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Giulia Celuppi

@gceluppi

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marseille sol mar e amigas em filme #35mm julho
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serioooooooo ❤️ :')
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Mousse #96 ~ 2006–2026: A Visual Record. 280 pages of Mousse Magazine + Mousse Publishing + Full Archive of All Publications 2006-2026 + A Love Letter to Mousse by Andrew Berardini. Get your copy at the link in bio.
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Mousse 96 ~ 2006–2026: A Visual Record. 280 pages of Mousse Magazine + Mousse Publishing + A Love Letter to Mousse by Andrew Berardini. Get your copy at the link in bio.
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Mousse 96 ~ 2006–2026: A Visual Record. 280 pages of Mousse Magazine + Mousse Publishing + A Love Letter to Mousse by Andrew Berardini. Get your copy at the link in bio.
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sentindo o verão chegando um dia de praia em super8 com amigos Tróia, agosto de 2025 filme revelado por mim e pela @mariannalondonn em Lisboa em novembro/25 e digitalizado pela @revelafilmes_ em SP em janeiro/26 colorização feita por mim :) (peço desculpas pela mistura bruta de musicas via app do instagram)
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OUT NOW: VAI VAI SAUDADE Following the exhibition “Vai, vai, Saudade” at @museomadre, this volume consolidates and expands a project that intertwined research, memory, and vision to explore more than seventy years of Brazilian art. Curated by Cristiano Raimondi (@cristianoraimondi), it proposes a rigorous yet personal historiographic perspective, examining how the relationship between modernisms and identity unfolded in Brazil through fractures, contradictions, and reinventions. Organized as a dynamic album of documents, texts, and images, through the extensive research conducted by Mousse in collaboration with Cristina Ambrosio, it traces thematic constellations and unexpected dialogues across generations and geographies. From the radical experiments of Lygia Pape to the visionary testimony of Hélio Melo, from modernist utopias to practices shaped by dictatorship, migration, and resistance, the publication reveals a dense and plural artistic field that exceeds any singular narrative. The book also includes anastatic reproductions and contributions by Jaider Esbell (@jaider_esbell), Frederico Morais, Hélio Oiticica, Ariano Suassuna, and Adriana Varejão (@adrianavarejao), further enriching the historiographic and critical framework.
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“VIVONO. Art and Feelings, HIV-AIDS in Italy 1982–1996. Reader” (@aa_xx_ii_ss, 2025) recalls an era whose memory “is incomplete, fragmented, hidden, but full of love,” extending its scope beyond 1996 to foreground practices of care, self-help, and harm reduction across alternative networks. In Annie Ernaux’s “The Other Girl” (@fitzcarraldoeditions, 2025), the narrator seeks to “put an end to the blur of the past,” confronting an absence that shaped childhood and the unsettling sense that “one had to die for the other to live.” Robert Glück’s (@4321robert) “Jack the Modernist” (@nybooks, 2025), a manifesto for New Narrative, unfolds as “a love affair told… from my house to yours,” where theory turns into gossip and gossip into theory. Follow the link in our bio to read the Books column by Mousse editors Barbara Casavecchia (@barbara_casavecchia), Chiara Moioli (@imsoemptyilikememes), and Giulia Celuppi (@gceluppi) from Mousse 94–Winter 2026. Photo: Rita Lino (@rita_lino)
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My review of Rose Lowder's first institutional solo exhibition @kunsthallezurich is online @moussemagazine Link in bio 🪻 Thank you @fanny.hauser @barbara_casavecchia @imsoemptyilikememes @gceluppi #roselowder
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someone wrote “my problem is that I think I’m suppose to have fun all the time” on substack and I 🙋🏻‍♀️ felt that 🍰
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@gceluppi em filme #35mm feliz aniversário amiga quando penso em ti escuto tua risada da última foto amo estar pertinho de ti sempre que da muito amor por tu
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pisquei e acabou 🛶
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