of An Order of Things II, presented by Petra Feriancova in the 55th Venice Biennale, the catalogue An Order of Things I forms the prelude, memory, inventory, extension and, above all, systematic organisation of that tangible experience, those collections physically arrayed before our eyes, according to criteria the viewer slowly intuits beyond the mute nature of the images.

The catalogue illustrates Signer's project for All'Aperto through a fine selection of images and documentation, to narrate the genesis, production and installation of this site specific piece, as well as the action that took place at the opening. There is preface by Anna Zegna and an introduction by Andrea Zegna.

This catalogue accompanies the exhibition by Cezary Bodzianowski, 'This Place is Called the Hole', the first museum retrospective of the work of one of the most original figures on the contemporary art scene. Bodzianowski has been part of this scene since the mid 1990's; he is known as the author of slight, sometimes hardly perceptible interventions, disturbing the natural course of day to day life and inserting an element of the absurd, anarchising poetry into it. The accompanying publication aims to sum up the artist's creative output to date.

For the past several years Will Benedict has been working professionally as a photographer, painter and tourist. This April at Gio' Marconi, Benedict will present Bonjour Tourist, new works relying on various combinations of gouache paintings and cut-out studio portraits, mounted in customized aluminium and foamcore frames. Organized in distinct series, they fulfill the nominal categories of newscasters, postcards, flags, couples having dinner and nations peeking in through windows. Compared to the kind of aesthetic stimulation experienced while watching TV the works are like watching two, maybe three channels at the same time. In Benedict's works the buzzing clamor of things, places, foods and people are fossilized in lavishly painted waxed foamcore passepartout, freezing the sadness of the tourist and audience (the same thing) into an ever so slight hypomanic mixture of euphoria and irritability. Frozen along with everyone and everything in these passepartouts are paintings on canvas depicting a tits and penis nationalism that sells food at restaurants, plane ticket to exotic locals, walls or stamps.

Tan draws upon psychology and neurology to create installations exploring our inner and outer livesInspired by a drawing by neurologist Oliver Sacks representing the physiological organization of migraines, Lisa Tan (born 1973) creates a system of "open walls" allowing viewers to navigate the intersection between the nervous system and the formation of the self.

Colorful windows, panels and altarpieces create a contemporary sacred space within an art museumInspired by church architecture and decoration, Danish artist Alexander Tovborg (born 1983) transforms the galleries of the Kunsthal Charlottenborg into an immersive, sacred atmosphere of space, shaped according to Tovborg's own interpretation of Christian iconography.

Grand Illusion is a photographic series of screenshots from Google Cultural Institute's "Museum View" of Baroque European palaces-objects of beauty and manifestations of power whose gold encrusted ornamentation points to the colonial activities abroad that made this kind of wealth possible. While the monarchies and empires of the past used beauty as an expression of their authority, technology, in its mediation of the world, often operates without an aesthetic agenda. Throughout this series, the covert power of technology makes itself visible only through accidents such as glitches, a glimpse of the machine in the mirror, the AI blurring the faces of statuary.

Benoit Pieron: Slumber Party is the first book by the French artist, published on the occasion of his 2023 commission at Chisenhale Gallery, London. Continuing his practice of applying a vital softness to the hard spaces of the hospital, this new publication is inspired in both form and content by waiting room magazines as a site of intervention and diversion. Installation views accompany a visual essay by Pieron documenting the processes behind the commission. A series of activities have been devised by artists ClayAD, Paul Maheke, Roxanne Maillet and Pieron. Each invites the reader to either draw on or rip out pages to help pass the time; making and remaking the book anew for each reader. The book considers how to transform the often stale or distressing atmosphere of a medical waiting room with a sense of possibility and renewed imagination. These activities are accompanied by texts from Chisenhale Gallery's Director Zoé Whitley, the exhibition's curator Oliva Aherne, and ClayAD, as well as a conversation between Piéron and artist Paul Maheke that traverses subjects from the fallibility of healthcare and the work of Félix González-Torres, to the allure of vampires and soft toys. This publication is made possible through the generous support of Lead Supporter, Fondation Pernod Ricard, and Headline Supporters, Fluxus Art Projects and The Clare McKeon Charitable Trust with additional thanks to the Chisenhale Gallery Publishing Supporters' Circle, and Galerie Sultana.

Pulpy and provocative, D'Angelo's works confront conventional thinking and reveal subconscious ideas of lust and fearDrawing on camp horror and pop culture, the works of Korean American artist Christa Joo Hyun D'Angelo (born 1983) are inspired by bloodthirsty vampires, bad romance, South Korean cinema and Hollywood blockbusters, creating imagery that is equally haunting and seductive.

A cosmos of gestural, uncanny works from an acclaimed Swiss painterThis monograph provides comprehensive insight into the work of Klodin Erb (born 1963), one of Switzerland's most renowned contemporary artists. In her pictorial worlds, she explores the boundaries of painting and simultaneously questions definitions of gender and identity.

Surveying the contemporary design landscape in Italy, with an eye towards the climate crisisThis catalog accompanies a group show at the ADI Design Museum in Milan, featuring a selection of works from Italian designers under age 35. The exhibition showcases how these young designers meet the challenges posed by continuous ecological and social transformations.

This richly illustrated catalogue reflects on the making of the group exhibition Penumbra. Commissioned and produced by Fondazione In Between Art Film at the Complesso dell'Ospedaletto, Venice, on the occasion of the Biennale Arte 2022, it presented newly commissioned works to Karimah Ashadu, Jonathas de Andrade, Aziz Hazara, He Xiangyu, Masbedo, James Richards, Emilija Skarnulyte, and Ana Vaz. Edited by Alessandro Rabottini and Leonardo Bigazzi with Bianca Stoppani, it includes an atmospheric visual essay about Venice commissioned to photographer Giacomo Bianco and a wide selection of installation views documenting the display of the works together with the experience of walking through the eight video installations. Each of them is presented with its technical information, including the stills, synopsis, and credits, to share the visual and conceptual aspects of the narrative in each work. The book also features 8 newly commissioned essays by writers, scholars, and researchers, including Taylor Aldridge, Barbara Casavecchia, Bruno Carvalho and Ana Laura Malmaceda, Martin Herbert, Matt Keegan, Filipa Ramos, Francesca Recchia, and Giorgio Vasta, that give original and critical insights into the works and the extended practices of the artists of Penumbra via never-before-published research and backstage materials. It is also accompanied by an introductory text by Beatrice Bulgari, President at Fondazione In Between Art Film, as well as newly extended essays by Alessandro Rabottini and Leonardo Bigazzi, co-curators of Penumbra; Ippolito Pestellini Laparelli, who designed the scenography of the show with his agency 2050+; and Bianca Stoppani and Paola Ugolini, co-curators of Vanishing Points, the public program accompanying Penumbra.

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.

A handsomely designed artist's book expanding on Minh-Ha's film What about China?The Vietnam-born, Berkeley-based multimedia artist and leading postcolonial theorist Trinh T. Minh-ha (born 1952) is celebrated internationally for her films such as Reassemblage (1982) and Surname Viet Given Name Nam (1985) and influential books such as Lovecidal (2016) and Elsewhere, Within Here (2010). Publications on her art are few, however. This beautifully designed artist's book was conceived from the script and visuals of Minh-Ha's film What about China? (2022), in which she films the Chinese countryside and a series of voices share personal experiences, poems and traditional songs, reflecting on China's past and present. Deftly uniting image and text, Traveling in the Dark expands upon the film's conceptual scaffolding with writings, poems and aphorisms as well as conversations with other filmmakers and theorists.

Juxtaposing contemporary Aboriginal art with the work of Yves KleinThis volume presents works by 13 Aboriginal artists alongside pieces by the influential French artist Yves Klein (1928-62), whose early childhood art and writings reflect an interest in prehistorical Aboriginal motifs. Artists include: Angkaliya Curtis, Waigan Djanghara, Judy Watson and Sally Gabori.

"To expand is to reduce, to affirm is to negate; the problem is how not to let any of these moments crystallize into a position or a program via the fetishism that transforms relations into objects. "-Marina Vishmidt Autoreduction is a project initiated by Dora Budor at Progetto (Lecce, Italy) in the summer of 2021 that began with detouring a solo exhibition onto a collaborative course to traverse the itineraries of work, leisure, and consumption in southern Italy. Conceived as a companion to the exhibition, the book features commissioned texts by Noah Barker and Marina Vishmidt, with contributions by all the artists originally participating in the exhibition (Noah Barker, Dora Budor, Michèle Graf and Selina Grüter, Niloufar Emamifar, and Ser Serpas), together with an addendum by Stefano Faoro. In "Case of Enrichment" Noah Barker assesses how the exhibition and region of Puglia instantiate what Luc Boltanski and Arnaud Esquerre have called the enrichment economy - which is characterized by the enrichment of existing things and places and modelling of the consumer on the collector. In "Why Must You Reduce Everything to Money?" Marina Vishmidt casts reduction as a political and artistic strategy; from a form of resistance developed by Italian Autonomists to its aesthetic application as a mode of refusal. Informed by the industrial history of the Salento region, which once featured a heavily feminized and militant tobacco workforce and now sees this legacy sanitized as a heritage for luxury tourism, Autoreduction rides the carousel of capital's value-forms eliciting critique and complicity in tandem.

Three artists reflect on the meaning of "deposition" for the 34th Bienal de São PauloAccompanying an exhibition at Oscar Niemeyer's pavilion for the 34th Bienal de São Paulo, this volume features work from three artists exploring the geological, legal and art-historical meanings of the word "deposition." Artists include: Marissa Lee Benedict (born 1978), David Rueter (born 1985) and Daniel De Paula (born 1987).

Eleven artists reflect on the alarming entropy of the 21st centuryThis book presents works from 11 international artists responding to the current state of the world through themes of environmentalism, racism, political activism, globalization and digitalization. Artists include: Darren Almond, Oliver Beer, Julian Charri�re, David Claerbout, Bharti Kher, Teresa Margolles, Martin Puryear, Rayyane Tabet, and more.

"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.