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Dispersed Events
Reevaluating experiments in fashion and decorative arts, Mauss shows how art takes shape in open-ended conversation--"between art history and any afternoon" This collection brings together for the first time Nick Mauss' writing, shimmering with the urgency of a new generation of queer thinkers who are opening the relations between contemporary art, decorative arts, film, performance and dance. An artist renowned for projects that critically and poetically reconfigure inherited genealogies and hierarchies of visual culture and art history, Mauss engages writing as a space for relentlessly activating counter-histories, continuously repositioning the voice of the artist and the reader along the...
Nick Mauss
This artist's book, designed in collaboration with Manuel Raeder, re-imagines the pages of a catalogue as sheets of wrapping paper, which are intended to be torn out by the reader and used to wrap gifts. The designs, conceived by Nick Mauss specifically for this book, are derived from various sources in the fine and decorative arts. The wrapping paper materialises those isolated elements on which the mind snags and questions the distinctions between the presentation of gifts and the presentation of textual or visual information. Illustrated essays by Emmelyn Butterfield-Rosen and Kirsty Bell explore the cultural and philosophical context of Mauss' work and the position of this book within it. Includes 16 sheets of colour wrapping paper exclusively designed by the artist for this publication.
Nick Mauss
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Nick Mauss: Intricate Others
Positioning itself in the "interstices between mediums? of drawing, printing, sculpture, ceramic, textiles, costume and theatre design", the work of Nick Mauss is defined by the artist's interest in the ideas of fragmentation and dramaturgy. A common denominator of the various facets of his oeuvre is drawing as an underlying process, which allows the artist to "work with formats that can?t be categorized". Mauss builds his work using objects and forms, and also with bodies and lines. Developed over the artist?s more than year-long engagement with the Villa Serralves, a stunning art deco building built in the 1930s with the intervention of leading architects and interior designers of the time...
Transmissions
"An aesthetic and social history of art and dance in mid-20th-century New York interpreted by contemporary artist Nick Mauss Over the past decade, Nick Mauss (b. 1980) has pursued a hybrid mode of working that melds the roles of curator, artist, and scholar. This catalogue leans heavily into the scholarship side of his practice, building on his 2018 Whitney Museum exhibition with a closer look at the relationship between modernist ballet and the New York avant-garde. In the 1930s through 1950s, ballet was introduced to a popular audience in New York and was simultaneously influenced by developments in Europe in painting, photography, fashion, music, and poetry. Mauss reflects on this period ...
Nick Mauss
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Nick Mauss
"Peep-Hole Sheet is a quarterly of writings by artists. Each issue issue is dedicated solely to one artist, who is invited to contribute with an unpublished text whose content is completely free in terms both of subject and format. The texts are published in their original language, with accompanying translations in English and Italian. All images are deliberately avoided. Peep-Hole Sheet is meant for those who believe artists are catalysts for ideas all around us, and who want to read their words without any filter. Over time it aspires to build up an anthology of writings that might open new perspectives for interpreting and understanding our times. The fourth Peep-hole Sheet series starts...
A Fair to Meddling Story
Contains drawings and collages by Nick Mauss and stills from videos by Ken Okiishi. The images form a kind of associative narrative through the book, containing subjects as lost places, singled-out figures, book covers, and typographic elements. -- Cornerhouse.
Whose sleeves ?
Tiré du site Internet de Mousse Publishing: "Whose Sleeves ? takes off from the experience of a visit made by Nick Mauss to the storage facilities of the Walker Art Center in Minneapolis, where Merce Cunningham's costumes and props are stored as part of the museum's collection. This experience and writing a text about it became a way to reflect on one of the artist's fixation : "the encounter". Whether, the one with Cunningham's or with an Aubrey Breadsley book in a bookshop in Riga, or the real/virtual one with some of David Bowie's make-up, the encounter represents for Mauss a valuable "state "before" understanding or knowledge, and the tendency to think of spatial or lived experience as if it were an asterisk in a text, pointing out possibilities "outside" the text" (Nick Mauss). A reflection on presence and absence that has much to say about the relation with artwork, life, love and their unpredictable destinies."
