Hannah Black

Mousse 57
February-March 2017

Dean Daderko, Arthur Jafa and Sondra Perry on blackness, technology and Alien ontologies; Stefanie Hessler exchanges oceanic ideas with Heidi Ballet; Puppies Puppies talk to Tenzing Barshee; Hannah Black as seen by Rahel Aima; essays by Alexander Provan, Orit Gat and Jens Hoffmann; William Pope.L and Mia Locks; Sam Thorne with Marianna Simnett; Anna Gritz and Eric Baudelaire; Luke Willis Thompson; Basel Abbas & Ruanne Abou-Rahme; Raúl de Nieves, and more.

Mousse is a bimonthly magazine published in Italian and English. Established in 2006, Mousse contains interviews, conversations, and essays by some of the most important figures in international criticism, visual arts, and curating today, alternated with a series of distinctive articles in a unique tabloid format. Mousse keeps tabs on international trends in contemporary culture thanks to its city editors in major art capitals such as Berlin, New York, London, Paris, and Los Angeles.
Mousse (Mousse Publishing) is also publisher of catalogues, essays and curatorial projects, artist books and editions.

Mousse 57
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Kate Cooper

Edited by Ellen Blumenstein, Heike Catherina Mertens
Texts by Hannah Black, Ellen Blumenstein, Christina Weiss, Catherine Wood

This publication accompanies the first institutional solo show by Kate Cooper, winner of the 2014 Schering Stiftung Art Award. Exploring the format and presentation inherent to image production, Cooper returns to the CGI female models used in her exhibition at KW Institute for Contemporary Art, Berlin, to create a new series of works situated within the fictional space of the lookbook.

Through her videos, exhibitions, and photographic works, Cooper explores the role of gender and what agency images might possess in and of themselves. Producing images becomes akin to building infrastructure; her computer-generated bodies are imbued with power and put to work. The imagery of advertising is hacked. The female labor inherent in these modes of production becomes refocused in an economy of withdrawal, enacting a refusal of representation.

Along with Cooper’s new series of images, LOOK BOOK includes a new short story by Hannah Black titled “Personal Trainer,” appendices by KW curator Ellen Blumenstein, an introduction by Christina Weiss, and subtitles and slogans (“Is seeing everything? Are you all-unseeing?”) by Catherine Wood.

Copublished with KW Institute for Contemporary Art, Berlin
Design by Michael Oswell

Kate Cooper - LOOK BOOK
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Dark Pool Party
by Hannah Black

Essays, personal texts, and video/performance scripts that reassemble autobiographical fragments to think about the relationship between bodies, labor, and affect.

Hannah Black is an artist and writer from the UK. She lives in Berlin.

Dark Pool Party by Hannah Black
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MAY #16

May no.16 focuses on recent feminist debates actualizing the history of Italian feminist collectives of the 1970s and 1980s. The issue is a continuation of the issue 4 of May, which reprinted and translated a selection of texts from the time. The issue’s touchstone is the work of writer and co-founder of Rivolta Femminile, Carla Lonzi. Throughout her life, Lonzi refused the power of a masculine creativity that exploits the reproductive, supportive activity of women. The texts assembled in May no.16 bring that refusal to contemporary light.

Weed and the Practice of Liberty
Claire Fontaine

The Paradox of Self-Abolition: a Mapping Exercice
Marina Vishmidt

Presence and Absence
Melissa Gordon

Narrative Without End
Anna De Filippi

An Exercise in the Practice of affidamento
Alex Martinis Roe

On Marinella Pirelli’s Films
Lucia Aspesi

Human Strike Between Foreignness and Responsibility
Claire Fontaine

Introduction to Double Bind
Rhea Anastas

Visual Insert

Citadelle. On Marie Angeletti at Édouard Montassut, Paris
Jacob Stewart-Halevy

On Mathieu K. Abonnenc, Lotte Arndt, Catalina lozano (eds), Colonial Collect and Affect, Crawling Doubles
Emmanuelle Chérel

A World Exactly Like This One. On Credits by Hannah Black
Jack Gross

Get Some Rest Pam, or Jason Bourne comes of age. On Paul Greengrass’ film, Jason Bourne
Maija Timonen

Aggregation or Mere Dislocation. On the 9th Berlin Biennale and “Painting 2.0: Expression in the information Age,” mumok, Vienna
Kari Rittenbach

Short Story
Jeanne Graff

Limited Edition
Hans-Christian Lotz

About MAY Revue:

Conceived as a collective space in which to develop thoughts and confront positions on artistic production, May magazine examines, quaterly, contemporary art practice and theory in direct engagement with the issues, contexts and strategies that construct these two fields. An approach that could be summed up as critique at work – or as critique actively performed in text and art forms alike.

Featuring essays, interviews, art works and reviews by artists, writers and diverse practitioners of the arts, the magazine also intends to address the economy of the production of knowledge – the starting point of this reflection being the space of indistinction between information and advertisement typical of our time. This implies a dialogue with forms of critique produced in other fields.

MAY #16
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