Mousse 66: Out Now
Everyone knows Paul Klee’s famous painting Angelus Novus (1920), described by Walter Benjamin in one of his famous “Theses on the Philosophy of History”: “His eyes are staring, his mouth is open, his wings are spread” carried by a storm from Paradise that “irresistibly propels him into the future to which his back is turned.”
Dealing with themes spanning experimental literature, art, expanded cinema, poetry, music, and feminism, Beatrice Gibson’s practice has always been informed by participatory processes and collaborations. In her two new interconnected and multigenerational films presented at Camden Arts Centre, in London, the Franco-British artist brings these issues into a more intimate level of analysis, exploring family values and unfolding collective concerns in an even more unsettled world.
In Oliver Laric’s works, nothing is still, indeed: for the viewer approaching his practice, the feeling is that of stepping into a known river only to acknowledge that “different and again different waters flow,” to echo Heraclitus—as cited by Plato—as quoted by Laric himself.
It’s Sunday morning as I sit at my working desk with a coffee-stained bunch of stapled papers on my lap. The densely typed handout is the script of I don’t want to live, I don’t want to die, an exhibition in five acts by the Copenhagen-based artist collective YEARS.