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Curated and organized by Ei Arakawa, Daniel Baumann and many others, Tbilisi 6. Never On Sunday will take place in Tbilisi, the capital of Georgia, between December 1st and December 7. It is a show that opens each day in different places – from the Caucasian mountains to the suburbs of Tbilisi – and includes lectures, performances, concerts, sculptures and publications. Some pictures of the locations after the jump…

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Thanksgiving is a benefit show that will present the production of more than 30 Italian artists who donated their works to fund Peep-Hole, curatorial project that will inaugurate its new space tomorrow, from 6.30 pm, in Via Panfilo Castaldi 33, Milan. On this occasion the new issue of Peep-Hole Sheet—the quarterly of artist’s writings published by Mousse—will also be presented. The third issue features an exclusive text by Spanish artist Dora García.

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Psychoanalytical Machines
Artur Zmijewski
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Mike Kelley
Skeletons in the Closet
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Larry’s House
Kaari Upson

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Rags was a counterculture fashion magazine ahead of its time. Published monthly in San Francisco from June 1970 through June 1971, it covered the worlds of counter-culture fashion with street fashion reports, groovy adverts and a very liberated sense of style. The DIY style displayed in this publication, which seems to have been distributed primarily in underground boutiques, is very charming. A mystery in its masthead is the listing of “commodify your dissent” artist Barbara Kruger. That name appears as one of two art directors.

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Spaghetti Grafica 2 is a book published by Electa and a big collective show dedicated to Italian graphic design, with 95 participants selected between over 1300 projects arrived from all over Italy. Both the book and the exhibition are a trip inside Italian graphic design, which analyzes the recent development and the ability of this field to renew itself while maintaining an old tradition. Our magazine is one of the projects that will be exhibited at Triennale Design Museum in Milan from November 26 to January 10. Opening on November 25 at 18.30 pm.

There is something utopian and unrealizable about the idea of an architectural exhibit inside a building erected by Aldo Rossi, a contingent and dependent structure that occupies the interior of another, inhabiting and invading it. At Vassivière, Oscar Tuazon (Seattle, 1975) creates structures made of a mixture of various building materials, generating an installation of monumental dimensions composed of a concrete slab resting on a structure of wood and steel. The exhibit Bend it till it breaks, which the artist himself translates as “try anything completely unknown”, is presented as an extreme experience for a place as unique as the Millevaches plateau, which now houses the Centre international d’art et du paysage de l’île de Vassivière.

Los Angeles seen by Elad Lassry
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Berlin by Klaus Weber
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Do you recall legenday Pontus Hultén’s shows Paris-Moscow, Paris-New York, Paris-and-so-on? Even if they don’t look alike at all, Los Angeles and Berlin are actually similar, in one respect: they are both home of two of the most vibrant art scenes in the world. Just opened at Galleria Massimo De Carlo, Berlin – Los Angeles is the name of an intriguing (if smaller) collective show featuring 13 artists from these two cities. The exhibition reflects new trends in the art world, proving how both cities have an international scope on art without losing their particular features. The catalogue of the show is realized by Mousse Publishing.

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After ages to be completed (very eternal city like) a new smart and ambitious contemporary art museum opens in Rome. Zaha Hadid head to toes. New landmark? we will see. The box looks indeed appealing, but one has to judge a person, and a museum, from what’s inside, no?

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Chisenhale Gallery premieres a new film by Glasgow-based artist Duncan Campbell. Make it new John tells the story of the DeLorean car, its creator John DeLorean and the workers of the Belfast-based car plant. The film deftly contrasts the American engineer dream with its spectacular downfall, and the canonisation of the car as a symbol of the American myth of mobility.

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Lucy Skaer, Untitled, 2009
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Lucy Skaer works a personal alchemy from source material familiar to most – even if we are unware of it when confronted by the results of her diverse practice. The images, symbols and shapes that she selects and manipulates are often politically charged, socially poignant, and always in a state of flux…keep reading

Florence Loewy

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Il raccolto d’autunno è stato abbondante presents a selection of some of the most interesting artists from the Milanese DOCVA Documentation Center for Visual Arts. All the participants, selected by DOCVA curators Chiara Agnello and Milovan Farronato, represent a heterogeneous group with a wide range of different stylistic and expressive researches who tried to experiment new ways to share the exhibition space, as well as to orchestrate the general exhibiting sequence. The catalogue of the exhibition is edited by Mousse Publishing.

For his first first solo show in Italy, organized by Galleria Zero, Thomas Houseago presents a series of majestic sculptures in plaster, woods and bronze, expressly realized for the former Porta Genova railway warehouse in Milan, a monumental and fascinating example of industrial architecture. The opening is today at 7 pm, don’t miss it.

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Ok, maybe you are too young, but collecting cards played an important educational role in the pre-television society, and Liebig cards were especially popular, since they covered a wide range of subjects. The victorious career of these cards began in 1872 when the Liebig company started to give away large format picture cards with its extract of meat. The first one was a set of 16 cards which represented the Liebig factory in Fray Bentos, Uruguay. The company issued many series from the 1880s in many languages for distribution in Europe, and the introduction of the catalogue contributed to increase Liebig cards’ fame above other card collections.