Mousse

Floating somewhere between the exhibition space and the afterlife, “Pour Noubia”—Mohamed Bourouissa’s (Meko Epquatre) latest solo show at Migros Museum für Gegenwartskunst, Zurich—stages a conflation of locations, each room of the two-floor exhibition tying autobiography to a broader investigation into the political, and at times historical, fabric of a given site.

Tap the link in bio to read Salomé Burstein’s (Salomé Burstein) review of “Pour Noubia” at Migros Museum, Zurich

OUT NOW: fluent: 2016–2026 

Marking fluent’s tenth anniversary, this book traces the organization’s archive and includes an exhaustive chronology of over 300 pages that examines its own narrative while revisiting its history.

Through materials including floorplans, graphic documentation, texts, drawings, poems, previously untranslated contents, and editorial gestures it delves into the organization’s ongoing and incomplete archive and the polyphonic nature of its histories.
 
Edited by Alex Alonso Díaz and Daniela Ruiz Moreno () and designed by (Émilie Ferrat, , and Sophie Rentien).

Get your copy at the link in bio.

In her review of “Feedback. The Environments of Franco Vaccari” at Museum of Modern and Contemporary Art Bolzano Bozen, Bolzano, Giulia Zompa (Giulia) explores the notion of feedback invoked by the exhibition’s title: a reciprocal process in which the viewer’s actions alter the system set up by the artist, and the system, in turn, returns a trace of those actions. In the exhibition’s eight reconstructed environments, the audience activates the work and, in doing so, becomes one of its materials.

Tap the link in bio to read the review.

“Ndayé Kouagou: REAL THINGS STARTS OUTSIDE” is the volume accompanying “Heaven’s Truth,” Ndayé Kouagou’s (Ndayé Kouagou) first solo exhibition in Italy, presented at Collezione Maramotti.

The project extends the French artist’s investigation into language, perception, and the instability of meaning across visual and performative registers. Through irony and wry humor, Kouagou exposes the inevitability of subjective positioning and the fragile illusion of critical distance. His practice examines how meaning is produced, destabilized, and redirected through language and performance.

At the heart of the exhibition is an ambitious new project that gives the show its title and unfolds across its opening rooms. Drawing on the structure of the photostory, it combines video, sculptural elements, and wall-based works within a single dramaturgical constellation. A three-chapter video acts as its theatrical engine, generating the surrounding pieces. Its script is transcribed in the opening section of the publication, entirely designed by the artist, and introduces four universal “types” caught in a deceptively simple narrative of life and death.

His fragmentary and ironic writing generates videos, installations, and live performances that reveal the instability of communication in contemporary media and interpersonal exchange. Through shifting forms of dialogue, monologue, and rhetorical address, truth, whether real, potential, or imagined, is continually negotiated.

The book includes contributions by Ndayé Kouagou (Ndayé Kouagou), curator and researcher Rita Ouédraogo (Rita Ouédraogo), and Natalia Sielewicz (), curator at Muzeum Sztuki Nowoczesnej w Warszawie.

In a 2013 interview published in Mousse Magazine 37, Hito Steyerl () spoke with Ana Teixeira Pinto about the growing difficulty of separating media technology from the social: “We don’t have media ‘here’ and the social ‘there,’ but social media.”

On the occasion of Mousse 96 ~ 2006–2026: A Visual Record, the magazine’s special twentieth-anniversary issue, a selection of texts from the archive is revisited online. Read the full article at the link in bio.

John Lovett and Alessandro Codagnone’s collaborative practice investigated power structures through histories of subversive sexuality and radical political dissent, working to chronicle subcultures and resist their erasure and commodification. In Mousse 91, Emi Fontana (Emi Fontana), Julie Tolentino (Julie Tolentino), and Andrew Suggs (Andrew Suggs) come together to remember the artists, reflecting on the friendships, communities, and forms of resistance that shaped their work.

On the occasion of Mousse 96 ~ 2006–2026: A Visual Record, the magazine’s special twentieth-anniversary issue, a selection of texts from the archive is revisited online. Read the full article at the link in bio.

Starting from Sandro Penna’s poetry and its refusal to define beauty abstractly, the text considers Louis Fratino’s painting as an accumulation of concrete, intimate, and bodily examples of beauty: dancers, lovers, crowded rooms, showers, glances, desire, memory. Giorgio Di Domenico (giorgio di domenico) connects Fratino to an unexpected Italian lineage, from Guttuso and de Pisis to Visconti and Penna, showing how the artist builds a personal canon outside strict hierarchies. Beauty, here, is not a universal ideal but something fragmentary, embodied, remembered, shared, and disarmingly present.

On the occasion of Mousse 96 ~ 2006–2026: A Visual Record, the magazine’s special twentieth-anniversary issue, a selection of texts from the archive is revisited online. Read the full article at the link in bio.