Instagram Story Save

OUT NOW: Mousse 95–Spring 2026

In this issue, we have invited to work with us, as a friend and guest editor for our Survey and Columns, the scholar and curator Christine Eyene (@eyonart.prjx).

SURVEY: Women Artists in the Black Arts Movement
(A) Revisiting an Origin Story
Lubaina Himid (@lubainapics), Paul Goodwin, Christine Eyene (@eyonart.prjx)
(B) Beyond the Boundary: The Work of Three Black Women Artists in Britain
Gilane Tawadros

OPINIONS: On Solidarity Within and Beyond the Arts
Ingrid Masondo (@ingridmasondo), Christine Eyene (@eyonart.prjx)

FICTION: Toni Morrison: Nobel Prize Lecture Award Ceremony Speech, Stockholm, December 7, 1993

CURATORS: Bisi Silva (@bisi_silva): Developmental Curation
Serubiri Moses (serubiri)

THINKERS: On Kodwo Eshun’s Chronopolitical Interventions
Gee Wesley

MONOGRAPH: Nolan Oswald Dennis (@data_body)
For the Earth, It’s Not a Secret
Nolan Oswald Dennis (@data_body), Zoë Hopkins (@zoelhopkins)

MONOGRAPH: Yto Barrada (@ytobarrada)
Like Saturn, Know Thyself
Övül Ö. Durmusoglu (@ovulodrmsgl)

TIDBITS: Joshua Woolford (@jshwlfrd) by Amal Khalaf (@amalandaplan);
Blaxtarlines Kumasi (@blaxtarlines) by Livia Nervi (@livianervi);
Ladji Diaby (@ladji777diaby) by Mistura Allison (@mistura.a);
Ebun Sodipo (@epastry) by Amy Jones (@e_amyj);
Tiran Willemse (@tiranwillemse) by Donasia Tillery

VISUAL: Gala Porras-Kim (@itsgala)
When Things Fall Apart for Whom?
Gala Porras-Kim (@itsgala), Lauren Cornell (@lauren1cornell)

BOOKS by Izabella Scott (@izabella.z.scott)

— —

Photo: Ingrid Pollard, “Kitchen Table: Women of Color Press,” First International Feminist Book Fair, London, 1984. ©️ 2026 Ingrid Pollard. All rights reserved, SIAE/DACS. Courtesy: the artist

OUT NOW: Mousse 95–Spring 2026

In this issue, we have invited to work with us, as a friend and guest editor for our Survey and Columns, the scholar and curator Christine Eyene (@eyonart.prjx).

SURVEY: Women Artists in the Black Arts Movement
(A) Revisiting an Origin Story
Lubaina Himid (@lubainapics), Paul Goodwin, Christine Eyene (@eyonart.prjx)
(B) Beyond the Boundary: The Work of Three Black Women Artists in Britain
Gilane Tawadros

OPINIONS: On Solidarity Within and Beyond the Arts
Ingrid Masondo (@ingridmasondo), Christine Eyene (@eyonart.prjx)

FICTION: Toni Morrison: Nobel Prize Lecture Award Ceremony Speech, Stockholm, December 7, 1993

CURATORS: Bisi Silva (@bisi_silva): Developmental Curation
Serubiri Moses (serubiri)

THINKERS: On Kodwo Eshun’s Chronopolitical Interventions
Gee Wesley

MONOGRAPH: Nolan Oswald Dennis (@data_body)
For the Earth, It’s Not a Secret
Nolan Oswald Dennis (@data_body), Zoë Hopkins (@zoelhopkins)

MONOGRAPH: Yto Barrada (@ytobarrada)
Like Saturn, Know Thyself
Övül Ö. Durmusoglu (@ovulodrmsgl)

TIDBITS: Joshua Woolford (@jshwlfrd) by Amal Khalaf (@amalandaplan);
Blaxtarlines Kumasi (@blaxtarlines) by Livia Nervi (@livianervi);
Ladji Diaby (@ladji777diaby) by Mistura Allison (@mistura.a);
Ebun Sodipo (@epastry) by Amy Jones (@e_amyj);
Tiran Willemse (@tiranwillemse) by Donasia Tillery

VISUAL: Gala Porras-Kim (@itsgala)
When Things Fall Apart for Whom?
Gala Porras-Kim (@itsgala), Lauren Cornell (@lauren1cornell)

BOOKS by Izabella Scott (@izabella.z.scott)

— —

Photo: Ingrid Pollard, “Kitchen Table: Women of Color Press,” First International Feminist Book Fair, London, 1984. ©️ 2026 Ingrid Pollard. All rights reserved, SIAE/DACS. Courtesy: the artist

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

Dear readers,
How to respond to an invocation to think within the rhythms of a collective score as the late Koyo Kouoh (1967-2025) proposed in her curatorial statement for this year’s Venice Biennale?

Tap the link in bio to read the editorial from the upcoming issue.

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

19-10-1980 / 17-4-1981. A date of birth and a date of death, six months apart. Valeria Cherchi (@valeria.cherchi) grew up seeing her own name engraved on a tombstone: the namesake was her older sister, who died after being declared healthy at birth. She weighed 3,350 gr.

Edited by Elisabetta Masala (@elisabetta_masala_404), “3,350 gr. Photographs and Letters on Obstetric Violence” arises out of this personal story to investigate obstetric violence as a widespread, yet often unacknowledged, form of abuse. Moving between image, archive material and letters, Cherchi constructs a polyphonic narrative that brings together the myriad voices of the characters involved, opening up a space in which previously silenced experiences can finally be heard.

Texts by Anna Balogi, Elisabetta Masala (@elisabetta_masala_404), and Patrizia Quattrocchi (@patriziaquattrocchi4), accompany the photographs and letters by Valeria Cherchi (@valeria.cherchi).

Gala Porras-Kim (@itsgala) opens up to Lauren Cornell (@lauren1cornell) about her presentation at the Applied Arts Pavilion (a joint project by @labiennale and the @vamuseum), circling back to classification, law, and the power dynamics of art history.

Tap the link in bio to read the conversation accompanying the Visual Essay from Mousse 95.

Gala Porras-Kim (@itsgala) opens up to Lauren Cornell (@lauren1cornell) about her presentation at the Applied Arts Pavilion (a joint project by @labiennale and the @vamuseum), circling back to classification, law, and the power dynamics of art history.

Tap the link in bio to read the conversation accompanying the Visual Essay from Mousse 95.

Gala Porras-Kim (@itsgala) opens up to Lauren Cornell (@lauren1cornell) about her presentation at the Applied Arts Pavilion (a joint project by @labiennale and the @vamuseum), circling back to classification, law, and the power dynamics of art history.

Tap the link in bio to read the conversation accompanying the Visual Essay from Mousse 95.

Gala Porras-Kim (@itsgala) opens up to Lauren Cornell (@lauren1cornell) about her presentation at the Applied Arts Pavilion (a joint project by @labiennale and the @vamuseum), circling back to classification, law, and the power dynamics of art history.

Tap the link in bio to read the conversation accompanying the Visual Essay from Mousse 95.

Gala Porras-Kim (@itsgala) opens up to Lauren Cornell (@lauren1cornell) about her presentation at the Applied Arts Pavilion (a joint project by @labiennale and the @vamuseum), circling back to classification, law, and the power dynamics of art history.

Tap the link in bio to read the conversation accompanying the Visual Essay from Mousse 95.

Gala Porras-Kim (@itsgala) opens up to Lauren Cornell (@lauren1cornell) about her presentation at the Applied Arts Pavilion (a joint project by @labiennale and the @vamuseum), circling back to classification, law, and the power dynamics of art history.

Tap the link in bio to read the conversation accompanying the Visual Essay from Mousse 95.

Gala Porras-Kim (@itsgala) opens up to Lauren Cornell (@lauren1cornell) about her presentation at the Applied Arts Pavilion (a joint project by @labiennale and the @vamuseum), circling back to classification, law, and the power dynamics of art history.

Tap the link in bio to read the conversation accompanying the Visual Essay from Mousse 95.

Gala Porras-Kim (@itsgala) opens up to Lauren Cornell (@lauren1cornell) about her presentation at the Applied Arts Pavilion (a joint project by @labiennale and the @vamuseum), circling back to classification, law, and the power dynamics of art history.

Tap the link in bio to read the conversation accompanying the Visual Essay from Mousse 95.

“Signification is a loop. I am listening to the Earth’s vibrations that travel both across the surface and through the crust, but also through the core, so they complicate the idea of the local,” says Nolan Oswald Dennis (@data_body) in conversation with Zoë Hopkins (@zoelhopkins).

Link in bio to read the conversation from Mousse 95.

“Signification is a loop. I am listening to the Earth’s vibrations that travel both across the surface and through the crust, but also through the core, so they complicate the idea of the local,” says Nolan Oswald Dennis (@data_body) in conversation with Zoë Hopkins (@zoelhopkins).

Link in bio to read the conversation from Mousse 95.

“Signification is a loop. I am listening to the Earth’s vibrations that travel both across the surface and through the crust, but also through the core, so they complicate the idea of the local,” says Nolan Oswald Dennis (@data_body) in conversation with Zoë Hopkins (@zoelhopkins).

Link in bio to read the conversation from Mousse 95.

“Signification is a loop. I am listening to the Earth’s vibrations that travel both across the surface and through the crust, but also through the core, so they complicate the idea of the local,” says Nolan Oswald Dennis (@data_body) in conversation with Zoë Hopkins (@zoelhopkins).

Link in bio to read the conversation from Mousse 95.

“Signification is a loop. I am listening to the Earth’s vibrations that travel both across the surface and through the crust, but also through the core, so they complicate the idea of the local,” says Nolan Oswald Dennis (@data_body) in conversation with Zoë Hopkins (@zoelhopkins).

Link in bio to read the conversation from Mousse 95.

“Signification is a loop. I am listening to the Earth’s vibrations that travel both across the surface and through the crust, but also through the core, so they complicate the idea of the local,” says Nolan Oswald Dennis (@data_body) in conversation with Zoë Hopkins (@zoelhopkins).

Link in bio to read the conversation from Mousse 95.

“Signification is a loop. I am listening to the Earth’s vibrations that travel both across the surface and through the crust, but also through the core, so they complicate the idea of the local,” says Nolan Oswald Dennis (@data_body) in conversation with Zoë Hopkins (@zoelhopkins).

Link in bio to read the conversation from Mousse 95.

“Signification is a loop. I am listening to the Earth’s vibrations that travel both across the surface and through the crust, but also through the core, so they complicate the idea of the local,” says Nolan Oswald Dennis (@data_body) in conversation with Zoë Hopkins (@zoelhopkins).

Link in bio to read the conversation from Mousse 95.

“Signification is a loop. I am listening to the Earth’s vibrations that travel both across the surface and through the crust, but also through the core, so they complicate the idea of the local,” says Nolan Oswald Dennis (@data_body) in conversation with Zoë Hopkins (@zoelhopkins).

Link in bio to read the conversation from Mousse 95.

Livia Nervi (@livianervi) examines how the Ghanaian-rooted collective blaxTARLINES’s (@blaxtarlines) ethos, shaped by decades of pedagogical experimentation, constitutes a sustained response to the structural precarity surrounding contemporary art institutions.

Read the tidbit at the link in bio.

Livia Nervi (@livianervi) examines how the Ghanaian-rooted collective blaxTARLINES’s (@blaxtarlines) ethos, shaped by decades of pedagogical experimentation, constitutes a sustained response to the structural precarity surrounding contemporary art institutions.

Read the tidbit at the link in bio.

Livia Nervi (@livianervi) examines how the Ghanaian-rooted collective blaxTARLINES’s (@blaxtarlines) ethos, shaped by decades of pedagogical experimentation, constitutes a sustained response to the structural precarity surrounding contemporary art institutions.

Read the tidbit at the link in bio.

Livia Nervi (@livianervi) examines how the Ghanaian-rooted collective blaxTARLINES’s (@blaxtarlines) ethos, shaped by decades of pedagogical experimentation, constitutes a sustained response to the structural precarity surrounding contemporary art institutions.

Read the tidbit at the link in bio.

Livia Nervi (@livianervi) examines how the Ghanaian-rooted collective blaxTARLINES’s (@blaxtarlines) ethos, shaped by decades of pedagogical experimentation, constitutes a sustained response to the structural precarity surrounding contemporary art institutions.

Read the tidbit at the link in bio.

Livia Nervi (@livianervi) examines how the Ghanaian-rooted collective blaxTARLINES’s (@blaxtarlines) ethos, shaped by decades of pedagogical experimentation, constitutes a sustained response to the structural precarity surrounding contemporary art institutions.

Read the tidbit at the link in bio.

Livia Nervi (@livianervi) examines how the Ghanaian-rooted collective blaxTARLINES’s (@blaxtarlines) ethos, shaped by decades of pedagogical experimentation, constitutes a sustained response to the structural precarity surrounding contemporary art institutions.

Read the tidbit at the link in bio.

Javier Montes reviews “Pedagogies of War,” the four-video-installation exhibition by Ukrainian artistic duo Yarema Malashchuk and Roman Khimei (@yaremaandkhimei), presented in the galleries of the@museothyssen hosting @tba_21 in Madrid.

Tap the link in bio to read the review.

Javier Montes reviews “Pedagogies of War,” the four-video-installation exhibition by Ukrainian artistic duo Yarema Malashchuk and Roman Khimei (@yaremaandkhimei), presented in the galleries of the@museothyssen hosting @tba_21 in Madrid.

Tap the link in bio to read the review.

Javier Montes reviews “Pedagogies of War,” the four-video-installation exhibition by Ukrainian artistic duo Yarema Malashchuk and Roman Khimei (@yaremaandkhimei), presented in the galleries of the@museothyssen hosting @tba_21 in Madrid.

Tap the link in bio to read the review.

Javier Montes reviews “Pedagogies of War,” the four-video-installation exhibition by Ukrainian artistic duo Yarema Malashchuk and Roman Khimei (@yaremaandkhimei), presented in the galleries of the@museothyssen hosting @tba_21 in Madrid.

Tap the link in bio to read the review.

Javier Montes reviews “Pedagogies of War,” the four-video-installation exhibition by Ukrainian artistic duo Yarema Malashchuk and Roman Khimei (@yaremaandkhimei), presented in the galleries of the@museothyssen hosting @tba_21 in Madrid.

Tap the link in bio to read the review.

Javier Montes reviews “Pedagogies of War,” the four-video-installation exhibition by Ukrainian artistic duo Yarema Malashchuk and Roman Khimei (@yaremaandkhimei), presented in the galleries of the@museothyssen hosting @tba_21 in Madrid.

Tap the link in bio to read the review.

Javier Montes reviews “Pedagogies of War,” the four-video-installation exhibition by Ukrainian artistic duo Yarema Malashchuk and Roman Khimei (@yaremaandkhimei), presented in the galleries of the@museothyssen hosting @tba_21 in Madrid.

Tap the link in bio to read the review.

Javier Montes reviews “Pedagogies of War,” the four-video-installation exhibition by Ukrainian artistic duo Yarema Malashchuk and Roman Khimei (@yaremaandkhimei), presented in the galleries of the@museothyssen hosting @tba_21 in Madrid.

Tap the link in bio to read the review.

Javier Montes reviews “Pedagogies of War,” the four-video-installation exhibition by Ukrainian artistic duo Yarema Malashchuk and Roman Khimei (@yaremaandkhimei), presented in the galleries of the@museothyssen hosting @tba_21 in Madrid.

Tap the link in bio to read the review.

Mousse and GPS would love to extend special thanks to everyone who joined Dial-A-Poem Live in Venice, and especially to all the artists who stepped up to read poems with us: Andrew Berardini (@andrewberardini), Monia Ben Hamouda (@monia.benhamouda.studio), Sanna Helena Berger (@sannahelenaberger), Rossella Biscotti (@rosbiscotti), Dani Blanga Gubbay (@blangagubbay), Domenico Brancale, Maria Luce Cacciaguerra (@mareluceremedios), Ivan Cheng (@ic_ic), Rita Degli Esposti, Rhea Dillon (@rheadillon), Övül Ö. Durmusoglu (@ovulodrmsgl), John Gian, Allison Grimaldi Donahue (@allisonuccia), HR Hegnauer (@hr_hegnauer), Vera Linder (@fraulinderinversi), Quinn Latimer (@ql_ql_ql_ql), Celine Mathieu (@cm.celinemathieu), Marta Minujín (@martaminujin), Asad Raza (@asaaddo), Himali Singh Soin (@himalisinghsoin), Shannon Sky, P. Staff (@p___staff), Rirkrit Tiravanija, Anne Waldman (@annewaldman), and Angharad Williams (@angharadwilliams_).

Alongside the readings, our guests encountered “John Giorno: The Performative Word,” the first monograph dedicated to the artist, published by Mousse in conjunction with the eponymous exhibition at @mambobologna, and a special installation of Dial-A-Poem Italy.

Thanks also to @alminerech, @galerieevapresenhuber, @kurimanzutto, and @thomasbrambillagallery for their great support.

Mousse and GPS would love to extend special thanks to everyone who joined Dial-A-Poem Live in Venice, and especially to all the artists who stepped up to read poems with us: Andrew Berardini (@andrewberardini), Monia Ben Hamouda (@monia.benhamouda.studio), Sanna Helena Berger (@sannahelenaberger), Rossella Biscotti (@rosbiscotti), Dani Blanga Gubbay (@blangagubbay), Domenico Brancale, Maria Luce Cacciaguerra (@mareluceremedios), Ivan Cheng (@ic_ic), Rita Degli Esposti, Rhea Dillon (@rheadillon), Övül Ö. Durmusoglu (@ovulodrmsgl), John Gian, Allison Grimaldi Donahue (@allisonuccia), HR Hegnauer (@hr_hegnauer), Vera Linder (@fraulinderinversi), Quinn Latimer (@ql_ql_ql_ql), Celine Mathieu (@cm.celinemathieu), Marta Minujín (@martaminujin), Asad Raza (@asaaddo), Himali Singh Soin (@himalisinghsoin), Shannon Sky, P. Staff (@p___staff), Rirkrit Tiravanija, Anne Waldman (@annewaldman), and Angharad Williams (@angharadwilliams_).

Alongside the readings, our guests encountered “John Giorno: The Performative Word,” the first monograph dedicated to the artist, published by Mousse in conjunction with the eponymous exhibition at @mambobologna, and a special installation of Dial-A-Poem Italy.

Thanks also to @alminerech, @galerieevapresenhuber, @kurimanzutto, and @thomasbrambillagallery for their great support.

Mousse and GPS would love to extend special thanks to everyone who joined Dial-A-Poem Live in Venice, and especially to all the artists who stepped up to read poems with us: Andrew Berardini (@andrewberardini), Monia Ben Hamouda (@monia.benhamouda.studio), Sanna Helena Berger (@sannahelenaberger), Rossella Biscotti (@rosbiscotti), Dani Blanga Gubbay (@blangagubbay), Domenico Brancale, Maria Luce Cacciaguerra (@mareluceremedios), Ivan Cheng (@ic_ic), Rita Degli Esposti, Rhea Dillon (@rheadillon), Övül Ö. Durmusoglu (@ovulodrmsgl), John Gian, Allison Grimaldi Donahue (@allisonuccia), HR Hegnauer (@hr_hegnauer), Vera Linder (@fraulinderinversi), Quinn Latimer (@ql_ql_ql_ql), Celine Mathieu (@cm.celinemathieu), Marta Minujín (@martaminujin), Asad Raza (@asaaddo), Himali Singh Soin (@himalisinghsoin), Shannon Sky, P. Staff (@p___staff), Rirkrit Tiravanija, Anne Waldman (@annewaldman), and Angharad Williams (@angharadwilliams_).

Alongside the readings, our guests encountered “John Giorno: The Performative Word,” the first monograph dedicated to the artist, published by Mousse in conjunction with the eponymous exhibition at @mambobologna, and a special installation of Dial-A-Poem Italy.

Thanks also to @alminerech, @galerieevapresenhuber, @kurimanzutto, and @thomasbrambillagallery for their great support.

Mousse and GPS would love to extend special thanks to everyone who joined Dial-A-Poem Live in Venice, and especially to all the artists who stepped up to read poems with us: Andrew Berardini (@andrewberardini), Monia Ben Hamouda (@monia.benhamouda.studio), Sanna Helena Berger (@sannahelenaberger), Rossella Biscotti (@rosbiscotti), Dani Blanga Gubbay (@blangagubbay), Domenico Brancale, Maria Luce Cacciaguerra (@mareluceremedios), Ivan Cheng (@ic_ic), Rita Degli Esposti, Rhea Dillon (@rheadillon), Övül Ö. Durmusoglu (@ovulodrmsgl), John Gian, Allison Grimaldi Donahue (@allisonuccia), HR Hegnauer (@hr_hegnauer), Vera Linder (@fraulinderinversi), Quinn Latimer (@ql_ql_ql_ql), Celine Mathieu (@cm.celinemathieu), Marta Minujín (@martaminujin), Asad Raza (@asaaddo), Himali Singh Soin (@himalisinghsoin), Shannon Sky, P. Staff (@p___staff), Rirkrit Tiravanija, Anne Waldman (@annewaldman), and Angharad Williams (@angharadwilliams_).

Alongside the readings, our guests encountered “John Giorno: The Performative Word,” the first monograph dedicated to the artist, published by Mousse in conjunction with the eponymous exhibition at @mambobologna, and a special installation of Dial-A-Poem Italy.

Thanks also to @alminerech, @galerieevapresenhuber, @kurimanzutto, and @thomasbrambillagallery for their great support.

Mousse and GPS would love to extend special thanks to everyone who joined Dial-A-Poem Live in Venice, and especially to all the artists who stepped up to read poems with us: Andrew Berardini (@andrewberardini), Monia Ben Hamouda (@monia.benhamouda.studio), Sanna Helena Berger (@sannahelenaberger), Rossella Biscotti (@rosbiscotti), Dani Blanga Gubbay (@blangagubbay), Domenico Brancale, Maria Luce Cacciaguerra (@mareluceremedios), Ivan Cheng (@ic_ic), Rita Degli Esposti, Rhea Dillon (@rheadillon), Övül Ö. Durmusoglu (@ovulodrmsgl), John Gian, Allison Grimaldi Donahue (@allisonuccia), HR Hegnauer (@hr_hegnauer), Vera Linder (@fraulinderinversi), Quinn Latimer (@ql_ql_ql_ql), Celine Mathieu (@cm.celinemathieu), Marta Minujín (@martaminujin), Asad Raza (@asaaddo), Himali Singh Soin (@himalisinghsoin), Shannon Sky, P. Staff (@p___staff), Rirkrit Tiravanija, Anne Waldman (@annewaldman), and Angharad Williams (@angharadwilliams_).

Alongside the readings, our guests encountered “John Giorno: The Performative Word,” the first monograph dedicated to the artist, published by Mousse in conjunction with the eponymous exhibition at @mambobologna, and a special installation of Dial-A-Poem Italy.

Thanks also to @alminerech, @galerieevapresenhuber, @kurimanzutto, and @thomasbrambillagallery for their great support.

Mousse and GPS would love to extend special thanks to everyone who joined Dial-A-Poem Live in Venice, and especially to all the artists who stepped up to read poems with us: Andrew Berardini (@andrewberardini), Monia Ben Hamouda (@monia.benhamouda.studio), Sanna Helena Berger (@sannahelenaberger), Rossella Biscotti (@rosbiscotti), Dani Blanga Gubbay (@blangagubbay), Domenico Brancale, Maria Luce Cacciaguerra (@mareluceremedios), Ivan Cheng (@ic_ic), Rita Degli Esposti, Rhea Dillon (@rheadillon), Övül Ö. Durmusoglu (@ovulodrmsgl), John Gian, Allison Grimaldi Donahue (@allisonuccia), HR Hegnauer (@hr_hegnauer), Vera Linder (@fraulinderinversi), Quinn Latimer (@ql_ql_ql_ql), Celine Mathieu (@cm.celinemathieu), Marta Minujín (@martaminujin), Asad Raza (@asaaddo), Himali Singh Soin (@himalisinghsoin), Shannon Sky, P. Staff (@p___staff), Rirkrit Tiravanija, Anne Waldman (@annewaldman), and Angharad Williams (@angharadwilliams_).

Alongside the readings, our guests encountered “John Giorno: The Performative Word,” the first monograph dedicated to the artist, published by Mousse in conjunction with the eponymous exhibition at @mambobologna, and a special installation of Dial-A-Poem Italy.

Thanks also to @alminerech, @galerieevapresenhuber, @kurimanzutto, and @thomasbrambillagallery for their great support.

Mousse and GPS would love to extend special thanks to everyone who joined Dial-A-Poem Live in Venice, and especially to all the artists who stepped up to read poems with us: Andrew Berardini (@andrewberardini), Monia Ben Hamouda (@monia.benhamouda.studio), Sanna Helena Berger (@sannahelenaberger), Rossella Biscotti (@rosbiscotti), Dani Blanga Gubbay (@blangagubbay), Domenico Brancale, Maria Luce Cacciaguerra (@mareluceremedios), Ivan Cheng (@ic_ic), Rita Degli Esposti, Rhea Dillon (@rheadillon), Övül Ö. Durmusoglu (@ovulodrmsgl), John Gian, Allison Grimaldi Donahue (@allisonuccia), HR Hegnauer (@hr_hegnauer), Vera Linder (@fraulinderinversi), Quinn Latimer (@ql_ql_ql_ql), Celine Mathieu (@cm.celinemathieu), Marta Minujín (@martaminujin), Asad Raza (@asaaddo), Himali Singh Soin (@himalisinghsoin), Shannon Sky, P. Staff (@p___staff), Rirkrit Tiravanija, Anne Waldman (@annewaldman), and Angharad Williams (@angharadwilliams_).

Alongside the readings, our guests encountered “John Giorno: The Performative Word,” the first monograph dedicated to the artist, published by Mousse in conjunction with the eponymous exhibition at @mambobologna, and a special installation of Dial-A-Poem Italy.

Thanks also to @alminerech, @galerieevapresenhuber, @kurimanzutto, and @thomasbrambillagallery for their great support.

Mousse and GPS would love to extend special thanks to everyone who joined Dial-A-Poem Live in Venice, and especially to all the artists who stepped up to read poems with us: Andrew Berardini (@andrewberardini), Monia Ben Hamouda (@monia.benhamouda.studio), Sanna Helena Berger (@sannahelenaberger), Rossella Biscotti (@rosbiscotti), Dani Blanga Gubbay (@blangagubbay), Domenico Brancale, Maria Luce Cacciaguerra (@mareluceremedios), Ivan Cheng (@ic_ic), Rita Degli Esposti, Rhea Dillon (@rheadillon), Övül Ö. Durmusoglu (@ovulodrmsgl), John Gian, Allison Grimaldi Donahue (@allisonuccia), HR Hegnauer (@hr_hegnauer), Vera Linder (@fraulinderinversi), Quinn Latimer (@ql_ql_ql_ql), Celine Mathieu (@cm.celinemathieu), Marta Minujín (@martaminujin), Asad Raza (@asaaddo), Himali Singh Soin (@himalisinghsoin), Shannon Sky, P. Staff (@p___staff), Rirkrit Tiravanija, Anne Waldman (@annewaldman), and Angharad Williams (@angharadwilliams_).

Alongside the readings, our guests encountered “John Giorno: The Performative Word,” the first monograph dedicated to the artist, published by Mousse in conjunction with the eponymous exhibition at @mambobologna, and a special installation of Dial-A-Poem Italy.

Thanks also to @alminerech, @galerieevapresenhuber, @kurimanzutto, and @thomasbrambillagallery for their great support.

Looking back to the 1982 First National Black Art Convention and the exhibition “Thin Black Line(s)” at Tate Britain (2011–12), artist Lubaina Himid (@lubainapics), curator Paul Goodwin, and Christine Eyene (@eyonart.prjx) reflect on Himid’s impactful practice, whether creating, curating, preserving, writing, or teaching.

Follow the link in bio.

Looking back to the 1982 First National Black Art Convention and the exhibition “Thin Black Line(s)” at Tate Britain (2011–12), artist Lubaina Himid (@lubainapics), curator Paul Goodwin, and Christine Eyene (@eyonart.prjx) reflect on Himid’s impactful practice, whether creating, curating, preserving, writing, or teaching.

Follow the link in bio.

Looking back to the 1982 First National Black Art Convention and the exhibition “Thin Black Line(s)” at Tate Britain (2011–12), artist Lubaina Himid (@lubainapics), curator Paul Goodwin, and Christine Eyene (@eyonart.prjx) reflect on Himid’s impactful practice, whether creating, curating, preserving, writing, or teaching.

Follow the link in bio.

Looking back to the 1982 First National Black Art Convention and the exhibition “Thin Black Line(s)” at Tate Britain (2011–12), artist Lubaina Himid (@lubainapics), curator Paul Goodwin, and Christine Eyene (@eyonart.prjx) reflect on Himid’s impactful practice, whether creating, curating, preserving, writing, or teaching.

Follow the link in bio.

Looking back to the 1982 First National Black Art Convention and the exhibition “Thin Black Line(s)” at Tate Britain (2011–12), artist Lubaina Himid (@lubainapics), curator Paul Goodwin, and Christine Eyene (@eyonart.prjx) reflect on Himid’s impactful practice, whether creating, curating, preserving, writing, or teaching.

Follow the link in bio.

Looking back to the 1982 First National Black Art Convention and the exhibition “Thin Black Line(s)” at Tate Britain (2011–12), artist Lubaina Himid (@lubainapics), curator Paul Goodwin, and Christine Eyene (@eyonart.prjx) reflect on Himid’s impactful practice, whether creating, curating, preserving, writing, or teaching.

Follow the link in bio.

Looking back to the 1982 First National Black Art Convention and the exhibition “Thin Black Line(s)” at Tate Britain (2011–12), artist Lubaina Himid (@lubainapics), curator Paul Goodwin, and Christine Eyene (@eyonart.prjx) reflect on Himid’s impactful practice, whether creating, curating, preserving, writing, or teaching.

Follow the link in bio.

Looking back to the 1982 First National Black Art Convention and the exhibition “Thin Black Line(s)” at Tate Britain (2011–12), artist Lubaina Himid (@lubainapics), curator Paul Goodwin, and Christine Eyene (@eyonart.prjx) reflect on Himid’s impactful practice, whether creating, curating, preserving, writing, or teaching.

Follow the link in bio.

Looking back to the 1982 First National Black Art Convention and the exhibition “Thin Black Line(s)” at Tate Britain (2011–12), artist Lubaina Himid (@lubainapics), curator Paul Goodwin, and Christine Eyene (@eyonart.prjx) reflect on Himid’s impactful practice, whether creating, curating, preserving, writing, or teaching.

Follow the link in bio.

Join us for a special event with Walter Pfeiffer (@walterpfeiffer_official) in Milan!

Come by @commerce__commerce, via Tadino 30, Milan, at 6.30pm on Wednesday, May 27, for a toast with the artist and the signing of “Walter Pfeiffer. In Good Company,” the publication accompanying his first solo exhibition at @pinacotecaagnelli, Turin (on view until September 13, 2026).

BOOK SIGNING & TALK
Walter Pfeiffer. In Good Company
Wednesday, May 27, 6.30pm
at Commerce, Milan

Walter Pfeiffer (@walterpfeiffer_official) will be in conversation with art critic and professor Riccardo Conti (@byzantinevampyr).

RSVP is welcome at rsvp@moussepublishing.com

Looking forward to seeing you there.

Visit @kunsthallebasel, @vitradesignmuseum, and @ausstellungsraum_klingental with ABC Basel!

Edited by Samuel Leuenberger (@samuel_leuenberger) and structured as a syllabary, the book offers a curated editorial reading of Basel’s rich cultural landscape, allowing readers to explore twelve key institutions—museums, foundations, and cultural spaces—through the pairing of a word with a place, a concept with an institution, revealing how art quietly yet insistently inhabits the city.

ABC Basel is complemented by Matthieu Croizier’s (@matthieucroizier) photographic essay, capturing the city, its institutions, and the unique energy animating its art scene.

The volume is commissioned by Basel Tourism.

#thisisbasel #baselswitzerland

Visit @kunsthallebasel, @vitradesignmuseum, and @ausstellungsraum_klingental with ABC Basel!

Edited by Samuel Leuenberger (@samuel_leuenberger) and structured as a syllabary, the book offers a curated editorial reading of Basel’s rich cultural landscape, allowing readers to explore twelve key institutions—museums, foundations, and cultural spaces—through the pairing of a word with a place, a concept with an institution, revealing how art quietly yet insistently inhabits the city.

ABC Basel is complemented by Matthieu Croizier’s (@matthieucroizier) photographic essay, capturing the city, its institutions, and the unique energy animating its art scene.

The volume is commissioned by Basel Tourism.

#thisisbasel #baselswitzerland

Visit @kunsthallebasel, @vitradesignmuseum, and @ausstellungsraum_klingental with ABC Basel!

Edited by Samuel Leuenberger (@samuel_leuenberger) and structured as a syllabary, the book offers a curated editorial reading of Basel’s rich cultural landscape, allowing readers to explore twelve key institutions—museums, foundations, and cultural spaces—through the pairing of a word with a place, a concept with an institution, revealing how art quietly yet insistently inhabits the city.

ABC Basel is complemented by Matthieu Croizier’s (@matthieucroizier) photographic essay, capturing the city, its institutions, and the unique energy animating its art scene.

The volume is commissioned by Basel Tourism.

#thisisbasel #baselswitzerland

Visit @kunsthallebasel, @vitradesignmuseum, and @ausstellungsraum_klingental with ABC Basel!

Edited by Samuel Leuenberger (@samuel_leuenberger) and structured as a syllabary, the book offers a curated editorial reading of Basel’s rich cultural landscape, allowing readers to explore twelve key institutions—museums, foundations, and cultural spaces—through the pairing of a word with a place, a concept with an institution, revealing how art quietly yet insistently inhabits the city.

ABC Basel is complemented by Matthieu Croizier’s (@matthieucroizier) photographic essay, capturing the city, its institutions, and the unique energy animating its art scene.

The volume is commissioned by Basel Tourism.

#thisisbasel #baselswitzerland

Visit @kunsthallebasel, @vitradesignmuseum, and @ausstellungsraum_klingental with ABC Basel!

Edited by Samuel Leuenberger (@samuel_leuenberger) and structured as a syllabary, the book offers a curated editorial reading of Basel’s rich cultural landscape, allowing readers to explore twelve key institutions—museums, foundations, and cultural spaces—through the pairing of a word with a place, a concept with an institution, revealing how art quietly yet insistently inhabits the city.

ABC Basel is complemented by Matthieu Croizier’s (@matthieucroizier) photographic essay, capturing the city, its institutions, and the unique energy animating its art scene.

The volume is commissioned by Basel Tourism.

#thisisbasel #baselswitzerland

Tap the link in bio to read the last entry of back-and-forth, the new series by Chus Martínez (@the_chus_martinez) dedicated to examining the last two decades of exhibitions and artworks to better interpret and invent our near futures.

Tap the link in bio to read the last entry of back-and-forth, the new series by Chus Martínez (@the_chus_martinez) dedicated to examining the last two decades of exhibitions and artworks to better interpret and invent our near futures.

Tap the link in bio to read the last entry of back-and-forth, the new series by Chus Martínez (@the_chus_martinez) dedicated to examining the last two decades of exhibitions and artworks to better interpret and invent our near futures.

Tap the link in bio to read the last entry of back-and-forth, the new series by Chus Martínez (@the_chus_martinez) dedicated to examining the last two decades of exhibitions and artworks to better interpret and invent our near futures.

Tap the link in bio to read the last entry of back-and-forth, the new series by Chus Martínez (@the_chus_martinez) dedicated to examining the last two decades of exhibitions and artworks to better interpret and invent our near futures.

Tap the link in bio to read the last entry of back-and-forth, the new series by Chus Martínez (@the_chus_martinez) dedicated to examining the last two decades of exhibitions and artworks to better interpret and invent our near futures.

Tap the link in bio to read the last entry of back-and-forth, the new series by Chus Martínez (@the_chus_martinez) dedicated to examining the last two decades of exhibitions and artworks to better interpret and invent our near futures.