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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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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