Leigh Ledare (b. 1976 Seattle, USA) uses photography, archival material, and text to explore human agency, social relationships, taboos and the photographic in equal turns. Formally trained in photography, he has, in a relatively short time, developed a body of work that is coherent, complex, biting in its intelligence, and decidedly provocative. His resulting images are often sumptuous, saturated with color, and surprisingly beautiful. But they also, and importantly, disconcert us, they make us uncomfortable, and, in the process, they raise questions about the functioning of the image and the construction of subjectivity in contemporary culture.

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The thirteenth edition of documenta, which opened to the public today in Kassel has, in fact, been going on for quite a long time already. In terms of duration, geography, and content, dOCUMENTA (13) has been—and is—much more than an art exhibition. Several initiatives have been conceived and executed in different places—at different times—involving a wide range of intellect from different fields.

Mousse was invited to participate in and contribute to the diverse and evolving discourse promoted by dOCUMENTA (13). The summer issue of Mousse discusses some of the most striking and original contributions to the show, both in Kassel and abroad, focusing on selected art projects and putting writers, artists, critics, and thinkers across the spectrum in conversation.

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These days the Salone del Mobile is taking over the city of Milan, and for the occasion Mousse is happy to present an exhibition of brand new design by the Weimar collective MY BAUHAUS IS BETTER THAN YOURS.

The exhibition—where you can also check Mousse Publishing’s latest publication—is running through April 22 in a temporary showroom in Via de Amicis 51 (M2 Sant’Ambrogio).

Save the date – Reception and drinks
Friday 20 April, 6 – 11 PM

The opening will feature a video projection by Enrico Ferrari Ardicini
The event is kindly supported by Elena Assante Design Studio and Immobiliare Aquila

Mousse will be offering a three-month internship position at its editorial offices in Milan.

University graduates or students in the last year of a degree course in the humanities, cultural heritage, communication studies, language, or art academy graduates and students, Journalism and Communication Master’s students will get the opportunity to enter into the day-to-day operations of an international magazine and add important experience to their résumé.

Candidates should have a keen interest in contemporary art, excellent writing skills, excellent English, courtesy, flexibility, and if possible, basic familiarity with Adobe InDesign. Applications, accompanied by a résumé/CV and optional published work or unpublished writing samples, can be sent to maria@moussemagazine.it with the subject line “Stage”.

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Mousse #33 is out and about. Click see more for fresh contents.

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Mousse #32 and the eight chapter of Ten Fundamental Questions of Curating are now available on the iTunes App Store.

Download Mousse #32 with Abbey Road, Aaron Angell,The Assistants, Luis Camnitzer, Céline Condorelli, Natalie Czech, Mark di Suvero, Stephan Dillemuth, Stan Douglas, Sam Durant, Hollis Frampton, Theaster Gates, Barbara Hammer, Mark Handforth, A Handful of Clay, Yngve Holen, Iman Issa, The Limitations of the Alternative, Sarah Lucas, Tom McCarthy, The New International, Charlemagne Palestine, Eddie Peake, David Robbins,September 11, California State of Mind, and Cheyney Thompson.

In Ten Fundamental Questions of Curating VIII, Chus Martínez tries to answer the question “What is the future of art?”
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Mousse digital is serious reading, made entertaining.

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February – March 2012

In this issue…

Stan Douglas has a fascinating method for producing his series: identification. For “Midcentury Studio”, Douglas dons the garb of a Canadian news photographer and war veteran. In a conversation with Monika Szewczyk, the artist discusses this work and the recent “Disco Angola”.

Elisabeth Lebovici converses with Barbara Hammer to retrace the artist’s career and delve into two recent works, one on Claude Cahun and Marcel Moore, the other on Maya Deren, touching on themes of gender, role and discrimination.

In Buffalo, in March 1984, Susan Krane and Bruce Jenkins interviewed Hollis Frampton, shortly before his death. The tapes, which Jenkins has retrieved from his archives 28 years later, offer an extraordinary conversation/performance of the American artist in LOST & FOUND.

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Big news! The new digital issue of Mousse is now available at the App Store. And from now on, you can also download the current issue of Ten Fundamental Questions of Curating, a project distributed with the international edition of Mousse, aimed at exploring the multifaceted physiognomy of the curator.

The seventh of ten dossiers presents Sofía Hernández Chong Cuy, who asks: “What about collecting?” The text is accompanied by the visual concept of Mario Garcia Torres. For further information about the current and back issues, click here.

Jonathas de Andrade, in a conversation with Stuart Comer, thinks about the condition of stiffness that inhibits his generation and explains how his work sets the goal – identified by Suely Rolnik – of grasping a new political-creative flux.

Chantal Akerman has addressed issues like otherness and confinement, starting with her own biography and that of her mother, a survivor of the Nazi camps. Elisabeth Lebovici met with the artist to talk about how her extraordinary filmography has been able to shed light on the Other as Subject.

The Arab Image Foundation is an expanding collection of photographs from the Arab region. Alessandro Rabottini talked with its co-founder, the artist Akram Zaatari, who explains why the images produced by everyday people are so important in his work.

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As you may already know, Mousse has doubled. From now on, you can read, scroll, tap and swipe Mousse on your iPad. Mousse on iPad comes with much more images, dedicated videos, and a bespoke layout.

While we feel happy about it, we definitely want to hear from you whether or not Mousse can be equally rewarding when experienced digitally. If you like, please share your love or hate about Mousse on iPad at digital@moussemagazine.it

The digital version of the current issue is free – download it here

For Artissima 18, Mousse is happy to present an exhibition of artist books and ephemera by Allan Kaprow.

“Artists’ books, which have testified to the complex relationship between figurative art and publishing ever since the historical avant-gardes, characterized much of the experimentation that took place in the ’60s and ’70s. In that chapter of history, they claimed the status of artworks, bringing to bear all the tools – writing, drawing, photography – capable of serving a form of expression based on conceptual thinking, elemental signs, narrative and action. In that period, Allan Kaprow (1927–2006), taking a seemingly contradictory approach, repeatedly downgraded his books from the loftier category of art objects to that of tools aiding his main activity as a constructor of Happenings. In other words, he created a direct link between his events and books.”

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Mousse is happy to announce the first digital guide to Artissima. Download the Artissima 18 App on your iPhone and discover a rich and comprehensive resource to live the fair. Arrange your visit, create your personal catalogue and navigate the constellation of projects and exhibitions in and outside the Oval.

Artissima 18 is a free application, and was developed by Mousse.

From today through October 23, Mousse is in Paris at FIAC

Come visit us and find Mousse #30 and our latest publications at our booth at the Grand Palais

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SUNDAY and MOUSSE
invite you to chat and dance

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ICA, The Mall, London SW1Y 5AH
FROM 9PM
WEDNESDAY
12 OCTOBER 2011

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SUNDAY art fair:
13-16 October 2011 at Ambika P3,
35 Marylebone Road,
London NW1 5LS

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In the sixth chapter of Ten Fundamental Question of Curating, Elena Filipovic investigates the meaning and the function of the exhibition. Instead of being a neutral “device”, every exhibition offers a subjective and personal reading of the artworks. Focusing on the hermeneutic power of displaying works of art, Filipovic poses questions about the final purpose of an exhibition: generating doubts rather than statements and highlighting unconventional ways of looking at art.

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