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Explore this month’s selection of articles and new books, highlighting the finest content published during the first weeks of 2026. |
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Highlights:
- The new issue of Mousse Magazine is out, featuring, among others, Gabrielle Goliath, Forensic Architecture, Shumon Basar, Edward W. Said, Petrit Halilaj, and Danh Vo.
- “We as artists get stupid ideas, but then something sometimes functions. At that time, all my work was by default framed as “personal.” But I have never believed that if I deal with my history, it’s about me only. It’s about geopolitics.” Read This Orchestra of What We Can Do Together, the conversation between Petrit Halilaj and Danh Vo.
- Stay tuned via @moussemagazine while we present the faculty of “Agora: A Gathering of Art and Philosophy by Centre d’Art Contemporain Genève.” Conceived by Andrea Bellini and Federico Campagna, Agora is a free, semester-long programme of English-language lectures, seminars, and one-to-one mentoring for eight practising artists and philosophers. The faculty’s video contributions will soon be available online on the Centre’s digital platform, the 5th Floor, and and shared through @moussemagazine.
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EDITORIAL:
The ideas shaping Mousse #94
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Dear readers,
collective intelligence (along with its wildly popular counterpart, brain rot) is a recurring subject of late. This issue is woven together through reflections on methodologies of the collective.
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This Orchestra of What We Can Do Together
In conversation, Petrit Halilaj and Danh Vo reflect on how collaboration enters their practices in unexpected ways—via family members, animals, local communities, and the shifting meanings of public and private space—allowing forms to circulate beyond the burdens of “personal” histories.
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Monia Ben Hamouda: Path of Totality
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€40.00
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Juan Pérez Agirregoikoa: War, Commerce, and Philanthropy
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€30.00
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In Interludes and Transitions (English Version)
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€35.00
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In Interludes and Transitions (Arabic Version)
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€35.00
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James Bloom: Half Cheetah
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€25.00
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Lea Porsager: OUTRAGEOUS INTIMACY
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€27.00
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Nicola L., “I Am the Last Woman Object” at Museion, Bolzano
by Félix Touzalin
The exhibition I Am the Last Woman Object, curated by Leonie Radine, at MUSEION, Bolzano, marks the grand finale of a touring retrospective devoted to the French artist Nicola L. whose journey began at Camden Art Centre in London (2024), then continued at Frac Bretagne, Rennes, and Kunsthalle Wien (both 2025). From the outset, L.’s practice was situated within the history of the postwar avant-gardes, from Pop art to Nouveau Réalisme and Fluxus, yet she resisted any strict affiliation. Instead, she occupied in-between spaces of creation, shaped by her fierce freedom to do as she pleased and by frequent travels that nourished a profoundly nomadic oeuvre at the crossroads of cultures and disciplines.
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Rose Lowder, “Bouquets” at Kunsthalle Zürich
by Emile Rubino
For Bouquets, Rose Lowder’s first institutional solo exhibition, her eponymous suite of forty short films, realized between 1994 and 2022, is presented in full at Kunsthalle Zurich, curated by Fanny Hauser. Crafted frame by frame with a mechanical Bolex camera, her silent one-minute films have long circulated within the niche milieu of experimental filmmaking, yet her work has rarely been given the kind of platform it deserves. Each of Lowder’s Bouquet condenses multiple views of a given location taken over various stretches of time—gathering disparate images like flowers.
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FOCUS ON:
Future Continuous
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Alice in the Cave: Birgit Glombitza on Francesca Bertin
from the publication Future Continuous
“In PAPILLON (2024), artist and filmmaker Francesca Bertin studies a landscape, its people and its shifting designations: the cultural landscape as the agricultural architecture of a subjugation that never quite succeeds. Nature as a phantom that migrates across state borders and grows into a threat. In the film, Bertin works with laypeople as well as professional actors, becoming a researcher herself. She studies the life cycles of people and their organic surroundings. She lets a complex space for exchange take shape. Between natives and visitors, document and fiction, image and non-image. The given and the invented appear to coexist with reality and memory.”
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Inheritor
First Latina to co-direct the Whitney Art Biennial, Marcela Guerrero speaks with art historian C. Ondine Chavoya about exhibition making, collection building, and the strategies developed to highlight Latinx art.
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via Decembrio 28, 20137 Milan
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