Mousse 66: Out Now
In fall 2018, artist David Horvitz and writer Yann Chateigné wrote letters to each other. Starting from a simple protocol based on the idea of having an epistolary exchange about the concept of correspondence itself, the conversation rapidly opened up to wider questionings. The letters published here evoke works as attempts of emancipation from standardized time, matters of absence and connectivity, communication and communion, as well as exhibitions as vegetal compositions and as discrete forms of communality.
Between 2015 and 2016, Rosie Hastings and Hannah Quinlan traveled the UK while making UK Gay Bar Directory (UKGBD) (2015–16), a video archive of LGBTQ social spaces. In the wake of the financial crisis of 2007-2008, the Conservative government’s rollout of fiscal austerity had contributed to the closure of nightlife venues across the country.
Expanding upon—while breaking away from—the most widely recognized facade of postmodern cynicism, in his writings, videos, drawings, paintings, and sculptures Sean Landers delivers a form of sarcastic yet straightforward entertainment that spans dreams, faith, fear, fantasies, failure, doubt, lust, trust, pathos, angst, boredom: basically, self-awareness of life lived in all its ups and downs (emphasis on the downs).
Many of the photographs and films in Antarctica reuse the conventions of portraiture to show new conditions of social rigidification, projected outward in the form of the cold gaze.