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First Cover: Pepón Osorio
Second Cover: Jungle Books
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EDITORIAL
Dear readers,
In her essay for the contested 1993 Whitney Biennial, the artist and writer Coco Fusco reflected on whose museums and whose aesthetics were under scrutiny or entirely barred from view in times of culture wars—or wars, full stop, when “some nations exist without a place, while others exist only through authoritarian enforcement.”
And now, where the hell are we?
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OPINIONS: Let’s Talk About Artificial Intelligence Art English
“One day, the words were . . . off.” Andrew Berardini on how generative AI has infiltrated art writing; what is lost when machines produce sentences that carry no human struggle; and writing as a bridge between messy souls.
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SURVEY: Pepón Osorio
(A) What I Wanted to Do, I Had to Teach Myself
“An embelequero is someone who doesn’t necessarily conform to rules and norms,” says Pepón Osorio in conversation with Natalia Ángeles Vieyra as they revisit his works, reclaiming Latinx vocabularies through community collaboration, feminist domestic aesthetics, and a refusal to follow institutional scripts.
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SURVEY: Pepón Osorio
(B) I Work by Accumulating Emotions
Through three installations—Scene of the Crime (Whose Crime?) (1993), En la barbería no se llora / No Crying in the Barbershop (1994), and Badge of Honor (1995)—Rocío Aranda-Alvarado traces how Osorio’s participatory language was shaped by his background in social work, the Nuyorican community, neighborhood voices, and chucherías.
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MONOGRAPH: Radical Condensation
To Rahel Aima, “there is a hauntingly unrequited quality to Arash Nassiri’s work.” In his nocturnal films and installations, the Tehran-born, Geneva-raised artist reconstructs a lacunary Tehran via Los Angeles, staging diasporic memory as interrupted transmissions.
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FICTION: Birzeit 1972
“Birzeit University was a beacon in the 1970s, a flame, and an epicenter for enlightenment.” An excerpt by Sahar Khalifeh from the new anthology Palestine is everywhere, edited by Skye Arundhati Thomas.
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THINKERS: Gloria E. Anzaldúa
Cultural theorist, writer, and activist Gloria E. Anzaldúa (1942–2004) kept writing and revising stories on the shape-shifting character of Prieta throughout her life. The forthcoming Prieta Is Dreaming: A Cuentos-Novela (2025) finally brings them out in print. Here we publish “Like a Crow on the Wing / Como urraca en vuelo.”
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CURATORS: Inheritor
Marcela Guerrero speaks with C. Ondine Chavoya about exhibition making, collection building, scholarship, and strategies for highlighting Latinx art.
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FICTION: Coyotes
“In a different post, Amelia was allegedly using makeup to exacerbate the dark circles under her eyes.” Daisy Lafarge, author of Lovebug (2023), pens a new story about illness, deception, and the lure of shadow worlds.
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NOTES ON SPITTING: Part 3: The Gaze, the Spider, and the Whale
“Dance corrodes choreography as a distancing device at the service of the gaze and its historical entanglement with colonial mechanisms of bodily control.” The third chapter of Dani Blanga Gubbay’s column.
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MONOGRAPH: Cue: Highlight, Fade
Davide Stucchi speaks with Alex Bennett about material processes, narrative subspaces, and residual sensuality, trailing a practice pushing from privacy toward exposure.
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VISUAL: Hope Is a Four Letter Word
“Love doesn’t mean anything by itself. We create its meaning by the shit that happens to us. It’s a collective experience. So how do you love?” Photographer Reynaldo Rivera and writer Abdellah Taïa on loneliness, nakedness, and hope.
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Guest Designer: Jungle Books
The uncoated paper section of Mousse #93 draws on recontextualized grid systems, conceived by the Swiss publisher and book design collective Jungle Books.
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Mousse & Textwork: Conversation Series #1
Mousse #93 marks the beginning of a new collaboration with TextWork, editorial platform of the Fondation Pernod Ricard, expanding on the traditional format of the interview. Read here the conversation between Liv Schulman and Wendy Vogel.
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Mousse Magazine and Publishing
via Decembrio 28, 20137 Milan
Contact us here
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