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Christian Chironi “Cutter” at RITAURSO | artopia Gallery, Milan

by mousse

March 28~2015

RITAURSO is happy to present “Cutter”, an exhibition project by Cristian Chironi. The show is based on the performance the artist gave on the occasion of the show’s opening. “Cutter” is a device for viewing; the set, composed of a table, a tripod, a videocamera, a stereo system, a collection of books and a cutter, is the place in which cuts out and re-signifies under our eyes a selection of particular naturalistic images taken from the pages of specialized volumes. Cristian Chironi, with the support of a series of acoustic and visual devices as wellas olfactory and tactile suggestions, cuts out and reanimates elements of the plant andanimal world (in some cases endangered or already extinct species), outlining a narration that is able to play in a novel way with antithetical pairs such as real/imaginary, presence/absence and nature/artifice. The forms that are cut out lose their two-dimensional character to return to a sensorial complexity that leads to manifold imagery.

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Claire Fontaine “Stop Seeking Approval” at Metro Pictures, New York

by mousse

March 27~2015

Claire Fontaine exhibits monochrome paintings and readymade sculptures in “Stop Seeking Approval,” her second exhibition at Metro Pictures. A self-declared “readymade-artist” with a readymade name—Claire Fontaine being a popular brand of French notebooks—the works in the exhibition are a continuation of her détournement of existing artistic forms and strategies. Fontaine incorporates
readily available security products to address the symbiosis of theft and protection, a recurring theme in her work. In the series Fresh Monochromes Fontaine uses what is referred to in theft prevention jargon an “anti-climb” paint. The paint, which never dries, is coated on walls and fences with the intention of discouraging endeavoring intruders by staining their clothes to make their criminal intent known, quite literally leaving them to be “caught red handed.” In this way Fontaine considers her paintings to be both defensive and aggressive as any viewer deliberately touching or even negligently brushing up against them is marked as a culprit.
While she quotes the tradition of monochrome painting, Fontaine asserts that Fresh Monochromes are conceptual artworks, the three colors used—gray, red and black—dictated solely by the commercial availability of the paint and but most importantly because her primary interest lies not in contributing to the long-established form of monochrome painting, but rather in the latent hostility of her chosen medium. see more



Tom McCarthy at ICA, London

by mousse

March 26~2015

Coinciding with the publication of his new novel Satin Island, award-winning author Tom McCarthy will collaborate with set designer Laura Hopkins to present a real-space version of the world that the book’s protagonist inhabits. This will happen as part of the innovative project fig-2, which curates a new exhibition every week for 50 weeks. The week-long project, which will run from 23 – 29 March at the ICA Studio, will provide visitors with a unique opportunity to physically step into, walk around, touch and interact with a work of fiction. see more



“Le regole del gioco” at Studio Achille Castiglioni, Milano

by mousse

March 25~2015

In design one should start from what one should not do and end up finding what one should.
Achille Castiglioni

The Studio Museum Achille Castiglioni, which opened to the public in 2006, contains sixty years of the career one of the greatest designers of the twentieth century, Achille Castiglioni (1918–2002). Visitors to the Museum can see not only the objects he designed but also gain insight into the process he adopted when creating his works. One of the key exponents of the golden age of Italian design, Castiglioni managed to combine freedom of experimentation with the discipline of rationality, producing some of the most ingenious objects of the modern world, which are still around us in our everyday lives today.
The exhibition project, curated by Luca Lo Pinto under the artistic direction of Edoardo Bonaspetti, involves eighteen Italian and foreign artists of international renown who have been invited to interact with the works, objects and architecture of the Studio Museum, suggesting possible forms of contact with Castiglioni’s way of working.

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“The Lulennial: A Slight Gestuary Part two” at Lulu, Mexico City

by mousse

March 24~2015

Paola de Anda, Francis Alÿs, Darren Bader, Pierre Bal-Blanc, Jiří Kovanda, Kirsten Pieroth, Wilfredo Prieto, Martín Soto Climent, B. Wurtz, Lin Yilin

Loaded with double and even triple entendres, the title literally says it all. A Slight Gestuary seeks to function as a kind of reliquary of slight gestures, which is also in and of itself, inevitably slight (mindful of the mathematical impossibility of any kind of exhaustive or encyclopedic presentation of the “slight gesture,” the exhibition can but adumbrate the vast multitudes to which the title alludes). In other words, the theme of the exhibition is: small gestures, big impact. These gestures could be either quite humble, in so far as the physical art work they produce is characterized by a marked material economy, or they could be slight in so far as the gesture, also slight and local, accrues a historical significance which ultimately wields a much larger, and even international impact. Perhaps no historical artist better embodies, or better yet, defines these parameters than the Czech artist, Jiří Kovanda. His actions from the ’70s are a case in point. Enacted for the camera or a very small audience in the streets of Prague, Kovanda carried out a series of works, which ranged from hiding from passersby, to turning around on an escalator and staring at people, to executing a series of choreographed gestures which were indistinguishable from everyday gestures. Since being popularized in the west, these minor works of poetic protest have accumulated a broad international appreciation, while also retrospectively nuancing the oppressive context from which they issue. For all their initial simplicity, they are incredibly complex pieces whose depth and complexity have only deepened, matured, ramifying outward, over time. see more



Jamian Juliano-Villani “Detroit Affinities” at MOCAD

by mousse

March 23~2015

The second segment in the Detroit Affinities series will spotlight the work of New York artist Jamian Juliano-Villani, marking her first solo museum exhibition. Juliano-Villani’s expansive use of imagery in chaotic scenes painted in a bright, intense palette, are informed by a wide range of sources from modernist abstract painting, Japanese pen and ink to 1930s and 1980s American cartoons including Ralph Bakshi’s curvaceous women. She was born in 1987 in Newark, New Jersey and currently lives and works in Brooklyn, New York. see more



“Crooked Rain, Crooked Rain” at Lismore Castle Arts

by mousse

March 22~2015

“Crooked Rain, Crooked Rain” is an exhibition of works by artists who address relationships to the natural world, presenting the natural world as an ecological system that is co-extensive with a broad range of materials and concepts. The exhibition includes artworks, as well as plant life, wishful thinking, polystyrenes, a water-cooling system, and a host of other agents.

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Simon Starling “Bowls and Plates” at Casa Estudio Luis Barragán and Museo Experimental El Eco, Mexico City

by mousse

March 21~2015

The Luis Barragán House and Studio exhibition consists in a new photographic project specifically developed by Starling, for the context of the Luis Barragán House and Studio, consisting of a series of site-specific daguerreotypes. Silver as a storied material serves as the point of departure for these works. Like double mirrors, each daguerreotype has been produced on a highly polished, mirror-like sheet of silver-plated metal and in turn each silvered surface now hold a ghostly image which echoes the physical nature of both its own support and the space in which it was made.

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“Too Early, too late. Middle East and Modernity” at Pinacoteca Nazionale, Bologna

by mousse

March 20~2015

Lida Abdul, Mustafa Abu Ali, Bisan Abu Eisheh, Etel Adnan, Ayreen Anastas, Vyacheslav Akhunov, Can Altay, Omar Amiralay, Said Atabekov, Kutlug Ataman, Fikret Atay, Kader Attia, Vahap Avsar, Mahmoud Bakhshi, Gabriele Basilico, Neil Beloufa, CANAN, Céline Condorelli, Dina Danish, Cem Dinlenmiş, Peter Friedl, Rene Gabri, Sadhi Ghadirian, Yervant Gianikian-Angela Ricci Lucchi, Barbad Golshiri, Mona Hatoum, Malak Helmy, Emily Jacir, Khaled Jarrar, Lamia Joreige, Alimjan Jorobaev, Hiwa K., Hassan Khan, Abbas Kiarostami, Taus Makhacheva, Mona Marzouk, Ahmed Mater, Sabah Naim, Moataz Nasr, Navid Nuur, Walid Raad, Koka Ramishvili, Hany Rashed, Mario Rizzi, Ahmed Sabry, Roy Samaha, Hrair Sarkissian, Ariel Schlesinger, Hassan Sharif, Wael Shawky, Ahlam Shibli, Eyal Sivan, Jean Marie Straub-Danièle Huillet, Jinoos Taghizadeh, Lawrence Weiner, Mohanad Yaqubi, Amir Yatziv, Akram Zaatari see more



Kevin Beasley at Casey Kaplan, New York

by mousse

March 19~2015

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Central to Beasley’s work is touch, though not just in the physical sense; his objects function as a register, both for his own engagement, and the histories of his materials. Items of clothing, shoes, studio debris, and others are filtered through Beasley’s process of molding, cast and forced to assume the forms of others. Through this, they are broken and rebuilt, expanded in parts as they enact a duality, simultaneously occupying the space of what they were and what they have become. This extends across his work in sculpture, photography, sound and performance, in a strategy that is most akin to reverberation, shaped through an investigation of Beasley’s own experiences, his family and home state of Virginia, as well as larger cultural implications, building new meanings and resonances throughout the works’ individual transformations.

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“Allegory of the Cave Painting” at Extra City Kunsthal, Antwerp

by mousse

March 19~2015

Nina Beier, Jérôme Blumberg, Constantin Brâncuşi, Lonnie van Brummelen & Siebren de Haan, Pavel Büchler, Jeremiah Day, Tacita Dean, Florian Dombois, Harun Farocki, Geert Goiris, Dan Graham, Ilana Halperin, Gary Hill, William Hogarth, Hans van Houwelingen, Ann Veronica Jannsens, Toril Johannessen, Sven Johne, Adrià Julià, Susanne Kriemann, Alon Levin, Frans Masereel, Michèle Matyn, Dóra Maurer, Fabio Mauri, Vincent Meessen, Jacqueline Mesmaeker, Gustav Metzger, Ciprian Mureşan, Rosalind Nashashibi, Tom Nicholson, Navid Nuur, Miklós Onucsán, Susan Schuppli, Erin Shirreff, Paul Sietsema, Jonas Staal, Bernard Voïta, Phillip Warnell, Paola Yacoub, Khadija von Zinnenburg Carroll.

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Kate Levant “Motile Resolutions” at collicaligreggi, Catania

by mousse

March 18~2015

Intermittent passes of communication alternate along two ends of a line.. repetitious contact-lapses cross and overlap ..yet unclasped.. when one single recall fuses connection: Hello Kate, are you in Amsterdam? no. though she was previously.. for two years.. about one year ago.. but no.. is not in Amsterdam, but Trinidad de Beni. Ciao, I am in Bolivia.. a difference.. will be flying to Los Angeles in one week.. Will write you once I arrive there. The week passes. She boards a plane.. flies to LA. The week passes.. the week passes..?has she arrived in LA? Ciao! Massimo.. she greets the communication wave once again, yet still infected by a Jungle she assumed she stepped out of two weeks previously.. sends snapshots of work, and Insects in lieu of her frame of mind. Lets talk. Next week? You tell me. How about tomorrow? They agree.. as time fluctuates strangely. Hallo… The conversation begins to revolve back and forth without idle weeks or months between words, questions, propositions. We’ve been following your work.. now, for years. How about you come here. come take a look. to see us here. direct flights.. LA to Rome.. to Catania.. the Selva.. Rio Mamore.. disappears.

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“Yes, We’re Open” at Giò Marconi, Milan

by mousse

March 17~2015

Franz Ackermann, Atelier Van Lieshout, Trisha Baga, Rosa Barba, Will Benedict, John Bock, Kerstin Brätsch, Matthew Brannon, André Butzer, Nathalie Djurberg & Hans Berg, Günther Förg, Simon Fujiwara, Nikolas Gambaroff, Wade Guyton, Allison Katz, Annette Kelm, Sharon Lockhart, Oliver Osborne, Jorge Pardo, Tobias Rehberger, Markus Schinwald, Dasha Shishkin, Lucie Stahl, Grazia Toderi, Francesco Vezzoli, Fredrik Værslev, Amelie Von Wulffen.

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Uri Aran “Ones” at mother’s tankstation, Dublin

by mousse

March 16~2015

Who does all this and doesn’t ask for thanks? Who is so gloriously, so powerfully happy in himself? What is his name? Ah, I know who it is. Sometimes I’d like this Kraus to punch me. But people like him, how could they punch? Kraus only wants what is right and good. That is no exaggeration at all. He never has bad intentions. His eyes are frighteningly kind. This person, what is he doing in a world that is meant and built for empty words, lies, and vanity?(1)

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AIRBNB Pavilion “Schöner Wohnen” at armada, Milan

by mousse

March 15~2015

A bed frame, a mattress, a Sofa, a Coffee Table, a TV, a console, an xbox, a chandelier, something old, something new, something borrowed, something Ikea, something Blue, something fancy, something Hermes, designer pieces, Lalique vases, Murano things, China, silverware, coat hangers, Fendi, Armani, Versace homeware (pick from these) and any other decorative paraphernalia including ceramics. 2015-01-24 18:18 GMT+00:00 AIRBNB Pavilion <airbnbpavilion@gmail.com>

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Roberto Coda Zabetta “FILM#00—56” at Fondazione Mudima, Milan

by mousse

March 15~2015

Fondazione Mudima presents “FILM#00—56”, the latest project by Roberto Coda Zabetta, a series of twenty large paintings that anticipate the full development of the project comprising fifty-six pieces. In the works on display, forms, lights, shadows and colors from nature coalesce into an atemporal, nonfigurative flux of unending information. The eye glides fast along horizontal, vertical and concentric lines, rising to the surface and plunging into the depth. In spite of the immediacy of vision, a process of recognition is triggered that slowly reveals the painterly gesture, its references and its sources. An unconscious short circuit occurs: metal images do not unveil as much as they re-veal (veil once again), since they disclose and hide that invisible something the image is related to, seeking out that which is “unrepresentable” of this world, in a movement between high and low driven by the urgency to tran- scend the emotional condition of experience.

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Neïl Beloufa “We are safe now” at ZERO…, Milan

by mousse

March 14~2015

Smoking seriously harms you and others around you. Drink Responsibly. Smoking may reduce the blood flow and cause impotence. Sex may be dangerous, use a condom. Don’t let drugs take over your life. Smoking is highly addictive, don’t start. Eat raw, live long. Smokers die younger. Get home safe this Christmas. Organic farming: good for nature, good for you. Don’t let alcohol control your temper. Smoking kills.

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Pierre Bismuth “Der Kurator, der Anwalt und der Psychoanalytiker (The Curator, the Lawyer and the Psychoanalyst)” and “The Future of Memory. An Exhibition on the Infinity of the Present Time” at Kunsthalle Wien

by mousse

March 14~2015

Pierre Bismuth “Der Kurator, der Anwalt und der Psychoanalytiker (The Curator, the Lawyer and the Psychoanalyst)”

In 1999, Pierre Bismuth wrote a brilliant essay titled “The Rules of the Game” for the catalogue of “Cinéma Cinéma: Contemporary Art and the Cinematic Experience” at Van Abbemuseum in Eindhoven. “There is at present a whole generation of artists who are attracted by the film industry. This affinity does not necessarily have to do with the medium or even the form of the film: rather, it is a question of value and social function,” he stated. “The reference is to work by those for whom the cinema was a means of enquiry, a technique for examining reality and not just presenting it. (…) Just as a sound piece does not necessarily refer to music, most of these works do not refer to cinema. Exploring an interest in phenomena such as duration and the unfolding of a process, in the question of what it is that characterizes or defines an event, and in the passage from the activity of watching to that of showing, automatically takes these works into a sphere that is shared by the cinema. But on a deeper level, they do not particularly seek this proximity”.

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