Flash Art International no. 315 June–July–August 2017

We are pleased to announce that the June–July–August edition of Flash Art International is out now. Rei Kawakubo is the cover artist for this summer 2017 edition.

Having founded her label Comme des Garçons in 1969, Rei Kawakubo is only the second living designer (after Yves Saint Laurent) to be honored with a solo show at the Metropolitan Museum of Art. According to Jeremy Lewis, “What makes [her] clothes radical is that although they are not always recognizable as clothes, they were always meant to be worn.” Kawakubo’s deconstructed style –– raw and cerebral –– seems to take clothing outside of itself and to reposition it in a contemporary space nonetheless rooted within her own Japanese cultural tradition.

A season marked by global political uncertainty has foregrounded artist Pope.L’s long concern with just that: uncertainty, unknowability, misrecognition. In Whispering Campaign at Documenta 14, a fragmentary narrative is diffused throughout Athens twenty-four hours a day –– as it will throughout Kassel –– via city-wide speakers and wandering, whispering performers. In his conversation with Jibade-Khalil Huffman, Pope.L relates how he sees “language as a means of duration, and time as a way of making meaning.”

Also in this issue:

In “Macro”:

Tess Edmonson considers Lindsay Lohan as a cultural phenomenon.

“There’s a weird temporality to Lohan’s public flirtations with Islam under Trump, as though she’s misplacing Islam in the mediascape. Popular media has neither clichés nor discursive tools by which to attach her actions — those regarding the Quran, refugees, the Arabic language — to meaning.”

–– Tess Edmonson

In “Features”:

Chiara Parisi asks Pier Paolo Calzolari about his life and career, from Arte Povera to his current New York show.

“In the 1960s reality was different, totalizing, dictatorial. There was a sort of aristocracy of art, not a democratic ‘dissemination’ of it, which instead I observe now.”

–– Pier Paolo Calzolari

Amy Zion sheds light on the enigmatic art of Rodrigo Hernández.

“Instead of beginning from the premise that we all know what the world is, that it is one thing, and that an artist can find some sort of Archimedean point above it, from which she looks down and produces art and commentary, Hernández’s work remains stuck in the swamp of the world.”

–– Amy Zion

Jennifer Piejko considers the choreography of Ligia Lewis.

“In front of us, the dancers occasionally pause in a tense first ballet position, fists out at either side, before gracefully opening to a wide second and sliding into a discrete fourth before lunging into third position. Lewis maintains their tight stature: ‘Left foot!’”

–– Jennifer Piejko

Hyunjin Kim examines the filmmaking of Park Chan-kyong.

“In Park’s narrative, the history of Korean shamanism embodies the violence of the grand narrative of Korean modernization.”

–– Hyunjin Kim

In “Reviews”:

Jeff Geys at Essex Street, New York; Céline Condorelli at P!, New York; Lindsay Lawson at 8-11, Toronto; Mathis Altmann at Freedman Fitzpatrick, Los Angeles; Eliza Douglas at Overduin & Co., Los Angeles; Alexandre da Cunha at PIVÔ, São Paulo; “Disobedient Bodies” at The Hepworth Wakefield; Jacolby Satterwhite at Banner Repeater, London; Seth Price at Stedelijk Museum, Amsterdam; Bruno Gironcoli at Clearing, Brussels; Lucy Dodd at Sprüth Magers, Berlin; Rainer Fetting at Thomas Fuchs, Stuttgart; “Art/Afrique, le nouvel atelier” at Fondation Louis Vuitton, Paris; Amalia Del Ponte at Museo del Novecento and Studio Francesco Messina, Milan; Stephen Kaltenbach at Muzeum Sztuki, Lodz; Malak Yacout at Townhouse Gallery, Cairo; “A map of the world that does not include Utopia is not worth glancing at” at Beijing Commune; Lee Kit at ShugoArts, Tokyo.

We are pleased to announce Flash Art’s participation in the 2017 editions of Art Basel and Liste.

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Flash Art International no. 314 May 2017

We are pleased to announce that the May edition of Flash Art International is out now. The issue’s cover is dedicated to the late Italian artist Maria Lai, whose work is on display at both Documenta 14 and the 57th Venice Biennale.

Lai’s art developed in response to an art industry whose heteropatriarchal worldview — her teacher Arturo Martini saw her as a “little girl” from a terra vergine — became grist for projects of collective empowerment. The cover is a photograph from Lai’s action Legarsi alla montagna (Tying Oneself to the Mountain, 1981) in which the artist physically connected the inhabitants of her native Ulassai with a single ribbon, tied from house to house and up the mountainside overlooking the town. Barbara Casavecchia, who profiles the artist in this issue, calls Legarsi alla montagna “a contemporary rite for conquering the fear of being devastated, wiped out, cancelled.”

Lai’s projects, committed to tearing down normative understandings of the self, resonate with filmmaker Bruce LaBruce’s responses to today’s controversial and rapidly mutating gender discourse. His latest film, The Misandrists (2017), narrates the actions of a secret cell of feminist terrorists plotting a new female world order, pandering to the “male gaze” while audaciously subverting it. As LaBruce explains to Bruce Benderson: “I insert myself in the film as a nun, in drag, as a way of distancing myself from my own gaze, or making it self-conscious, to myself and to the audience. At the same time, the lesbians in the film are making and directing their own pornographic film, and that film, at some point, becomes the film we are watching. So in a sense the characters take over the making of the film.”

Also in this issue:

Ciara Moloney unveils the Apollonian and Dionysian in the work of Jill Mulleady.

“These works suggest that the restless nights filled with uneasy dreams will always take place amid the mundane reality of everyday life, the inference being that such phantasms are as workaday and banal as the washing-up.”

–– Ciara Moloney

Xavier Veilhan, Christian Marclay and Lionel Bovier talk about their collaboration for the French Pavilion at the 57th Venice Biennale.

“Duration really plays a central role, because if visual art falls within the domain of the instant, music comes in to impart its implicit chronology to the project.”

–– Xavier Veilhan

In his discussion of Patrick Jackson, Associate Editor Eli Diner addresses what it means to “know yer city.”

“Whatever distinct signification we see in, say, the stoic black male youth or the menacing bearded white guy, the overall effect of this typology of countenances is, more than anything, the surface and texture of urban experience.”

–– Eli Diner

Surveying the art of Yan Xing, writer and curator Boliang Shen notes a predilection for absence.

“However, absence also signals an act of extreme passivity. To some extent, to make art is not to create from a position of authority but to do so in the absence of power.”

–– Boliang Shen

In “Time Machine”:

Jeff Rian asks Vija Celmins about the conscious and unconscious processes that bring art to life.

“One of the reasons that I make small paintings is that I want you to grasp limits. Okay, the ocean is vast and amazing, but the painting has limits: it’s a controlled object; you can see what it’s made of when you get close to it. At maybe ten feet it goes flat. It lives through your interacting with it.”

–– Vija Celmins

In “Reviews”:

Paul Chan at Greene Naftali, New York; Agnès Varda at Blum & Poe, New York; Michael Jones McKean at The Contemporary, Baltimore; Olga Balema at Hannah Hoffman, Los Angeles; “Hippie Modernism” at Berkeley Art Museum; Faivovich & Goldberg at Slyzmud, Buenos Aires; Alice Theobald at Pilar Corrias, London; Ian Wallace at Greta Meert, Brussels; Lawrence Carroll at Buchmann, Berlin; Michael Sailstorfer at König, Berlin; Michael Krebber at Kunsthalle, Bern; Taro Izumi at Palais de Tokyo, Paris; Hercule Florence at NMNM, Monaco; “Art et Liberté” at Museo Reina Sofía, Madrid; Will Benedict at Fondazione Giuliani, Rome; Garage Triennial of Russian Contemporary Art; Neïl Beloufa at Pejman Foundation, Tehran; Paulo Monteiro at Tomio Koyama and Misako & Rosen, Tokyo.

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Flash Art International no. 313 March – April 2017

We are pleased to announce that the March – April issue of Flash Art International is out now.

Discussing the painting practice of Kerry James Marshall with Hans Ulrich Obrist, fashion designer Grace Wales Bonner cites Marshall’s intention to keep producing images of blackness “so that you’re broadening the spectrum and flooding people with that kind of imagery until it becomes normal.” “I think that’s probably why I’m on this path as well,” she concludes. Her words are central to this issue of Flash Art, which is premised on broadening the spectrum of representation of disenfranchised and marginalized communities and giving voice to creatives emerging out of these groups.

This issue gathers together artists and practitioners concerned with the development of creative languages “for empowerment,” all of whom “weaponize” creativity. In a tacit homage to Lutz Bacher’s interview project “Do You Love Me?” our cover artist Puppies Puppies meets with fellow Los Angeles–based artist Nancy Lupo. To his question, “What do you think about power in my work?” Lupo replies: “We are mutually vulnerable. The project of finding out when and where love begins is irresistible because it allows you to inscribe yourself into something that’s already happening. You get to choose your archetype, although it’s true that archetypes can be vexing, as are readymades.”

Also in this issue:

Associate Editor Tess Edmonson surveys the drawings and narratives of Amsterdam-based Chinese artist Evelyn Taocheng Wang.

“As Wang moves in and out of alignment with a fixed and oversimple image of Asian culture and subjects, she both lives through and performs her alienness.”

–– Tess Edmonson

Charlotte Laubard examines the “self-taught” Italian artist Roberto Cuoghi, whose empirical methodology infuses creation with emancipation.

“What stands out in Cuoghi’s practice across the twenty years since he left art school is his obstinate drive to develop each project like a leap into the unknown.”

–– Charlotte Laubard

In his exploration of Raymond Pettibon as an art-world outsider turned insider, Associate Editor Eli Diner discusses the phenomenon of zines in vitrines.

“The obsolescence of the social and political milieu that incubated Pettibon’s snide and violent comics of sexual anxiety and juvenile delinquency facilitates the transfiguration of the drawings into happily deracinated luxury commodities.”

–– Eli Diner

Tayyab Amin addresses the sound environments created by musical collective NON WORLDWIDE.

“In headphones, it demands full attention. The same music on a sound system feels like an attempt to rewrite and re-canonize the physical and cultural architecture of club spaces that are so often tainted with white-supremacist heteropatriarchy.”

— Tayyab Amin

In “Reviews”:

Beverly Buchanan at Brooklyn Museum, New York; Ann Greene Kelly at Chapter, New York; Andrea Crespo at List Visual Arts Center, Cambridge (MA); Cauleen Smith at University Art Galleries, Irvine; Ian James at Vacancy, Los Angeles; General Idea at Museo Jumex, Mexico City; Do Ho Suh at Victoria Miro, London; Alex Baczynski-Jenkins at Chisenhale Gallery, London; Emily Wardill at Bergen Kunsthall; Raoul De Keyser at Zeno X, Antwerp; Sean Snyder at Neu, Berlin; Omer Fast at Martin Gropius Bau, Berlin; Tala Madani at Le Panacée, Montpellier; Peter Campus at Jeu de Paume, Paris; Jean Pigozzi at Gmurzynska, St. Moritz; Huda Lutfi at Gypsum, Cairo; Trevor Young at Magician Space, Beijing; Tetsuro Kano at Yuka Tsuruno, Tokyo.

This issue introduces Tess Edmonson as Associate Editor. Tess replaces Laura McLean-Ferris, who after serving Flash Art brilliantly for nearly three years is leaving her position to undertake new cultural endeavors. Welcome Tess, good luck Laura!

Finally, we are pleased to announce Flash Art’s participation in the 2017 editions of Armory Show, New York; Independent New York; Art Dubai; Art | Basel | Hong Kong; miart, Milan; sp-arte, São Paulo; Art Brussels; and Independent Brussels.

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Flash Art International no. 312 January – February 2017

We are pleased to announce that the January – February 2017 issue of Flash Art International is out now.

While reviewing past issues of Flash Art, we stumbled upon an article by British artist Victor Burgin discussing the show “Difference: On Representation and Sexuality,” held at the New Museum, New York, in 1984. According to the show’s press release, it was premised on “recent interest in the issue of representation [that] has prompted many artists to explore the cultural formation of our notions of sexuality.” In Burgin’s article, which we reprinted as this issue’s “Time Machine,” he analyses in terms of the “difficulty of difference” the critical response against the “political conceptualism” embraced by many of the “Difference” artists, whose works were dismissed as démodé during a time when formalist and expressionist fashions were ascendant. “What was at issue in the work was not a transient aesthetic form but a long-established semiotic form — text/image — encountered in most aspects of the everyday environment.” Defending his and his fellow artists’ lack of concern with the development of a recognizable style, Burgin explains that “the work of such ‘works of art’ was upon systems of representations which were not confined within the institutions and practices of ‘art.’” Amid the hostility encountered by the “Difference” works, Burgin discerned “a reflex refusal to admit difference that has more to do with our ‘large-scale’ politics than we care to imagine.”

This issue of Flash Art takes Burgin’s meditation as a starting point to stimulate a discourse around difference within the current political climate. On the one hand, as theoretician Walter Benn Michaels suggests in this issue’s “Macro,” reflecting on the recent Kelley Walker show at CAM St. Louis, the politics of representation may be a red herring with regard to the problem of economic inequality and the critique of capitalism; on the other hand, artist Jimmie Durham, also featured in this issue with an essay by Jennifer Piejko, boasts a lifelong engagement in civil rights struggles, mastering the “specificity of the political in art” that emerged through the political dissensus of Burgin and his fellow “political conceptualists.” To highlight a vivid distinction between the representation of politics and the politics of representation — both in art and in life — should be our goal for the year we are entering.

Also in this issue:

Olivian Cha examines the transitional paintings of Sadie Benning.

“Benning possesses a singular ability for identifying the most elusive spatial and temporal shifts in form and further embodies them across different media and mediums.”

— Olivian Cha

Associate Editor Eli Diner discusses the images and objects of Oliver Payne.

“As much as Payne’s objects and images present a glimpse onto other worlds, they are two-way portals — the gaze passes this way as well.”

— Eli Diner

In conversation with Assistant Editor Alex Estorick, Paul Pfeiffer addresses what the age of augmented reality means for art.

“I’m trying to find a form that includes a jump from one dimension of reality to another, because in a way that’s the aesthetic experience essential to our consciousness now.”

— Paul Pfeiffer

Associate Editor Laura McLean-Ferris talks to Anna-Sophie Berger about the care and attentiveness at the heart of a social life.

“To me care is not confined to the realm of objects but is naturally also expanded to care of oneself — notions of the fragility of life and finitude as an ultimate bracket to existence.”

— Anna-Sophie Berger

In “Micro”:

Responding to Paolo Sorrentino’s The Young Pope, Cristiano de Majo reflects on shifts in representation of power in recent TV shows.

“In The Young Pope, the sovereign is left with little to do other than exercise free will, in its more or less rational manifestations.”

In “Reviews”:

Georgie Nettell at Reena Spaulings, New York; Alex Da Corte at Maccarone, New York; Pietro Roccasalva at The Power Station, Dallas; Fred Lonidier at Michael Benevento, Los Angeles; Paul Sietsema at Matthew Marks, Los Angeles; Matthew Hale at José García, Mexico City; Bojan Šarčević at Modern Art, London; James Richards at ICA, London; Leigh Ledare at Office Baroque, Brussels; Hannah Perry at Contemporary Fine Arts, Berlin; Etel Adnan at Institut du monde arabe, Paris; Sarah Charlesworth at Campoli Presti, Paris; Biennale de l’Image en Mouvement, Geneva; Wael Shawky at Castello di Rivoli and Fondazione Merz, Turin; Bianca Baldi at Swimming Pool, Sofia; Naama Tsabar at Dvir, Tel Aviv; Chen Shaoxiong at Boers-Li and Tang Contemporary, Beijing; He Xiangyu at Kaikai Kiki and SCAI The Bathhouse, Tokyo.

We are pleased to announce Flash Art’s participation in the 2017 editions of artgenève, Geneva; Arte Fiera, Bologna; Zona Maco, Mexico City; Arco, Madrid; and LA Art Book Fair, Los Angeles.

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Flash Art International no. 311 November – December 2016

We are pleased to announce that the November – December issue of Flash Art International is out now. This issue explores the interfaces between clubs, clubbing culture and creative communities.

The issue is built on two mirroring trajectories. The first addresses club nights, which since the early 2000s have served as backdrops for some of the world’s most vibrant urban scenes: Asian Dope Boys in Beijing and Shanghai (by Milia Xin Bi); Bliss in Vienna (by Natalie Brunner); Clara 3000 in Paris (by Daniele Balice); Dudesweet in Bangkok (by Onsiri Pravattiyagul); GHE20G0TH1K in New York (by Alex Frank); House of Mixed Emotions in Zurich (by Daniel Horn); Janus in Berlin (by Tess Edmonson); Mamba Negra in São Paulo (by Vinicius Duarte and Germano Dushá); N.A.A.F.I in Mexico City (by José Esparza Chong Cuy); Príncipe in Lisbon (by Margarida Mendes); Progresso in Milan and Club Adriatico in Ravenna (by Michele D’Aurizio); Skotoboynia and VV17CHOU7 in Moscow (by Felix Sandalov); Tropical Waste in London (by Steph Kretowicz); and Wildness in Los Angeles (by John Tain). A nexus for new understandings of the collective, these parties are signifiers not only for new sonic endeavors, but also for new dance-floor configurations, new dance moves, even new personifications of the “clubber.”

Our second trajectory examines artists who have considered clubbing culture through their own practices. Pierre-Ange Carlotti, Chen Wei, Anne de Vries, Amy Lien & Enzo Camacho, Daniel Pflumm and Stephen Willats have been invited to share how they process and interpret the social ritual of clubbing.

For the issue’s “Data” we have linked up with the research studio AMO. Ippolito Pestellini Laparelli introduces a special project that digs into the status of contemporary nightlife and its spatial implications. In line with these questions, for the issue’s “Macro,” Martti Kalliala invites us to consider clubs as built spaces with layered temporalities, designed not as ephemeral interiors but rather reconciling the incommensurate timescales of a building that might last several centuries and an individual club with a limited lifespan.

While the 1990s are still regarded as the era of high clubbing, this issue affirms the many social and cultural innovations that clubs have nurtured for millennials, reminding each of us to never stop dancing.

In Reviews: Ryan Gander at Lisson Gallery, New York; Kyle Thurman at Off Vendome, New York; Kelley Walker at the Contemporary Art Museum, Saint Louis; Ry Rocklen at Honor Fraser, Los Angeles; Xanti Schawinsky at Karma International, Los Angeles; Akram Zaatari at Galpão VB, São Paulo; Olivier Foulon at Kunstraum; Olivia Plender at Maureen Paley, London; Mohamed Bourouissa at the Stedelijk Museum, Amsterdam; Decor at the Boghossian Foundation, Brussels; Joachim Bandau at Galerie Thomas Fischer, Berlin; Dena Yago at Sandy Brown, Berlin; Gülsün Karamustafa at Galerie Krinzinger, Vienna; Adrift on Plastic Island at Galerie Bernhard, Zurich; Valerie Keane at High Art, Paris; Dominique Gonzalez-Foerster at the MAAT, Lisbon; Sadie Benning at Kaufmann Repetto, Milan; Mediations Biennale, Poznań; Human Commonalities at the Vadim Sidur Museum, Moscow; Hu Yun at Aike–Dellarco, Shanghai; Danh Vō at White Cube, Hong Kong.

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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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