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Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P

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Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P contemporary art magazine issue # sixteen december | january twothousandnine Spedizione in a.p. -70% _ DCB Milano NOVEMBER TO JANUARY, 2009 KAREN KILIMNIK NOVEMBER TO JANUARY, 2009 WadeGUYTON BLURRY CatherineSULLIVAN in collaboration with Sean Griffin, Dylan Skybrook and Kunle Afolayan Triangle of Need VibekeTANDBERG The hamburger turns in my stomach and I throw up on you. RENOIR Liquid hamburger. Then I hit you. After that we are both out of words. January - February 2009 DEBUSSY URS FISCHER GALERIE EVA PRESENHUBER WWW.PRESENHUBER.COM TEL: +41 (0) 43 444 70 50 / FAX: +41 (0) 43 444 70 60 LIMMATSTRASSE 270, P.O.BOX 1517, CH–8031 ZURICH GALLERY HOURS: TUE-FR 12-6, SA 11-5 DOUG AITKEN, EMMANUELLE ANTILLE, MONIKA BAER, MARTIN BOYCE, ANGELA BULLOCH, VALENTIN CARRON, VERNE DAWSON, TRISHA DONNELLY, MARIA EICHHORN, URS FISCHER, PETER FISCHLI/DAVID WEISS, SYLVIE FLEURY, LIAM GILLICK, DOUGLAS GORDON, MARK HANDFORTH, CANDIDA HÖFER, KAREN KILIMNIK, ANDREW LORD, HUGO MARKL, RICHARD PRINCE, GERWALD ROCKENSCHAUB, TIM ROLLINS AND K.O.S., UGO RONDINONE, DIETER ROTH, EVA ROTHSCHILD, JEAN-FRÉDÉRIC SCHNYDER, STEVEN SHEARER, JOSH SMITH, BEAT STREULI, FRANZ WEST, SUE WILLIAMS DOUBLESTANDARDS.NET 1012_MOUSSE_AD_Dec2008.indd 1 28.11.2008 16:55:12 Uhr Galleria Emi Fontana MICHAEL SMITH Viale Bligny 42 20136 Milano Opening 17 January 2009 T. +39 0258322237 18 January - 28 February F. +39 0258306855 [email protected] www.galleriaemifontana.com Photo General Idea, 1981 David Lamelas, The Violent Tapes of 1975, 1975 - courtesy: Galerie Kienzie & GmpH, Berlin L’allarme è generale. Iper e sovraproduzione, scialo e vacche grasse si sono tra- sformati di colpo in inflazione, deflazione e stagflazione. Crisi finanziaria, credit crunch e nuova disoccupazione. È emergen- za, senza dubbio. 16 Ne leggi da mesi sui giornali, lo senti alla tv, te lo ricorda- no economisti, sociologi e analisti di settore. Tutti ne discuto- EDITO- no, l’incertezza è tanta e le stime immancabilmente al ribasso. Ai vertici è iniziata la corsa ai ripari, tra meeting internazionali RIAL e piani di rilancio… Dicono che la grande sfida è riconquistare la fiducia accartocciata degli investitori e dei consumatori. Operazione mica da poco. Edoardo Bonaspetti Eppure niente male senza bene, niente Crisi senza op- portunità. E se la Crisi riduce, taglia, comprime, contrae, allo stesso tempo pulisce, riscatta e libera. Forse avremo modo di assistere allo spettacolo del vecchio paradigma che farà spazio a quello nuovo. Non avere paura, è già successo, il nuovo spirito del tempo sta arrivando, anzi è già qui. E meno male che c’è tutto questo spazio, non agitarti, respira e non temere... ecco Mousse #16. It’s a general state of alarm. Hyper- and overproduction, prosperity and waste have sud- denly turned into inflation, deflation, and stagflation. A finan- cial crisis, a credit crunch, a new wave of unemployment. An emergency, no doubt about it. You’ve seen it in the papers for months now; you hear it on TV; economists, sociologists, and analysts have been hammering it in. Everyone is talking about it, there’s so much uncertainty and the projections just keep getting worse. The people in power have started battening down the hatches, with international summits and recovery plans... They say the big challenge is to win back the battered trust of investors and consumers. No small feat. And yet there’s no cloud without a silver lining, no Crisis without opportunity. Even as the Crisis slashes, cuts, down- sizes, it cleans, redeems, and liberates. Maybe we’ll get the chance to see the old paradigm give way to a new one. Don’t worry, it’s happened before, the new spirit of the times is on its way, it’s already here. And thank heavens there’s all this space; stay calm, take a deep breath and have no fear... here’s Mousse #16. 6IDYA'ASTALDON !RT#ONCEPT 0ARIS *AN&EB WWWGALERIEARTCONCEPTCOM MATIAS FALDBAKKEN / PAG. 10 EDITOR IN CHIEF A MILLION WAYS TO SAY NO EDOARDO BONASPETTI INDEX [email protected] MATHIAS POLEDNA / PAG. 15 THE MAKING OF MANAGING EDITOR CHIARA LEONI JOS DE GRUYTER & HARALD THYS / PAG. 18 [email protected] THE TEACHES OF THE SPEECHLESS EDITORIAL ASSISTANT HARK! / PAG. 22 STEFANO CERNUSCHI READYMADE WOMEN [email protected] PAUL SIETSEMA / PAG. 26 ART DIRECTOR DIG FOREVER AND NEVER IT BOTTOM FRANCESCO VALTOLINA PORTFOLIO / PAG. 31 [email protected] EILEEN QUINLAN WORDS CURATOR’S CORNER / PAG. 34 CECILIA ALEMANI /JENNIFER ALLEN / RAYMUNDAS MALASAUSKAS ALLI BEDDOES / ANDREW BERARDINI / ILARIA BOMBELLI / MATTHEW BRANNON / ANNA DANERI / FABIAN MARTI / PAG. 36 VINCENZO DE BELLIS / GIGIOTTO DEL VECCHIO / I AM MANY FRANCESCA DI NARDO / DORA GARCÍA / LUIGI FASSI / CHRIS FITZPATRICK / RAIMUNDAS MALASAUSKAS / AARON CURRY / PAG. 42 PAOLA NICOLIN / STEFANIA PALUMBO / ARCHAEOLOGY OF THE FUTURE NOVEMBER PAYNTER / DANIELE PERRA / MATTHEW POST / ALESSANDRO RABOTTINI / CLIMATE IS CLIMATE IS CLIMATE? / PAG. 46 DIETER ROELSTRAETE / RAIMAR STANGE / STEPHEN G. RHODES / PAG. 50 ROBERTA TENCONI / MARCO TAGLIAFIERRO / AN AMERICAN DE-MITHOLOGY MARKÚS THÓR ANDRÉSSON / LUCA TREVISANI / ANDREA VILIANI / IRINA ZUCCA ALESSANDRELLI DAVID LAMELAS / PAG. 52 A GATHERING OF CLUES Translations Teresa Albanese, Johanna Bishop, Miriam INTRODUCING / PAG. 56 Hurley, Julia Koropoulos, Alisa Kotmair, Margret Powell- ROSA BARBA Joss ARTIST’S PROJECT / PAG. 59 COPY EDITOR CHRISTIAN HOLSTAD Johanna Bishop EMILY WARDILL / PAG. 64 LAYOUT FORM EXCEEDING IDEAS BARBARA CAPANNI AURÉLIEN FROMENT / PAG. 68 MARKETING DIRECTOR MAURIZIO TERPIN PENSER I CLASSER [email protected] CITY FOCUS / PAG. 73 PUBLISHER ISTANBUL CONTRAPPUNTO s.r.l. MARTHA ROSLER / PAG. 77 MOUSSE MAGAZINE BRINGING WARS HOME Via Arena 23, 20123 Milano - Italia THE CARNIVAL OF ART / PAG. 80 tel. / fax +39 02 8356631 [email protected] SKELETONS IN THE CLOSET / PAG. 85 www.moussemagazine.it DIEGO PERRONE DISTRIBUTION LOST IN THE SUPERMARKET / PAG. 88 Promos Comunicazione www.promoscomunicazione.it BOOK SHOPPING / PAG. 98 PRESS BERLIN-MILANO / PAG. 100 CSQ via dell’Industria 52, 25030 Erbusco (BS) ANNETTE KELM COVER David Lamelas, The Violent Tapes of 1975 (detail), 1975 - PARIS-MILANO / PAG. 104 courtesy: Galerie Kienzie & GmpH, Berlin OSCAR TUAZON THIS PAGE LONDON - MILANO / PAG. 108 Eileen Quinlan, Paper White & Red, 2007 - courtesy: NINA BEIER & MARIE LUND Miguel Abreu Gallery, New York NEW YORK - MILANO / PAG. 112 BOOK SHOPPING LISA OPPENHEIM Photo credit: Eman, 2008 LOS ANGELES - MILANO / PAG. 116 THANKS TO ANTHONY BURDIN Francesco Bartoli, Vittorio Bonaspetti, Alessandro Corno, Janelli & Volpi, Paola Lanzini, Inmi Lee, Luca Legnani, Francesca Pagliuca, Carlotta Poli, Elisa Poli, Gaia Ricci, Theo Turpin, Federica Zamparo, Emanuele Zamponi, Alexis Zavialoff Registrazione presso il Tribunale di Milano n. 285 in data 18 aprile 2006 ISSN 9772035256004 MOUSSE / Matias FALDBAKKEN / PAG. 10 MOUSSE / Matias FALDBAKKEN / PAG. 11 A MILLION WAYS TO SAY NO _ Luigi Fassi Catapultato sulla ribalta europea nel 2001 con il controverso romanzo The Cocka Hola per un pubblico generalista. Ma sono molto interessato ai tue idee e le tue intenzioni tradotte e diffuse dappertutto con la entrambe figure problematiche e l’arte che producono è molto uno humour dark e violento. Ironia? Proprio non direi. Company, prima tappa di una feroce trilogia sui vizi pubblici e privati della società meccanismi dell’intrattenimento e alla sua capacità di entrare scrittura. Così mi bilancio tenendo un piede in entrambi i settori. spesso sgradevole, su entrambe le sponde. Personalmente io scandinava intitolata “Scandinavian Misantrophy”, Matias Faldbakken si divide oggi tra nell’immaginario del pubblico su larga scala. Così, uso i miei sono un fan dell’arte sgradevole, per questo prendo un po’ da Tutto il tuo lavoro si basa su strategie linguistiche, atte a libri per “popolarizzare” alcune delle idee che ho e vedere i È molto interessante questo tuo modo di dividerti fra due entrambi i modelli. decostruire il concetto di testo come stabilità univoca e la popolarità internazionale della sua scrittura e l’ermetismo delle sue produzioni arti- risultati a contatto con un’audience allargata, mentre uso l’arte diversi tipi di pubblico, con livelli d’aspettativa assai differenti. monolitica, come quando scrivi frasi e aforismi adoperando stiche. Erede innovativo dell’estremismo situazionista, l’artista norvegese è interprete come uno strumento per portare avanti delle forme di negazione Personalmente, ritengo ci sia attualmente un gap piuttosto chiaro Alcuni critici hanno scritto di una matrice anarchica nel tuo bande di nastro isolante, in modo da renderle quasi astratte di un desiderio di ribellione, inteso come negazione totale e dissolutiva, declinato co- silenziose, senza alcuna intenzione di convincere, impressionare tra artisti impegnati a elaborare con efficacia processi di reale lavoro. La mia impressione è che, in alcuni casi, tu spinga e irriconoscibili. Hai diretto questa pratica di decostruzione niugando Pop culture e nichilismo, anarchia e rigore concettuale. o comunicare con un pubblico. peso critico e artisti che cercano invece di opporsi alle regole l’anarchia sino al punto di arrivare di coincidenza con il testuale anche verso te stesso, firmando il tuo primo libro con lo e ai meccanismi dominanti in modi molto riduttivi e prevedibili, nichilismo, come in One Spray Can Escapist dove una stessa pseudonimo di Abo Rasul, celando così la tua vera identità. In seguito alle numerose traduzioni dei tuoi libri negli ultimi anni, che altro non si rivelano se non una conferma di quegli stessi parola viene riprodotta con lo spray a muro un numero tale di Come dicevo prima, la distinzione del mio lavoro tra un Parlami della tua formazione e dei tuoi esordi. Ti sei affermato sicuramente più eterogeneo. Così, alla fine il mio libro è stato immagino tu abbia avuto molti riscontri e risposte, non solo dalla meccanismi. Quanto ti senti coinvolto in questo problema? Mi volte da renderla del tutto illeggibile, o in Newspaper, dove le ambito linguisticamente narrativo e uno visivo, si è sempre internazionalmente innanzitutto come scrittore e romanziere pubblicato e ho iniziato ad essere conosciuto come scrittore.
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