{"product_id":"mousse-88-summer-2024","title":"Mousse 88 - Summer 2024","description":"\u003cp\u003e\u003cstrong\u003eEditorial:\u003c\/strong\u003e\u003cbr\u003eDear readers, do you sometimes read poems? Then again, who says that poetry should (only) be read? Like John Giorno, we focus on the powers of the human voice, performed as spoken word, recorded, broadcasted, reverberated. Alexis Pauline Gumbs, in her upcoming biography of Audre Lorde, speaks of “survival poetics.” Poetics and politics cross paths, as we hope our pages will likewise do.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSurvey: John Giorno\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003eWords, Sound, Wisdom\u003c\/strong\u003e\u003cbr\u003e“When you call any of the still-active versions of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eDial-A-Poem\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003etoday, you hear a pregnant pause. Then there is John Giorno, the maestro and ringleader, with … his distinctive accent and charisma.”\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAlison Coplan\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eexplores how\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eJohn Giorno\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(1936–2019) sought to experiment with interdisciplinary ways for poets to make art.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFive Hundred Mirrors\u003c\/strong\u003e\u003cbr\u003eWhat can we learn about our present from Giorno’s collaborations between artists, the human voice, and machine-operated mass media, intertwining language, technology, and sociality?\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eK Allado-McDowell\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMarcus Boon\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eon poetry, social media, and the impact of Buddhism on Giorno’s passion for reproduction and endless multiplications of words.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFiction:\u003cspan\u003e \u003c\/span\u003eMurmuration \/ Flock\u003c\/strong\u003e\u003cbr\u003e“How do\/shall we explain\u003cbr\u003e      the muffled vocabulary of peace\u003cbr\u003e      always on the brink\/\/arriving broken into pieces\u003cbr\u003e      spread out in a random majesty of here.”\u003cbr\u003eInspired by the mesmerizing patterns of birds,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eErica Hunt\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003econtributes two poems.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eOpinion:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eVoices on the Radio, Language on My Mind: Poetry’s Resurgence in Contemporary Art\u003c\/strong\u003e\u003cbr\u003eReflecting on historical swells of poetry’s appeal,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAllison Grimaldi Donahue\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003econtemplates the popularity and purpose of a medium that “lives in the continuous present.”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTidbits:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRiar Rizaldi\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eby\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eHarry Burke\u003c\/strong\u003e;\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eIan Waelder\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eby\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eCarina Bukuts\u003c\/strong\u003e;\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eCrystal Z Campbell\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eby\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSonia Fernández Pan\u003c\/strong\u003e;\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eHelena Uambembe\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eby\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eMistura Allison\u003c\/strong\u003e;\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eValentin Noujaïm\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eby\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eEdwin Nasr\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThinkers:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eSurvival Is a Promise\u003c\/strong\u003e\u003cbr\u003e“This biography considers what Audre considered and what organized her life: weather patterns, supernovas, geological scales of transformation, radioactive dust.” An excerpt from\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAlexis Pauline Gumbs\u003c\/strong\u003e’s forthcoming\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSurvival Is a Promise\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eon Black lesbian feminist poet warrior mother\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAudre Lorde\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCurators:\u003cspan\u003e \u003c\/span\u003eArt and Its Organizational Forms\u003c\/strong\u003e\u003cbr\u003e“To what degree do institutions “flex” to absorb the positions and forms that art takes on? Is there a point in this flexing where institutional authority is broken down and redistributed?”\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRichard Birkett\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eon self-organization.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCriticism:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eThe Vow\u003c\/strong\u003e\u003cbr\u003eOpening a new yearlong Criticism column on artists’ writings edited by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMira Dayal\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eTJ Shin\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003econsiders the structures shaping relationships among writers, readers, and larger “centers” of meaning. They discuss their strategies to navigate the institutional desire to access identity.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eReprint:\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e\u003cem\u003eEphemera\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eno. 7 (1978) by Ulises Carrión\u003cbr\u003eSelected by Arnisa Caterina Zeqo \u003c\/strong\u003e\u003cbr\u003e“I have a strong desire to embrace gossip and the ephemeral as a political action and attitude, and in doing so, to think about love, friendship, and fictional (auto)biographies as an intrinsic strategy in life and art.”\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eArnisa Caterina Zeqo\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003erevisits the seventh issue of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEphemera\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003emagazine, handwritten by Ulises Carrión.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMonograph:\u003cspan\u003e \u003c\/span\u003eAn Instrument That Had No History\u003c\/strong\u003e\u003cbr\u003eRooted in an ethos guided by Indigenous knowledges,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eRaven Chacon\u003c\/strong\u003e’s work represents a tectonic shift in art making vis-à-vis sonic practices. In dialogue with\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003ePablo José Ramírez\u003c\/strong\u003e, Chacon speaks of his connection to the performative dimension of silence, and the possibility of an exteriority to Western audibility.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMonograph:\u003cspan\u003e \u003c\/span\u003eIn the Name of the Earthly Rebellion\u003cbr\u003eÖvül Ö. Durmuşoğlu\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ediscusses how\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eMaryam Tafakory\u003c\/strong\u003e’s gaze operates almost surgically, revealing a landscape of historical disruptions woven by women. A civic poet and feminist counter-archivist, Tafakory problematizes the Western romanticization of Iranian cinema, shifting our attention to the concealed complexities and complicities of images.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBooks\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eby\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAlice Bucknell\u003c\/strong\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVisual:\u003cspan\u003e \u003c\/span\u003ePreemptive Listening, 2024\u003c\/strong\u003e\u003cbr\u003e“I have a working definition of the siren that is non-audio-centric. It is\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ea call to attention, a call to action, encoding a future-oriented instruction\u003c\/em\u003e.” A visual essay by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAura Satz\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ealongside a conversation between the artist and\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eQuinn Latimer\u003c\/strong\u003e.\u003c\/p\u003e","brand":"Mousse Publishing","offers":[{"title":"Default Title","offer_id":67737601671412,"sku":"kvn1791430082884","price":15.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0810\/8926\/5908\/files\/mousse-88---summer-2024_1.png?v=1791430086","url":"https:\/\/luxaraboutique.shop\/products\/mousse-88-summer-2024","provider":"My Store","version":"1.0","type":"link"}