rile* , books

A New Medium
David Maroto

Mousse Publishing - 19.00€ - out of stock

The first of a two-volume publication dedicated to the artist's novel, this theoretical essay aims to elucidate the pressing questions posed by the emergence of this new artistic medium with a number of key case studies and interviews.

Why do artists write novels? What impact does the artist's novel have on the visual arts? How should such a novel be experienced? In recent years, there has been a proliferation of visual artists who create novels as part of their broader art practice. They do so in order to address artistic issues by means of novelistic devices, favoring a sort of art predicated on process and subjectivity, introducing notions such as fiction, narrative, and imagination. In this sense, it is possible to see the novel as a new medium in the visual arts; yet very little is known about it. This two-volume publication is the first to explore in depth the subject of the artist's novel.

Part 1, A New Medium, is a theoretical examination that looks critically at the different ways contemporary artists employ the artist's novel, focusing mainly on four key case studies: Benjamin Seror's Mime Radio, Cally Spooner's Collapsing in Parts, Mai-Thu Perret's The Crystal Frontier, and Goldin+Senneby's Headless. It seeks to situate the artist's novel within the broader context of the visual arts in the hopes of sparking a much-needed discussion about a practice that has long been ignored by critical strands in art discourse. It includes valuable resources, such as the only existing bibliography of artists' novels.

Interviews with Benjamin Seror, Cally Spooner, Mai-Thu Perret, Goldin+Senneby, Francis McKee, Vivian Ziherl, Natasha Soobramanien, Clive Phillpot, Alex Cecchetti, Łukasz Gorczyca, Jan Jasiński.

I saw the world collapse and it was only a word
Hassan Khan

Mousse Publishing - 22.00€ -

In I saw the world collapse and it was only a word, published on the occasion of his concert in December 2019 at Albertinum, Staatliche Kunstsammlungen Dresden, Hassan Khan articulates the communal yet individualized feelings of sadness and trouble before they coalesce into larger structures and institutions through a libretto for five vocalists, showing us the fleeting moments of the world as it is collapsing rather than only the dust of its collapse. The work is characterized by layered fragments that gesture toward a tonality and unity that nearly coalesce, but that dissipate as soon as they emerge. The collapsing word could be anything: the death of a family member; a defeated revolution; a heartbreak. It means something different from one place, one individual, to the next while still existing so broadly that it defines a more communal experience felt across the globe. A collapse from what? Rather than a doomsday message, it intimates that perhaps the world isn't really collapsing at all. Instead, Khan poses collapse as an ever-present underlying condition, challenging much contemporary intellectualizing that positions the current moment as somehow peculiar or extraordinary. 

"1) Blame your partner for every disaster that has even occurred: G. 
2) Oscillate in confusion between these two pitches using a glissando to come and go at a narcotic speed: A♭ C♭. 
3) Argue with your best friend while looking at them using this progression: G – B – D – E♯. 
4) Demand an apology using the progression: E – C – A♭♭ – F. 
5) Beg for forgiveness by using the two highest pitches you can reach. 
6) Ask a question by humming this progression: E♭♭ – D♭ – Ax – A♯. 
7) Lose interest in everything using this progression: F – A – C – C♯."

Hassan Khan (born 1975 in London, lives and works in Cairo) works with image, sound, text, space and situation.

Fatamorgana
Salomé Lamas

Mousse Publishing - 22.00€ -

Fatamorgana is both a political parody and a speculative comedy, in which historical and contemporary personalities narrate post–World War II global history and geopolitics, through a web of references and direct citations. The undercurrent is one of sense, illusion, and truth. Hanan — a Muslim cousin of James Joyce's Molly Bloom — finds herself, not sure how, in Beirut's Hall of Fame waxwork museum after its closing hours.

Like Homer's most virtuous Penelope, this woman waits for her husband; she appears to have set a date with him, but he has not arrived—where can he be? While waiting, she begins interacting with the wax figures in the museum's empty rooms, and the figures respond in turn. Blending and clashing sixteen differing languages, as well as a variety of fiction and nonfiction sources, Fatamorgana is a multidimensional space, a kind of experiment with truth, or a type of fiction that sets up a platform for the collision of multiple fragments, elements, stories, facts.

The publication is the final chapter in a longtime endeavor. Fatamorgana is a multiform project realized between 2016 and 2019, comprising a theatrical work, two films, two publications, and a sound installation. The current book is dedicated to the graphic translation of the text at the heart of the project, alongside a variety of related materials, including project notes and contributions from various authors, while providing online access to photographic, video, and sound materials, along with technical specifications for all of the project's component elements.

The Fantasy of the Novel
David Maroto

Mousse Publishing - 19.00€ - out of stock

Second volume of a publication dedicated to the artist's novel, this metafiction follows a detective investigating the conditions of production of a novel within an artistic framework.
Why do artists write novels? What impact does the artist's novel have on the visual arts? How should such a novel be experienced? In recent years, there has been a proliferation of visual artists who create novels as part of their broader art practice. They do so in order to address artistic issues by means of novelistic devices, favoring a sort of art predicated on process and subjectivity, introducing notions such as fiction, narrative, and imagination. In this sense, it is possible to see the novel as a new medium in the visual arts; yet very little is known about it. This two-volume publication is the first to explore in depth the subject of the artist's novel.

The Fantasy of the Novel, is a research project in the form of a novel; it examines the process of creating an artist's novel derived from five episodic performances and an exhibition. The creative process was affected by the circumstances of production, including intersubjective relationships usually invisible to audiences. The protagonist assumes the role of a detective who tries to understand the conditions under which an artist decides to write, and how this writing is possible within an artistic setting.

David Maroto (born 1976, lives and works in Rotterdam) is a Spanish visual artist, researcher, writer, and curator. He is the co-curator of The Book Lovers, a research project on the artist's novel, together with Joanna Zielińska.

Published 2020

Marion Baruch
Fanni Fetzer and Noah Stolz (ed.)

Mousse Publishing - 40.00€ -

First comprehensive monograph on Marion Baruch's work. This edition presents a broad span of Baruch's oeuvre, from the 1960s to her recent textile production. It includes three essays—by Fanni Fetzer, Martin Herbert, and Noah Stolz—as well as polyphonic focus texts by curators, friends, and art historians from the artist's circle, all providing compelling insights into her works and methods.

Un-Break My Walls
Christianne Blattmann

Mousse Publishing - 25.00€ -

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

Letters to Jill
Pati Hill

Mousse Publishing - 8.00€ -

The reprint of Pati Hill's 1979 book, composed of images and texts by Hill through which she intended to contextualize and explain her working methodology to Jill Kornblee, her New York gallerist.

Published on occasion of Pati Hill's first posthumous solo exhibition at Kunstverein München in 2020.

Pati Hill (1921, Ashland, Kentucky – 2014, Sens, France) left behind an artistic output spanning roughly 60 years and encompassing various disciplines. Untrained as an artist, she began to use the photocopier as an artistic tool in the early 1970s and continued to do so until her death, leaving behind an extensive oeuvre that explores the relationship between image and text. In addition to this comprehensive body of xerographic work, she published four novels, a memoir, several short stories, artists books, and poetry. Drawing also became an essential part of her practice.

By using the copier—a machine that was stereotypically linked to secretarial work and thus to feminized labor—to trace everyday objects such as a comb, a carefully folded pair of men's trousers, or a child's toy, Hill developed an artistic practice that programmatically translated invisible domestic labor into a visual and public language. Through her use of this reproductive apparatus, she created a model of artistic production that critically opposes the convention of individual expression as well as the supposed neutrality of technologically produced images.

The Floor Is Uneven. Does It Slope?
Henry Andersen and Laura Herman (eds.)

Mousse Publishing - 22.00€ -

In 1987, artist and poet Madeline Gins (1941–2014) and her partner, painter Arakawa (1936–2010), formed the Architectural Body Research Foundation (later to become the Reversible Destiny Foundation)—an architectural office pursuing the radical conviction that architecture would provide humanity with the necessary tools and training to overcome death. Their wide variety of theories investigated how a person might interact with their environment, and how that environment might condition and enhance the body to increase its capabilities—through a constant undoing and unsettling of subject formation. Taking the work and writings of Madeline Gins and Arakawa as a broad provocation, The Floor Is Uneven. Does It Slope? aims to swallow and masticate the duo’s thought into a new sort of pulp: a collective fan fiction work. Less a book about Gins and Arakawa than a book after them, it tries to seed their work to various fans—writers and makers indebted to the duo’s thinking or suspected to be enthralled by it. 

Contributors speak about Gins and Arakawa through the language of their own practice, through academia, poetry, essays, photography, experimental writing, and fiction—thinking about what Gins and Arakawa might mean to their individual fields. 

Texts by Henry Andersen, Lila Athanasiadou, Ben Thorp Brown, Lucas Crawford, Bryana Fritz, Laura Herman, Daisuke Kosugi, Joyelle McSweeney, Simone C. Niquille, Andros Zins-Browne.

Time has fallen asleep in the afternoon sunshine
Mette Edvardsen, Kristien Van den Brande, Victoria Pérez Royo and Runa Borch Skolseg

Mousse Publishing - 22.00€ - out of stock

A book on reading, writing, memory and forgetting in a library of living books.

Contributions by: Mette Edvardsen, Kristien Van Den Brande, Johan Sonnenschein, Bruno De Wachter, Lizzie Thompson, Sébastien Hendrickx, Victoria Pérez Royo, Jon Refsdal Moe, Bojana Cvejić, Melanie Fieldseth, Jeroen Peeters, Lara Khalidi, Emiliano Battista, Thomaz Bîrzan, Susanne Christensen, Olivia Fairweather and Laurence Rassel.

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I. about
rile* is a bookshop and project space for publication and performance. rile* is into poetry, theory, choreography, artist writing and various other text based experiments. rile* organizes performances, meetings, launches, readings... rile* is the base word for silence in Láadan, a feminist constructed language developed by Suzette Haden Elgin in 1982. The language was included in her science fiction Native Tongue series. Láadan contains a number of words that are used to make unambiguous statements that include how one feels about what one is saying. According to Elgin, this is designed to counter language's limitations to those who are forced to respond I know I said that, but I meant this.

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