Diego Marcon

Oh mio cagnetto is the artist's first book of writings, conceived as an artwork. It is a collection of 81 little poems that revolve around the missed and mourned figure of a puppy.

These short nursery rhymes all open with the same words and employ the same structure: two rhymed couplets in traditional meter. A seemingly naïve, childish voice speaks of violence, death and grief, yet never slips into pure plaintive lament. Balancing pathos with humor, the poems turn the puppy into a figure that evokes a broader sense of loss.
Oh mio cagnetto, was written between 2018 and 2020 and is now in the collection of MACRO in Rome. It intentionally plays on the ambiguity of its nature, as both a book distributed in conventional ways and an art object that belongs to a museum.

Diego Marcon (born 1985 in Busto Arsizio, Italy, lives and works in Paris) is a visual artist working mostly with film and video.

Lovett/Codagnone; Sabrina Tarasoff on Diego Marcon; Ikechúkwú Onyewuenyi on JJJJJerome Ellis; Cally Spooner and Hendrik Folkerts; Himali Singh Soin; Wendy Vogel interviews pioneering art historian, curator, and founder of Performa biennial RoseLee Goldberg; Shanzhai Lyric; Amelia Jones on queer feminist literary critic Eve Kosofsky Sedgwick; Dani Blanga Gubbay; Amanda van Hesteren by Olamiju Fajemisin; Thibault Lac by Skye Arundhati Thomas; Mira Mann by Nicholas Tammens; Claudia Pagès Rabal by Övül Ö. Durmuşoğlu; Binta Diaw by Camilla Paolino; Christine Sun Kim and Johanna Hedva discuss "mainstreaming," ableism, and the perils of "care"; books by Georgia Sagri...

Mousse is a bimonthly contemporary art magazine. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format.

A complete survey of the cast, forged, and fabricated metal sculptures made by Danish artist Sidsel Meineche Hansen since 2017.

The artist's practice addresses the industrial complex of virtual and robotic bodies and their relationship to labor in tech, pornography and gaming. While some sculptures were conceived as individual pieces, others were created with digital counterparts within installations that typically include CGI animation, documentary video, drawing and prints.

By presenting the metal works as stand-alone pieces, this book adheres to Meineche Hansen's concern with the material means of production, highlighting their concrete yet elusive nature. Several pieces in the publication are accompanied by poems written by artist Diego Marcon in response to the works. As an artist's project and an archival document, the publication echoes the tradition of documentary photography devoted to sculpture.

Sidsel Meineche Hansen (born 1981 in Denmark, lives and works in London) is a Danish artist. She produces exhibitions, interdisciplinary seminars and publications that foreground the body and its industrial complex, in what she refers to as a "techno-somatic variant of institutional critique". Meineche Hansen questions the body in the field of industrial representations: robotic or virtual bodies, and their relationship with the working world of industries of gaming, pornography, and new technologies. Her research-led practice has taken the form of woodcut prints, sculptures and CGI animations, often made by combining her own low-tech manual craft with outsourced, skilled digital labour.

Edited by Fredi Fischli and Niels Olsen.
Poems by Diego Marcon.

After Laughter Comes Tears, in its exhibition and book forms, brings together artists from different generations who are experimenting with the idea of the performative. This publication follows the structure of the exhibition at Mudam Luxembourg, with a prologue, four acts and an epilogue, which each sample excerpts from the range of theory, fiction and poetry that inspired and substantiate the themes of the exhibition. Widening the spectrum of the traditional catalogue, each artist was given a "carte blanche"—an invitation to contribute to the book on their own terms.

This performative book was conceived as a story; a story of the pains, joys, anxieties and doubts of the 2020s. It takes as a starting point, the feelings of stasis and anger that define the present stage of late capitalism, framed by the anxieties of a generation facing a climate crisis, welfare states trampled and failed by neoliberal policies and the rise of xenophobia around the globe, partly fueled by fake news spreading on- and offline. It is an intuitive journey through the voices of thirty-four artists expressing the lurid shapes of the crises that surround us and form a (never exhaustive) part of our contemporary reality.

They are Cem A., Panteha Abareshi, Monira Al Qadiri, Kate Cooper, Pauline Curnier Jardin, Jesse Darling, Stine Deja, Omer Fast, Anna Franceschini, Guan Xiao, Sidsel Meineche Hansen, Lukáš Hofmann, Christian Jankowski, Chris Korda, Ndayé Kouagou, Ghislaine Leung, Isaac Lythgoe, Taus Makhacheva, Diego Marcon, Jacopo Miliani, Marie Munk, Chalisée Naamani, Agnieszka Polska, PRICE, Jean-Charles de Quillacq, Mika Rottenberg, Julika Rudelius, Dorian Sari, Sin Wai Kin, Shinuk Suh, Martine Syms, Mungo Thomson, Cajsa von Zeipel, and Artur Żmijewski.

Edited by Clarisse Fahrtmann, Clementine Proby, Joel Valabrega.
Foreword by Bettina Steinbrügge.

Contributions by Kate Cooper, Lukas Hofmann, David McDermott, Markus Pilgram, Agnieszka Polska, Clémentine Proby, Sin Wai Kin, Bettina Steinbrügge, Geraldine Tedder, Joel Valabrega, Lauren Wetmore.

Winter issue, featuring Mark Leckey, Ellen Cantor, Gertrude Stein, Piotr Uklański, P.Staff, Josephine Pryde, Blackhaine, Diego Marcon, Ingrid Wiener, Olivier Assayas, Jamieson Webster, Steven-Phillips-Horst...

Spike's latest issue is a beacon lit to rescue The Night. Long held under suspicion as the domain of outcasts and phantoms, the night has come under pressure to extend the horizon of work and production.

What faith, the state, and capital fear are the perils and promises of the dark's formlessness: to withdraw into the pure solitude of sleep and dreams' unreason; to blush with the pure elation of dance and a rave's ephemeral friendships; even to have one's edges undone by the murmurs of ghosts or a celestial sign.

Need a break from the tyranny of the sun? Then light a candle, a headlamp, a flare – anything but your phone – and grap your copy to follow us into the possibility of the night.