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Cover of Breaking Cinema – Experimental Film 2010-2023

Mousse Publishing

Breaking Cinema – Experimental Film 2010-2023

Cauleen Smith

€18.00

A significant contribution to the understanding of the work of artist and filmmaker Cauleen Smith, by art historian Romi Crawford, who analyzes how Smith recastsfilm history, in a pivotal period of her career.

Operating in multiple materials and arenas, Cauleen Smith roots her work firmly within the discourse of mid-twentieth-century experimental film, and makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. The book Breaking Cinema. Experimental Film 2010–2023 adds to the growing scholarship on Cauleen Smith's work, as art historian Romi Crawford elucidates a critical phase of the artist's career and how Smith recasts film history in the context of the artistic and cultural ferment of Chicago's South Side.

Cauleen Smith (born 1967 in Riverside, CA) is an American filmmaker and artist. Her interdisciplinary work expands from histories and practices of experimental film, including structuralism, Third World cinema, and science fiction. Through immersive installations, moving-image works, sculpted objects, and textiles, she engages with non-Western cosmologies, Afro-diasporic histories, Black cultural icons, real and speculative utopias, and, in her words, "the everyday possibilities of the imagination."

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Cover of Mousse #90 – The Fiction Issue

Mousse Publishing

Mousse #90 – The Fiction Issue

Mousse Magazine

Periodicals €16.00

Mousse celebrates its 90th issue with a collectible edition, with a special design and format, entirely focused on fiction.

Bringing together a cohort of writers and artists, Mousse #90 – The Fiction Issue stems from the eponymous Fiction column that has dwelled in our pages for five years, and expands its scope. It was developed together with Rosanna McLaughlin, Skye Arundhati Thomas, and Izabella Scott, who collectively coedited the art and literature quarterly The White Review between 2021 and 2023.

Here you'll find reprints from both Mousse and The White Review as well as new stories and translations we have jointly commissioned. Seven interludes, intended to open up other worlds through images, feature portfolios of drawings by Atelier dell'Errore, Michael E. Smith, Camille Henrot, Michael Landy, Simone Forti, Adelaide Cioni, and Evelyn Taocheng Wang.

Cover of Un-Break My Walls

Mousse Publishing

Un-Break My Walls

Christianne Blattmann

The first monograph on Christiane Blattmann takes its title from her solo show Un-Break My Walls at Kunsthalle Münster in 2019. Blattmann intricately interweaves, intermeshes, combines, compounds, merges, and processes in her work not only materials but also structures, things, stories, characters. The volume includes extensive illustrations of exhibitions, projects, and works, and a great number of black-and-white images capture the artist’s studio practice. The interactions of materials, along with theoretical and literary references, serve as important points of departure, and the emblematic outcomes involve text and texture as material structure and patterned surface; vivid condensation and entanglement; and invitations to exploration and reflection. The book compiles different elements designed on a series of shifting layers. Texts by Merle Radtke and Chloe Stead and a conversation between Christiane Blattmann and Than Hussein Clark provide insight into Blattmann’s art, complemented by a piece of fiction by Huw Lemmey.

Texts by Merle Radtke, Huw Lemmey, and Chloe Stead, and a conversation between Christiane Blattmann and Than Hussein Clark

Cover of Programmed Melancholy

Mousse Publishing

Programmed Melancholy

Gabriel Abrantes

Painting €25.00

Gabriel Abrantes has been making a career in cinema; with numerous international exhibitions, he's been keeping prolific, with video installations, drawing, painting, and now also VR. This book, published by maat and Mousse, attests exactly this. A book that is predominantly visual and clearly structured, efficient in transposing a certain formal and conceptual attitude that runs through Abrantes's work into the book's aesthetic approach, expressing humour and irony visually within a relatively classical framework.

"The juxtaposition of references to art and cultural history with personal and socio-political commentary is a guiding thread throughout Programmed Melancholy." writes Emily Butler, in one of the essays included in this book (other texts are an interview with the artist and short essay by Rosa Lleó). Butler continues: "His works engage with our emotions, with a range of personal feelings, often humorous, potentially rousing ethical and political beliefs. Unstable, multi-faced, polysexual, his characters waver between expressing personal emotions and wider social, environmental and political concerns."

Cover of This Is Not My Signature

Mousse Publishing

This Is Not My Signature

William Anastasi

Monograph €40.00

A journey through the artist's work and life.

William Anastasi is the author of a prolific body of work. A major figure in conceptualism and in many respects one of its initiators, his trajectory cannot be solely confined to this chapter in the history of contemporary art. The book revisits, through the prism of multiple voices, the various aspects of an approach that unfolded with the use of complementary mediums. Drawing coexists with photography and "new" technologies, alongside objects, paintings, and installations. Within this corpus to be (re)discovered, sounds, images, and language, as well as artifacts, protocols, and processes, convey inquiries related to space and time, representation, and perception. With contributions from Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, and Erik Verhagen.

Edited by Erik Verhagen.
Texts by Dove Bradshaw, Chiara Costa, Béatrice Gross, Valérie Mavridorakis, Hélène Meisel, Sébastien Pluot, Julia Robinson, Robert Storr, Erik Verhagen.

Cover of Sarah Lucas – Describe This Distance

Mousse Publishing

Sarah Lucas – Describe This Distance

Quinn Latimer

Sculpture €24.00

A literary tribute to Sarah Lucas, at once an adroit art-historical study and a poetic travelogue.

“Distance is far, nobody said. (Somebody, surely.)” So begins Quinn Latimer's strange, elliptical account of an exhibition and a body of work by Sarah Lucas that the poet and critic has never seen, made and installed in a city she had not yet visited. In the spring of 2012 the renowned English artist's exhibition “NUDs” was mounted in Mexico City at Museo Diego Rivera Anahuacalli, the famed pyramid-like museum built by the muralist and architect Juan O'Gorman to house Rivera's approximately 50,000 Mesoamerican artifacts and objects. In the summer of 2012 Latimer found herself in Elba, the island of Napoleon's exile, where she embarked on this small, charged book. In four interconnected essays, the writer limns the myriad impressions, ideas, objects, personages, and histories relevant to Lucas's fantastically transparent yet complicated “NUDs,” and their storied making and installation in Mexico. Exploring shame, passivity, palindromes and fertility statuary, as well as notables including Antonin Artaud, Napoleon, Susan Sontag and Mary Wollstonecraft, Describe This Distance is at once an adroit art-historical study and a poetic travelogue, once or twice removed.

Cover of Foundlings

Argos Arts

Foundlings

Orla Barry

Foundlings, a video film, was shot near Wexford, in the south east of Ireland where she grew up. This visual poem without a particular narrative and full of autobiographical elements is set at a very slowed down pace. Floating images and heavy voices are central to the associative strategy that is at work here. The images allow one to listen to a hypnotic voice, while at the same time allowing the eyes to wander... to daydream... to travel over drawn out time. The images are country images, images of repetitive calm, the kind of calm one finds between awake and asleep. The speed of the sea sets the pace, regular yet irregular. The images are inhabited by people who cannot speak. Who are busy doing nothing, except passing time. Silent brothers and sisters of the sea.

The soundsculpture Unsaid, a joint work by Orla Barry and Portuguese artist Rui Chafes (1964), is very opposite to the film. The film is full of open spaces and bright colours. The sculpture is black, closed and claustrophobic and on top of that it is housed in a narrow tower five meters tall. The visitor has to take place on a rather unconventional chair and put his head in a closed off sphere, surrounding himself by darkness and leaving him with his own heartbeat. A voice addresses the visitor directly on highly intimate terms. The seating is hard and uncomfortable. One has to be strong to experience this piece that is a perpetual struggle between body and mind.

At the occassion of Barry’s show argos editions published Foundlings, a combined artist book and catalogue that can be ordered through argos. The book includes a DVD.

Orla Barry (1969) is an artist who centres her practice on language, written and spoken. Her work is strongly poetic and lyrical, crossing a wide variety of media. Barry was born in Ireland, and the rhythm of her phraseology, the pictorial and narrative vernacular on which she draws, somehow evokes her homeland’s topography, climate and literary heritage. At argos the artist presented two new works.

Cover of Tale of cinema

Fireflies Press

Tale of cinema

Dennis Lim

Essays €14.50

In the fourth title of the acclaimed DecadentEditions series, Dennis Lim explores the oeuvre of South Korean auteur Hong Sangsoo via his 2005 film. Forty minutes in, we realise we’ve been watching a film within the film. The ‘real’ characters leave the cinema and find themselves reenacting what they just saw, as a chance encounter invites a suicide pact. Is it life imitating art, or the other way around? Dennis Lim is a film curator, teacher, and writer. He is currently the Artistic Director of the New York Film Festival.

Cover of Stili Drama XIII-XXI / La Giostra di Lulu XLI-XLIV

Self-Published

Stili Drama XIII-XXI / La Giostra di Lulu XLI-XLIV

STILI DRAMA

The materials collected in the publication have been developed departing from the documentation, transcription and translation of textual, visual, sculptural and audio materials produced between March and November 2021 for STILI DRAMA. 

STILI DRAMA is an open-ended episodic para-cinematographic project, which functions as a spontaneous expression of MRZB research. STILI DRAMA XVIII-XXI and LA GIOSTRA DI LULU XLI-XLIV are the two first fragments of the work.

Language: English, Italian
Edition of 100 copies