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Lara Favaretto “REDEFINE” at Galleria Franco Noero, Turin

by mousse

May 25~2015

The exhibition project revolves around four main groups of works that resonate with each other, while remaining fully autonomous on a formal and conceptual level. As is often the case in the artist’s work, the concepts of time, trace and memory are all implicated and brought into question by a process of semantic renegotiation that focuses on their ambiguity and instability.

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Asger Dybvad Larsen “Transformed in Translation” and Andreas Zingerle “Energy Saving” at Rolando Anselmi, Berlin

by mousse

May 25~2015

Asger Dybvad Larsen “Transformed in Translation”

Larsen works mainly on the physicality of the painting and on the transformation of traditional paintings materials. His works are both painterly and highly tactile and are identified most clearly in their dialectical conversation with the medium’s traditions and its classical structure. For this exhibition Asger Dybvad Larsen concentrates in the transformation that happens when you press a painting, covered with wet paint, against another painting.

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Alex Da Corte “Devil Town” at Giò Marconi, Milano

by mousse

May 25~2015

Act One : Scene One

Night.
A tree.
You are drowning in a room of glowing piss.
You think your shoes are too tight.


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“again, again and again” at Edouard Malingue Gallery, Hong Kong

by mousse

May 24~2015

Delicately transposed. it’s the displaced materiality in Eric Baudart’s works that spurs their contemporary resonance. Millimeter paper, mattress frames, doormats – everyday, commonplace elements are flushed of everyday context and repurposed to create oeuvres that titter on the edge of artifice. “again, again and again” at Edouard Malingue Gallery marks Baudart’s first solo show in Hong Kong and presents a new series of works as well as two installations that introduce how his practice evolves from Duchamp’s readymade. whilst simultaneously devolving from it. The works or situations proposed are not mere found objects but rather reconfigured and repurposed, composed and re­ choreographed materials that have been carefully assembled or moulded to mount a delicate ballet of shapes, colour and form.

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“Roth Bar & Studio. Dieter Roth, Björn Roth, Oddur Roth” at Hauser & Wirth, Zürich

by mousse

May 23~2015

First conceived by Dieter Roth in the early 1980s, “the bar” is a dynamic and changing installation, and is a continuing element in the Roths’ cross-generational practice. As a condition for him to exhibit with Hauser & Wirth, Dieter Roth insisted that a bar form part of his first show in 1997. Along with his son Björn, Dieter Roth installed the functional ‘Bar 2′ (1983 – 1997) around the corner from the gallery in Fabrikstrasse in Zurich. Every beer bottle served became a part of the bar installation and visitors’ conversations were recorded and archived. Nearly 20 years after this event, another bar—entitled “Roth Bar”—will now inhabit the gallery, bringing reality and art even closer together.

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Eleanor Wright/Sam Watson “Continuous Material” at Durham Castle Museum, Durham and Drop City, Newcastle

by mousse

May 22~2015

The contemporary is consumed by its own immediate past. Our histories set parameters for the present and the present seeks historicity. However, in an age of iconoclasm, political sleight of hand and a multitude of decentered cultural spheres, how do we perceive our physical and conceptual world? Continuous Material enters into a dialogue between the current and the past through their material cultures. The temporal disjunct is presented as both internecine and emancipatory, and through the poised negotiation of object and exhibition, Continuous Material offers guidance, not concrete absolutism.

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Hito Steyerl at the Artists Space, New York

by mousse

May 22~2015

Encompassing the entirety of Artists Space’s two venues in Lower Manhattan, this exhibition will include films, installations and lectures from the past ten years, as well as a new commission.

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“Deep Screen” at Parc Saint Léger, Pougues-les-Eaux

by mousse

May 22~2015

Jean-Marie Appriou, Cory Arcangel, Bastien Aubry & Dimitri Broquard, Dewar & Gicquel, Piero Gilardi, Tilman Hornig, Renaud Jerez, Rachel de Joode, Bevis Martin & Charlie Youle, Marlie Mul, Owen Piper, Hayley Tompkins, Anne de Vries

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David Douard “S’” at Union Pacific, London

by mousse

May 21~2015

.

at Union Pacific, London

until 23 May 2015

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Peter Regli “Reality Hacking No 324” at Galerie Art:Concept, Paris

by mousse

May 21~2015

Peter Regli presents a unique ensemble of sculptures that brings together emblematic figures and themes of his “Hackings” series.

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Elmgreen & Dragset “Stigma” at Massimo De Carlo, Milan

by mousse

May 20~2015

Stella Succi: In this exhibition, you focus on HIV, which is no longer a recurring subject for discussion or a recurring topic in art. I was wondering, why are you doing this now?

Elmgreen & Dragset: The problem today is that, due to the lack of public information on the topic and because nobody really writes or speaks about HIV anymore, a lot of people think, “Oh, it’s just a matter of taking a pill and then you’re fine”. No one talks about the heavy side effects of taking this medication, the cost of it, the fact that you are actually forced to take medicine for the rest of your life. You have to take medication with you everywhere you travel. But of course you have a very good chance of having a normal life expectancy today if you are on treatment. When HIV was dealt with in the art world previously it was as a fatal disease, and that situation has dramatically changed. So, we thought that it was urgent to talk about it again from a current perspective.

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Isa Genzken “El Salvador” at Galerie Buchholz, Berlin

by mousse

May 19~2015

Isa Genzken conceived this exhibition around “El Salvador”, her major Hyperbolo sculpture from 1980. She presents this work juxtaposed with with new work from her current production.

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Calla Henkel & Max Pitegoff at Isabella Bortolozzi Galerie, Berlin

by mousse

May 19~2015

Calla Henkel and Max Pitegoff’s website offers only practical informations on the current, performative, community-based project they run in Berlin, New Theater, without visual documentation, without bio, without a list of previous works. This offers a telling illustration of their concern over the importance of presence, temporariness and of their distrust in slippery representational means. Working mainly with performance, photographs and texts, the duo reflect often
on the conditions of artistic production and its constitutive emotional and interpersonal nature. In the following interview they talk about amateurism, hierarchy of audience, the performance of the self, the metonymy of digital images and their next exhibition at Isabella Bortolozzi in May.

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Aldo Mondino “Rules for Illusions” at Eden Eden, Berlin

by mousse

May 19~2015

ALDOBIOGRAPHY

In 1959 I move to Paris where I attend Heyter’s courses at Atelier 17 and at the Ecole du Louvre, as well as mosaic courses at the academy with Severini and his assistant, Licata. My friendship with Tancredi, the encounters with Jouffroy, Errò, Lebel, as well as those with the affirmed masters Matta and Lam are all crucial to my formation. In 1960, thanks to Tancredi, I succeed for the first time in exhibiting my works in a space, the Galerie Bellechasse, with paintings clearly influenced by Surrealism. At the same time, there is a show organized by Jouffroy and lebel at the Galerie des 4 Saisons, whose title, “Anti-Procès”, has a strong political connotation. In 1961, I return to Italy to do military service. Thanks to Antonio Carena, an artist from Turin and owner of the Galleria L’Immagine, I have my first solo show, with works that still reflect my Parisian period. In 1962, Enrico Crispolti organizes a show in Venice at the Galleria Alpha with a series of special works: large writings with, inside each letter, figurines that can recall illuminated codes. Aldo Mondino, Nome Cognome Indirizzo, La Famiglia, La Scuola, La Religione, La morale e Il Servizio militare are a few of the titles. The encounter with Gian Enzo Sperone, director of the Galleria Il Punto, owned by Remo Pastori, represents a very important moment I display the series “Tavole anatomiche”, panels of painting on masonite, representations of a human body, a microcosm of the society we live in. At the same time, through my work, I elaborate the idea that the public is no longer a passive spectator, but an active participant in the work of art.

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Renata Lucas “fontes e sequestros” at neugerriemschneider, Berlin

by mousse

May 19~2015


Renata Lucas’ diverse body of work deals with the multifaceted relationship between the individual and their urban environment. With interventions into a city’s architectonic systems —from cuts, connections, and openings to overlaps and duplications of defined spatial structures—Lucas manipulates structural frameworks in order to expose, reshape, and redefine intrinsic definitions of ownership, use, and social interaction in a manner that is both playful and radical. As part of her ongoing engagement with architectural systems, Lucas has investigated Berlin’s wide-reaching waterways and their attempts to contain and control the vital and autonomous element that is water. Consisting of rivers, canals, ground-water, and sewage channels, this complex network flows through and around the city’s buildings, taking hold of them and connecting private and public spheres in an often invisible manner.

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“best students best teachers best schools” at Michel Majerus Estate, Berlin

by mousse

May 19~2015

with Michel Majerus, Albert Oehlen, Laura Owens

Majerus Estate is pleased to present “best students best teachers best school”, an exhibition organised by Fredi Fischli and Niels Olsen. Fischli and Olsen are the curators of the gta exhibitions at the Institute for the History and Theory of Architecture at Zürich’s ETH. In 2014, as part of the curatorial programme of the Gebert Stiftung for Culture, they arranged “69/96”, together with Bob Nickas at Alte Fabrik in Rapperswil, in which Michel Majerus was represented with several important works from 1996. Between Fischli/Olsen and Majerus is an age difference of more than 20 years. This will be the first exhibition in Majerus’ former studio rooms organised by a curatorial team that Majerus didn’t knowpersonally, whereas the artists Oehlen, Owens and Majerus knew each other well.

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Olga Balema “Cannibals” at Croy Nielsen & Darja Bajagic and Aleksander Hardashnakov “Softer Than Stone And Sick In Your Mind” at The Apartment, Berlin

by mousse

May 19~2015

Olga Balema “Cannibals”

“Bodily needs also indicate that the appearance of autonomy is an illusion, for the body must incorporate elements from outside itself in order to survive. The need for food exposes the vulnerability of individual identity, enacted at a wider social level in the need for exchanges, communion, and commerce with others, through which the individual is absorbed into a larger corporate body” (Maggie Kilgour, From Communion to Cannibalism).

The sculptures here have ingested other former sculptures, a literal enactment of cannibalism. The round bellies of some are greedy and full, pregnant from autoerotic absorption. The latex skin of others is concave around the scaffolding of sharp and unnatural growths.

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Daniel Steegmann Mangrané “Spiral Forest (kingdom of all the animals and all the beasts is my name)” at Esther Schipper, Berlin

by mousse

May 19~2015

Entitled “Spiral Forest (kingdom of all the animals and all the beasts is my name)”, the exhibition will mark the premiere of Steegmann Mangrané’s newest film produced with a custom-made camera capable of filming while rotating 360 degrees in any axis. Spiral Forest has been especially conceived for the space. It will also include an immersive 3-D environment viewed individually with a wearable headset, a so-called Oculus Rift, as well as architectural interventions, new sculptural works, drawings, photographs, and an audio installation.

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