Flash Art International no. 310 September – October 2016

We are pleased to announce that the September – October 2016 issue of Flash Art International is out now.

This issue’s cover reproduces a painting by African American artist Kerry James Marshall, a work that exemplifies the artist’s absorption of pictorial tradition in order to challenge stereotyped representations of blackness in society. On the occasion of his traveling retrospective “Mastry,” opening at the Met Breuer, New York, in October and at MOCA, Los Angeles, in March 2017, the artist talks with Helen Molesworth about the entrenchment of white art discourse within art education and about his experience as a university professor within an academic structure that inhibits nonwhite access. Marshall remarks, “It’s challenging when there are so few students of color in programs so you don’t really get a chance to shape with them the conversation about what kinds of things are possible in making art, but you constantly have to keep doing it with students who already have access to that kind of experience.”

The question of how art explores the possibility of empathy is also addressed by Laura McLean-Ferris in her essay on French artist Jean-Luc Moulène, the subject of a forthcoming retrospective this October at the Centre Pompidou in Paris. In the writer’s words, Moulène’s recent work “allows one to think about both peculiar and important forms of empathy — not a kindly, gentle thought about how someone else might feel; but an attempt to get inside something violent or difficult or alien in the only ways that are available to you.”

Also in this issue:

Boško Blagojević discusses the work of New York–based Croatian artist Dora Budor, whose recent sculptural assemblages comprise reappropriated Hollywood film props.

“In her operation of dislocation, Budor renders her source material awkwardly incomplete and highly conspicuous. Rather than simply collecting props as bits of Hollywood fiction, Budor seems to instantiate a desire to inhabit their decrepit insufficiencies.”

— Boško Blagojević

Emily Segal responds to Google’s new artificial intelligence initiative, Magenta, by mining the color’s unique history as a source of cultural energy.

“I had been wondering how one color (magenta) out of many (a spectrum) could be extraterrestrial, when after all it was just another color among the rest. It turned out this wasn’t quite true. Magenta was extraspectral: what some people call an ‘impossible color.’”

— Emily Segal

Li Zhenhua examines the sound art of Samson Young as a means of reconciling conflict.

“There is often a level of fluidity and non-specificity in Young’s treatment of certain historic events, and in the opinion toward them that he expresses. This approach allows for a discussion situated in a universal context — an intimate conversation that does not intend to shock or offend.”

— Li Zhenhua

Responding to musician Dean Blunt’s foray into artistic production, Paul Pieroni puts the focus on a figure ever keen to divert attention.

“Blunt’s art is not a thesis. Nor is it activism. His hermeneutics are deeper and stranger than that. Blunt’s output is ultimately delirious, built around the hazy subversion of his own identity and agency.”

— Paul Pieroni

Jacob Korczynski talks to collaborators Matthew Lutz-Kinoy and Tobias Madison about their recent theatrical responses to polymath director Shūji Terayama.

“Dramaturgy means ‘making relationships.’ Dramatic encounters reject class consciousness and create mutually cooperative relationships, thereby organizing chance into collective consciousness. If hell is other people’s affairs, then drama is a pilgrimage of other peoples hells where self and others crisscross.”

— Matthew Lutz-Kinoy

In “Time Machine”:

Ahead of the exhibition “Rodolfo Aricò: Line of Demarcation” at Luxembourg & Dayan in London, we republish the artist’s “Captions” from Flash Art International no. 46 – 47, June 1974.

“My commitment is precisely an attitude which aims to make people forget geometry — not to declare it to be an expressive aspect of the poetics, but to make it be forgotten in a multidimensional space in a two-dimensional field, where there are multiple visual focuses in an active dynamic of multiple perceptions.”

— Rodolfo Aricò

In “Reviews”:

Danny Lyon at Whitney Museum, New York; Meg Webster at Paula Cooper, New York; Chroma Lives at Camrost Felcorp Yorkville Plaza Sales Centre, Toronto; Pedro Barateiro and Quinn Latimer at REDCAT, Los Angeles; Barry Johnston at Overduin & Co., Los Angeles; Projeto Piauí at PIVÔ, São Paulo; Mary Heilmann at Whitechapel Gallery, London; Eva and Franco Mattes at Carroll/Fletcher, London; Energy Flash at M HKA, Antwerp; Michael Rakowitz at Barbara Wien, Berlin; Wild Style at Peres Projects, Berlin; Nathalie Du Pasquier at Kunsthalle Wien; Torbjørn-Rødland at Eva Presenhuber, Zurich; Marie Angeletti at Édouard Montassut, Paris; Systematically Open? at LUMA Foundation, Arles; Trisha Donnelly at Serralves Museum, Porto; Lothar Baumgarten at Franco Noero, Turin; Tamás Kaszás and Anikó Loránt at Muzeum Sztuki, Łódź; Tino Sehgal at BAM, Marrakech; Ma Ke at Platform China, Beijing; Aida Makoto at Mizuma, Tokyo.

We are pleased to announce Flash Art’s participation in the 2016 editions of abc – Art Berlin Contemporary; NY Art Book Fair (booth N20); Contemporary Vienna; Frieze London; Paris Internationale; and Fiac.

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Flash Art International no. 309 June – July – August 2016

We are pleased to announce that the June – July – August issue of Flash Art International is out now. In this issue we have decided to approach art via alternative means and focus on fiction.

As art writers and editors, many of our contributors are simultaneously engaged with the literary world; and, likewise, a number of visual artists are also prolific writers and publishers of fiction. We have invited a range of authors from all of these fields to contribute short literary works to the magazine’s usual mix of critical essays, interviews and reviews.

The issue features stories by: Felix Bernstein and Cassandra Seltman, Camille Blatrix, Tom Burr, Elaine Cameron-Weir, Cecilia Corrigan, Cheng Ran, Gasconade, Massimo Grimaldi, Hu Fang, Gary Indiana, Travis Jeppesen, Tobias Kaspar, Aidan Koch, Chris Kraus, Erika LandströmHuw Lemmey, Nancy Lupo, Ingo Niermann, Lodovico Pignatti Morano, Matt Sheridan Smith, Natasha Stagg, Jesse Stecklow, Mark von Schlegell, Peter Wächtler and Diane Williams.

These various contributions explore a range of fictional scenarios, from an artist’s deep attentiveness to scent as part of a system of making, to Kanye West’s launch of a face cream made with an artist collaborator. Storytelling structures include object-oriented narrative, online role-play, personal correspondence and the comic strip. Whether the subject matter is a recounted nightmare, a crisis of artistic confidence or a visit to the dentist’s chair, each narrative is offered as a reflection on art and art-making across today’s manifold realities.

In “Micro”:

Vincenzo Latronico talks with Tiziano Scarpa — widely considered one of Italy’s leading novelist today — about the ways that contemporary art is represented in literature.

In “Reviews”:

Haim Steinbach at Tanya Bonakdar, New York; Yve Laris Cohen at Company, New York; Kerry James Marshall at the MCA, Chicago; John Miller at Richard Telles, Los Angeles; Shimabuku at Freedman Fitzpatrick, Los Angeles; “The Natural Order of Things” at Museo Jumex, Mexico City; “Ways of Living” at the David Roberts Art Foundation, London; Jörg Immendorff at Michael Werner, London; Lynda Benglis at Bergen Assembly; Alexandra Navratil at Dan Gunn, Berlin; Ari Benjamin Meyers at RaebervonStenglin, Zurich; Agnieszka Brzeżańska at Kasia Michalski, Warsaw; “Ballistic Poetry” at La Verrière Hermès , Bruxelles; Jill Mulleady at Gaudel De Stampa, Paris; Riccardo Baruzzi at P420, Bologna; Prabhakar Pachpute at the NGMA, Mumbai; “Afterwork” at Para Site, Hong Kong; Hanako Murakami at Taka Ishii, Tokyo.

We are pleased to announce Flash Art’s participation in the 2016 editions of Art | Basel (booth Z3), and Liste.

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Martine Syms in conversation with Eli Diner
Frieze New York / Reading Room

Martine Syms is an artist and “conceptual entrepreneur” whose videos, images, performances and texts examine representations of race and gender. She currently has an exhibition at the ICA London, her first major institutional solo show, and will be included in the Hammer Museum’s upcoming “Made in LA,” a biennial dedicated to art from the Los Angeles area.

Syms is the subject of a feature, written by Associate Editor Eli Diner, in the current issue of Flash Art. In the context of Frieze New York’s Reading Room, Syms and Diner will sit down to discuss matters of memory and mediation.

Sunday, May 8
4:30 pm
Frieze New York
Reading Room

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Flash Art International no. 308 May 2016

We are pleased to announce that the May 2016 issue of Flash Art International is out now.

Following the death of Italian novelist, semiologist and philosopher Umberto Eco, this issue takes as its point of departure questions posed by Eco’s eponymous theory of the “open work.”

Eco’s collection of essays Opera Aperta [The Open Work] was published in 1962, when chance operations and indeterminacy became constitutive elements of the creative process. In today’s cultural climate, Eco’s thinking on “openness” remains relevant to art practice and criticism, providing “an urgent, irksome protest against the organization and management of all which lives,” as British artist Cally Spooner writes in this issue’s “Macro” essay.

The newly introduced “Micro” essay, placed at the end of the issue, responds to “Macro” from the perspective of Italian art, earnestly bringing into the conversation the creative panorama from which this magazine was born. Here, Michele D’Aurizio finds echoes of Eco’s theory of the “open work” in the phenomenon of Italian Radical Design. Envisioning “objects that assume shapes that become whatever the users want them to be,” Radical Design is probably the most successful but understudied embodiment of “openness” ever born on Italian soil.

The question of “openness” — and its valences — resonates throughout the entire issue, above all in our cover story devoted to American artist David Hammons. Conceived as a series of “open” questions, posed by a Wattis Institute research group under the guidance of Anthony Huberman, this feature riffs on an uncommonly raw, spiritual and politically charged art practice. Like a jazz musician, Hammons reinterprets art-making procedures in ways that result in unexpected, free-form resonances. But, as Huberman reminds us to ask: “What’s the relationship between improvisation and control? Isn’t it similar to that of a needle and thread?”

Also in this issue:

Tatiana De Pahlen talks with Bret Easton Ellis and Alex Israel about their collaborative text paintings and the centrality of Los Angeles’s landscape in both their practices.

“In Los Angeles you only think that you’re coming here to reinvent yourself. While, what actually happens is that the city forces you to become who you really are.”

— Bret Easton Ellis

Myriam Ben Salah discusses the tension between individuality and community in Mélanie Matranga’s environmental installations, objects and videos.

“By giving space to the intimate and allowing singularities to blossom, Matranga creates situations that are saturated with emotion.”

— Myriam Ben Salah

Matthew Evans talks with Bill Kouligas about the role Kouligas’s Berlin-based record label PAN plays in documenting the growing significance of music and art crossovers.

“It’s important for me to accommodate all these types of people who can’t really participate in the really specific, genre-type labels.”

— Bill Kouligas

åyr elaborates on the themes behind their upcoming installations on walls and orbs, to take place at the 9th Berlin Biennale for Contemporary Art and at the British Pavilion of the 15th Venice Architecture Biennale.

Eli Diner explores Martine Syms’s inquiries into representations of blackness.

“Syms draws her fragments from the vast store of images of black figures. She reifies them, animates them, presents momentary specificity, and each fragment, in turn, slips back into generality. Remember that hers is a show about nowhere.”

— Eli Diner

In “Time Machine”:

In a late-in-life interview with Alan Jones, from Flash Art International no. 140, May–June 1988, William N. Copley discusses his inspirations and working methods.

“Had I taken painting seriously I don’t think I would have had the freedom that I started with. If you know what art isn’t, the whole world is before you.”

— William N. Copley

In “Reviews”:

Fischli and Weiss at the Guggenheim, New York; Adam McEwen at Petzel, New York; Olivia Erlanger at What Pipeline, Detroit; Mathieu Malouf at Jenny’s, Los Angeles; Nathaniel Mellors at The Box, Los Angeles; Jorge Macchi at MALBA, Buenos Aires; Das Institut at Serpentine Sackler Gallery, London; Jesse Darling at Arcadia Missa, London; Elif Erkan at Weiss Berlin; Ceal Floyer at the Aargauer Kunsthaus, Aarau; “The Playground Project” at the Kunsthalle Zurich; Oscar Tuazon at Chantal Crousel, Paris; Guy de Cointet at Culturgest, Lisbon; Lorenzo Scotto di Luzio at T293, Rome; Evgeny Granilshchikov at the Multimedia Art Museum, Moscow; Hemali Bhuta at Project 88, Mumbai; “Digging a Hole in China” at OCAT Shenzhen; Miho Dohi at Hagiwara Projects, Tokyo.

Flash Art will be part of the “Reading Room” at the next edition of Frieze New York (May 5–8).

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Flash Art International no. 307 March–April 2016

We are pleased to announce that the March – April issue of Flash Art International is out now. This issue offers an exploration of art production in contemporary Shanghai through the lens of the persistently evasive concept of modernity.

Shanghai was hailed as China’s “gateway,” “engine room” and “icon” of modernity. The Japanese invasion and the rise to power of the Communist Party, characterized by a cultural vision rooted in rural peasantry, reduced cosmopolitan Shanghai of the 1920s and ’30s to the state of an inert “sleeping beauty.” Then, in the wake of late-twentieth-century China’s “reform and opening up,” Shanghai was restructured as an outpost for China’s development, and consequently became a specter of a previous era. As Nick Land wrote in the pamphlet “A Time-Traveler’s Guide to Shanghai,” the city “reverted to the present from a discarded future, whilst excavating an unused future from the past.”

The modernity of today’s Shanghai, “modernity 2.0” — or what Land calls neo-modernity — translates into an urban landscape that questions the very notion of temporal linearity. In her book Shanghai Future, Anna Greenspan wrote: “In [Shanghai’s] bars, cafes, teahouses, parks and boutiques, urban inhabitants play out their roles in [a] time-travel fantasy. Through its architecture, design, self-image and style, contemporary Shanghai strives to remember, and to reinvent, the creative flourishing it once — too briefly — hosted. Driven by this fractured destiny, it is embedded in a spiral of time, actively trying to splice together its imminent future with a past futurism that never had the chance to play itself out.”

Art production in Shanghai today triggers a similar “time spiral” via an ongoing debate concerning tradition and the achievement of modernity as expressed by “new” avant-garde languages. Six profiles of Shanghai-based artists and collectives — Zhang Ding, Jin Shan, Li Qing, Grass Stage, Tang Dixin and Yu Ji, by Travis Jeppesen, Azure Wu, Michele D’Aurizio, Rebecca Catching, Xin Wang and Jo-ey Tang, respectively — attempt to better understand this local debate. Additionally, three roundtables with artists, critics and thinkers Stephanie DeBoer, Ding Yi, Ingrid Fischer-Schreiber, Gong Yan, Gu Zheng, Jenny Lin, Liu Jianhua, Lu Yang, Francesca Tarocco, Yang Fudong and Xu Zhen consider how a coexisting “old” and “neo-modern” Shanghai is reflected in the city’s art scene. Visual projects by Birdhead and Lu Pingyuan phase the contents’ sequence.

Finally, this issue introduces two new columns: “Data” and “Macro.” The first is intended as a graphic exploration of art-industry phenomena, in this case a timeline of Shanghai’s “museum boom” of the last decade, compiled by Hanlu Zhang. In “Macro” — a theoretical essay that will delve into each issue’s general problematic — philosophers Anna Greenspan and Nick Land develop a concept of “neo-modernity” through their study of the traditional genre of calligraphic abstraction.

In Reviews:

Rochelle Goldberg at SculptureCenter, New York; Stewart Uoo at 47 Canal, New York; David Ireland at the San Francisco Art Institute and 500 Capp Street Foundation, San Francisco; Alexander May at LAXART, Los Angeles; David Muenzer at Reserve Ames, Los Angeles; Jac Leirner at Galeria Fortes Vilaça, São Paulo; Jemma Egan at the Zabludowicz Collection, London; Cornelia Baltes at Limoncello, London; Lars Laumann at the Kunstnernes Hus, Oslo; Peter Buggenhout at Konrad Fischer Galerie, Berlin; Cooper Jacoby at Mathew Gallery, Berlin; Claudia Comte at BolteLang, Zurich; Peter Shire at New Galerie, Paris; Riccardo Paratore at Federico Vavassori, Milan; Marieta Chirulescu at Galleria Fonti, Naples; Larissa Sansour at Lawrie Shabibi, Dubai; Wang Shang at Magician Space, Beijing; Simon Fujiwara at Taro Nasu Gallery, Tokyo.

We are pleased to announce Flash Art’s participation in the 2016 editions of the Armory Show (booth P11); Art Dubai; Art | Basel | Hong Kong (27); Art Paris; SP-arte; MiArt (5); Independent Brussels; Art Brussels; and artmonte-carlo.

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