Writing Out Loud

Partly a script, partly a personal voyage into the psyche of diseducation, this book happens, has happened and will happen on the 31st of October in a place called ‘The Palace of Melancholy’. In this temporal and spatial loop, the figure of Italian actor, author, director, philosopher, and public persona Carmelo Bene is summoned to hopefully be dismissed once and for all. Bene is looked at by the author reluctantly and yet resolutely through inner voices of dissent, shame and rebellion. He is imagined in gatherings that didn’t happen and read through an epistemology of contradiction. In Giannini’s company and support, Snejanka Mihaylova, Jacopo Miliani, and Arnisa Zeqo probe the walls of the Palace, looking for an exit.

This experimental children’s book narrates cross-species practices of survival across the Indonesian archipelago, centring the perspectives of local animals such as endangered monkeys, cosmopolitan rats, migrant sparrows and fugitive dogs. Written in the form of a play, its six episodes ground the readers in the animals’ struggles and aspirations as they go about their daily lives and face the consequences of postcolonial erasure, ecological destruction and capitalist expansion. While the stories unfold, their interconnected existences become an archive of uncertainties, where the fate of many different creatures, humans included, is inseparable from each other.

As a script for intergenerational transmission, the book thoughtfully combines dialogues, songs and drawings, with contextualising essays and extensive notations. Through these different modes of reading, children and adults alike will learn about cross-species solidarity and rebellious movements, but also about disappearing Indigenous cosmologies, and the brave women who wove cloths around the mountains in eco-political resistance.

An experiment in book making, which takes up the form of the LP record as a starting point for re-configuring the haptics of the printed book. Presented as a collection of unbound pages inside a gatefold record sleeve, the publication includes a pressed record, as well as written, visual and sonic contributions from scholars, poets, artists, choreographers and DJs.

Through the logic of the detail, each contributor imaginatively (re)produces Ernie Barnes’s iconic painting The Sugar Shack as an archive of personal histories and a universe of intergenerational connections. Held together as an album, it is a performance to be made at home, which invites readers/listeners to feel art’s histories and to be in them with their bodies.

d.a. carter with contributions by Taylor Renée Aldridge; Samiya Bashir; La Marr Jurelle Bruce; DJ Lynnée Denise, Jennifer Harge, Duane Lee Holland, Jr., William H. Mosley, III, Zoé Samudzi, S*an D. Henry-Smith, Melanie Stevens and Phillip B. Williams.

Wind & De Wilgen (English/Dutch) was designed by Lawrence Weiner and published on the occasion of the execution of his work Wind & The Willows in the Openluchtmuseum voor beeldhouwkunst Middelheim, Antwerp.

Lawrence Weiner was an American artist and one of the central figures in the formation of conceptual art in de 60s. His work was strongly language-based and often took form in typographic texts, also visible in this artist book. 

Edition of 1000 copies

Mousse celebrates its 90th issue with a collectible edition, with a special design and format, entirely focused on fiction.

Bringing together a cohort of writers and artists, Mousse #90 – The Fiction Issue stems from the eponymous Fiction column that has dwelled in our pages for five years, and expands its scope. It was developed together with Rosanna McLaughlin, Skye Arundhati Thomas, and Izabella Scott, who collectively coedited the art and literature quarterly The White Review between 2021 and 2023.

Here you'll find reprints from both Mousse and The White Review as well as new stories and translations we have jointly commissioned. Seven interludes, intended to open up other worlds through images, feature portfolios of drawings by Atelier dell'Errore, Michael E. Smith, Camille Henrot, Michael Landy, Simone Forti, Adelaide Cioni, and Evelyn Taocheng Wang.

The artist’s book ‘#GIVEPOETRYATRYCOLLECTEDPOETRY1990-2020…’ features thirty years of Karl Holmqvist’s artist’s writing in the form of spoken word and concrete poetry, together with signature “cover versions” of lyrics from singer-songwriters such as Robyn and Taylor Swift. The book’s tightly written A4 format pages and cardboard-box-brown no-nonsense cover has been designed in a collaborative effort between the artist and designer Dan Solbach.

‘#GIVEPOETRYATRYCOLLECTEDPOETRY1990-2020…’ Karl Holmqvist’s artist’s book of collected poetry is published by Verlag der Buchhandlung Walther und Franz König on the occasion of projects at the Fridericianum, Kassel and gta exhibitions, ETH Zurich.

A weaving draft is a kind of notation for planning and sharing woven textil structures. The threading, along the top, shows how the warp is threaded through the heddles and frames; the treadling, along the right-hand side, show the order in which the treadles of the loom are to be pressed; and the tie-up, in the upper right-hand corner, shows how each treadle interacts with the loom’ frames. The drawdown, in the lower left, shows whether the warp or weft will be on top at any particular intersection of threads—thereby providing a “preview” of the completed textile. Often a draft diagram will indicate the intended color of the warp and weft threads, and the drawdown will show the completed textile’s color patterns. In “Drafts,” Allison uses letters instead of colors, melding digital weaving with writing.

WITHOUT THE E is a series of pamphlets responding to a presence or an absence felt in contemporary digital culture.

Adrian Piper: Performing Objects I Have Been, 1972-2018, is a collection of documents from, or potentially relevant to Adrian Piper's performance Some Reflective Surfaces (1975-76) that has been edited by art historian and curator Rhea Anastas. This publication sits within If I Can't Dance, I Don't Want To Be Part Of Your Revolution's Peformance in Residence Series, and its seventh artistic program, Social Movement (2017-18).

Adrian Piper, who lives in Berlin, at the age of seventy-two, is one of America's best-known artists. It so happens she is also one of America's best-known female artists. And yet, to use such a qualifier is to make the mistake of accepting limitations, coerced and containing, for artists and thier work— and, to quote Jacqueline Rose, "to dissolve the very possibility for women of any purchase on historical time." 

This publication focuses on an early performance called Some Reflective Surfaces (1975-76). In it, as Piper dances under spotlights, she stages multiple images and sounds. Over the work's duration, the audience follows the performer's images, physical performance, and sound. In "Artist's Statement" (1999), Piper descrvibes her 1960's work that led up to this one as "concered with duration, repetition, and meditative conciousness of the indexical present." Some Reflective Surfaces was produced in New York at the Fine Arts Building, New York University, in 1975, and then at the Whitney Museum of American Art in 1976. The performance has not been staged since. A collection of the documents of Some Reflective Surfaces is reissued in this publication for the first time, along with other writings spanning Piper's work from 1972-2018.

Published 2021.