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Explore this month’s selection of articles and new books, highlighting the finest content published during March. |
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Highlights:
- “What is exhibition design, really, and why do we keep doing it?” This question launches a new column by design studio Formafantasma (Andrea Trimarchi and Simone Farresin) that will accompany Mousse over the next months. Read the first installment Exhibiting as a Practice (Possibilities and Problematics).
- The inaugural year of Agora: A Gathering of Art and Philosophy by Centre d’Art Contemporain Genève in partnership with Mousse is nearing its conclusion. Watch now the video recordings of the first lectures by Federico Campagna, Elizabeth A. Povinelli, and Hito Steyerl.
- “On the dance floor we collectively spit movements (sometimes at the rate of liters per night) and bathe together in our own dance: a fluid of pleasure we freely exchange.” Read Dani Blanga Gubbay’s final chapter of his column on performance.
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On Exhibition Design: Exhibiting as a Practice (Possibilities and Problematics)
by Formafantasma
“We see this and the upcoming pieces as reflections, rather than conclusions. We will return to questions of visibility and invisibility, neutrality and authorship, and the ethics of attention. Not to resolve them, but to stay with them,” they write. “Exhibition design demands a lot: time, energy, labour, negotiation. It involves architecture that resists change, institutions that carry expectations, artworks that arrive with their own spatial needs, and a public that has learned how exhibitions are supposed to look and feel. And after all that, the best possible outcome is often that the design barely registers. Visitors come for the art. They remember the artists, the works, maybe the atmosphere—but rarely the walls.”
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back-and-forth: Mar 13, 2026
by Chus Martínez
“ Harun Farocki understood that images have agency and are capable of creating a tangible dimension of the real. History is therefore nothing we write about but something we see and unsee.” As Mousse turns 20 in 2026, the new column by Chus Martínez examines the last two decades of exhibitions and artworks to better interpret and invent our near futures.
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K-NOW! Korean Video Art Today
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€30.00
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Lucía C. Pino: You Who Have Beautiful Manners
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€27.00
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“PAPER TIGER TELEVISION: It’s 8:30. Do you know where your brains are?”
at Goldsmiths CCA, London
by Bianca Stoppani
To Bianca Stoppani, “the work of Paper Tiger Television demonstrates the vital importance of remaining vigilant and critical, and of finding ways to share information and build networks outside of, or in spite of, privately owned and trained algorithms, while protecting such information from becoming data to be sold to surveillance agencies, governments, banks, and insurance companies, or being wiped out from the same platforms when deemed too compromising for their clients.” Tap the link in bio to read their review of Paper Tiger Television’s show, currently on view at Goldsmiths CCA, which brings together a selection of forty tapes chosen by the exhibition’s curator, Oliver Fuke, and PTTV members Mary Feaster, Halleck, Linda Iannacone, and Jennifer Whitburn, out of nearly four hundred broadcast programs realized by the collective.
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FOCUS ON:
John Giorno: The Performative Word
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“The Book of John”
by Nicola Ricciardi
Read an excerpt from the essay featured in our publication John Giorno: The Performative Word, the first monograph dedicated to the American artist, poet, and activist John Giorno (1936–2019). The book, edited by Lorenzo Balbi, Anthony Huberman, and Bonnie Whitehouse, accompanies the retrospective exhibition presented at the MAMbo - Museo d’Arte Moderna di Bologna, curated by Lorenzo Balbi.
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John Giorno: The Performative Word
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€40.00
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Layered Living and Learning in Saigon:
Lêna Bùi in Conversation with Ingrid Pui Yee Chu
Lêna Bùi’s multidisciplinary practice—often noted for its subtlety, yet firmly anchored to materials—includes paintings, videos, and site-conscious installations. In an age where experiencing art usually involves parsing a conglomeration of creation, documentation, and institutional and individual marketing, Bùi speaks with Ingrid Pui Yee Chu about her process of making things by entering the artist’s private space, namely her home studio in Saigon, and how layered personal encounters are necessary for her work.
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