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One Season in Hell
Nick Mauss & Ken Okiishi [see all titles]
Mousse [see all titles] Mousse Publishing (books) [see all titles]
 Nick Mauss & Ken Okiishi One Season in Hell
Texts by Nick Mauss & Ken Okiishi ; introduction by Florence Derieux.

Graphic design by Xavier Antin.

Published with the Frac Champagne-Ardenne.
published in June 2014
bilingual edition (English / French)
12,3 x 19,5 cm cm (softcover)
76 pages (color ill.)
ISBN: 978-88-6749-047-9
EAN: 9788867490479
in stock
Artist's book.
In the spring of 2007, in New York, as part of an exhibition organized by the Gavin Brown's Enterprise gallery, Nick Mauss and Ken Okiishi produced One Season in Hell, an installation whose point of departure was Arthur Rimbaud's famous extended poem Une saison en enfer. By using Google's online translation app to obtain an English version of the original text, Ken Okiishi first of all appropriated it and peppered it with jokes, puns and references to popular culture, from Karl Lagerfeld to South Park by way of the hairstyles of certain Japanese teenagers and Volvo cars. Nick Mauss, for his part, annotated the text, and then drew on it.
In tandem, the artists then published an eponymous book in which these pages were all brought together, in an edition of 500, which was quickly sold out. From 13 May to 14 August 2011, Nick Mauss presented his very first solo show in an institution at the FRAC Champagne-Ardenne. It was in the wake of this exhibition that Nick Mauss and Ken Okiishi expressed their wish to re-issue One Season in Hell, whose outcome both offers us a new way of looking at Rimbaud's oeuvre and extends their respective praxes in a remarkable way.
Ken Okiishi (*1978) and Nick Mauss (*1980) work individually as well as on collaborative projects. Nick Mauss uses elements which consciously stage the viewing of his fragmentary and airy drawings. Ken Okiishi's video works refer to popular movies. One of the artists' shared interests is the displaced aspects of modern visual culture. They pick up aesthetic forms of expression for lost utopias and relocate them in contemporary frames of reference. The excerpts they use do not only refer to their origins: the artists are more interested in the ongoing transformation of cultural meaning. The heterogeneous references are exposed as performative moments which oscillate between their established meaning and its subjective appropriation and revaluation.

See also Nick Mauss; Ken Okiishi.