Flash Art 321 June – August 2018

We are pleased to announce that the June – August issue of Flash Art – International Edition is out now.

The articles and interviews included in this issue of Flash Art address the human body, introducing artistic practices that push the body’s physical boundaries and challenge its codified representations. For example, in the paintings of Venezuelan-born, California-based Luchita Hurtado, this issue’s cover artist, the body becomes a landscape or is self-portrayed from the artist’s own perspective, with no mirrors or cameras to aid her, as a way to connect the personal with the contextual. “[Hurtado’s] body multiplies and moves from confined domestic spaces into public, wide-open spaces, acting as a sincere pre-selfie browser that brings its vulnerability with it everywhere,” writes Catherine Wagley in her article on the artist.

Also contained in this issue is a twelve-page dossier dedicated to artist, educator, curator, and cultural theorist Ian White, who died of cancer in 2013 at the age of forty-two. Compiled on the occasion of the Camden Arts Centre’s current overview of White’s output, the dossier reconsiders White’s critical strategies, all of which engage the body as a site of inquiry for examining the historical and political conditions for making and presenting art. According to Federico Florian, who along with Emma Hedditch and Matt Wolf contributed to the dossier, White saw “movement in all of its connotations — relating to the performing body, the muscle-mind, and that of the encroaching illness — [as] a constant concern. As if thinking and talking about gestures, about motion, was a way to stay active and critically receptive.”

Also in this issue:

Lena Henke shares with Tenzing Barshee her thoughts about materiality and ephemerality, and the exhausted representational function of sculpture.

“I like to explore the intimate dimension of urban space, to build on it as if it is a material that I can make malleable and shape.” —Lena Henke

Martti Kalliala on the transformational experience of Burning Man:

“Why and how has Burning Man itself and the act of signaling membership to its ethos via a codified aesthetic concoction of steampunk tropes, offensively appropriated indigenous ceremonial attire, the psy-porn of visionary art, never-never land, and drop-crotch pants become aspirational?”

—Martti Kalliala

Eric N. Mack discusses with Jessica Bell Brown the tactility of his materials and how their constant echo of the human body intimates the communicative potential of the fashion item.

“I want to try to make a record of the familiar, just to see the abstraction in everyday things. And not just a part of a tangibility — it’s a world we live in that sits adjacent to understanding. Understanding our bodies, understanding space, understanding feeling.” —Eric N. Mack

Dana Renga on the the signature style of director Stefano Sollima:

“Sollima has made a name for himself by presenting Italian tragedy in a visually compelling format that is entertaining and highly addictive.” —Dana Renga

In “Archive”:

Bruce Nauman

By Isabelle Graw

Originally published in Flash Art – International Edition 169, March – April 1993

In “Reviews”:

Jenny Saville at Gagosian Gallery, New York; Charles Ray at Matthew Marks Gallery, New York; Otobong Nkanga at the Museum of Contemporary Art, Chicago; Gordon Hall at MIT List Visual Arts Center, Cambridge (MA); Benjamin Reiss at Bel Ami, Los Angeles; Wolfgang Stoerchle at Overduin & Co., Los Angeles; Ícaro Lira at Galeria Jaqueline Martins, São Paulo; Linder at Nottingham Contemporary; Joseph Beuys at Galerie Thaddaeus Ropac, London; Judith Hopf at Statens Museum for Kunst, Copenhagen; Monika Baer at Galerie Barbara Weiss, Berlin; Stanley Whitney at Galerie Nordenhake, Berlin; Alfredo Volpi at NMNM, Monaco; Ydessa Hendeles at Kunsthalle Wien, Vienna; “Post Zang Tumb Tuum. Art Life Politics. Italia 1918–1943” at Fondazione Prada, Milan; Tarek Atoui at NTU Centre for Contemporary Art Singapore; Omer Fast at Guangdong Times Museum, Guangzhou; Xavier Cha at Empty Gallery, Hong Kong.

We are pleased to announce Flash Art’s participation in the 2018 editions of Art | Basel | Basel (hall 1.1, booth Z03); Liste, Basel; I Never Read, Basel; Chart, Copenhagen; and Art-o-Rama, Marseille.

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Flash Art International no. 319 March – April 2018

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

This issue of Flash Art introduces a new graphic identity. Developed by Wrong Studio in Copenhagen, the new design reinvigorates the magazine’s more than five-decade-long commitment to exploring, alongside our readers, the ever-changing landscape of contemporary visual culture. Our new logo, sleek and forward-looking, is a reinterpretation of our iconic sans-serif masthead of the 1970s. The inside pages preserve the neatly organized approach to content that distinguished the magazine’s previous design, while pursuing a less orthodox treatment of imagery: works of art and their critical readings are more freely entangled, in the service of a dynamic layout that remains manifestly legible. A more engaging table of contents; a continued diversification of discursive formats; longer exhibition reviews; and specially commissioned visual projects all contribute to a new look and feel for this flagship publication of one of the leading voices in art journalism.

On the occasion of the artist’s upcoming retrospective at MoMA, New York, this issue presents a twenty-page dossier dedicated to Adrian Piper. Since the 1960s, Piper has used the language of Conceptual art to examine the social construction of identity, in many ways anticipating contemporary discussions on race and gender in the institution. Alongside newly commissioned contributions by Charles Gaines and Yaniya Lee, we republish an essay Piper contributed to Flash Art in 1993, in which she argues that modernist formalism rendered “politically and socially impotent a powerful instrument of social change — visual culture.” Indeed, as Gaines writes in the following pages: “Piper presciently recognized that visuality holds the key to emancipation from stereotype.” Following the trajectory of Piper’s vision, we raise our flag in acknowledgment of the power of the political in visual culture.

Also in this issue:

Maurizio Cattelan and Marta Papini talk to art-world boundary explorer Asad Raza

“What I do is to propose some… ‘thoughts’ is the wrong word. Some mixed up experiences. I think of them as metabolic systems where humans, their games, animals, minerals, plants, and objects are all playing a part. And the parts are both parts and a whole.” —Asad Raza

Tenzing Barshee on the ever-malleable materials of Margaret Honda

“From her sculptures to her recent film projects, it is material properties, availabilities, and parameters, industrial and otherwise, that inform the outcome of Honda’s work. She treats limitations as potential and uses them as guidelines for her own process.” —Tenzing Barshee

Stephanie Seidel talks to Juan Antonio Olivares about his 3-D animation Moléculas

“For me Moléculas is definitely not a work illustrating a political topic — it’s not a piece about displacement or immigration. It’s just one of the many possible references it can take on and absorb over time. In my opinion, Moléculas conveys a more universal idea of displacement.” —Juan Antonio Olivares

Thomas Duncan on photography and corporeality in the work of Josh Tonsfeldt

“Tonsfeldt’s artworks stem from an intense personal relationship to the devices and materials he employs; as he gets to know them intimately they become not only instruments of capture but also veritable extensions of his own body.” —Thomas Duncan

David Andrew Tasman on Anna Uddenberg’s heterotopic forms

“At times Uddenberg’s sculptures appear both impacted by the present-past as much as the present-future. They seem to posit that, because the pressures on today’s subject are unsustainable, the only sustainable subject will be the posthuman subject.” —David Andrew Tasman

Eli Diner on the captivating and inscrutable sculptures of Michael E. Smith

“Smith, we are told, is painstaking with his installations, spending long periods in a space. Many of the sculptures only take their final form during these hours of creative gestation. The viewer’s entire experience of the exhibition is overwritten with inaccessible subjectivity. These are inside jokes.” —Eli Diner

In “Reviews”:

Jesse Darling at Chapter NY, New York; Kathe Burkhart at Mary Boone Gallery, New York; Juliette Blightman and Ellie Epp at Western Front, Vancouver; Shana Lutker at Susanne Vielmetter Projects, Los Angeles; “Mechanisms” at CCA Wattis Institute for Contemporary Art, San Francisco; Tunga at MASP, São Paulo; Peter Doig at Michael Werner, London; Lydia Ourahmane at Chisenhale, London; Ericka Beckman at KW Institute for Contemporary Art, Berlin; Marianne Wex at Tanya Leighton Gallery, Berlin; Albert Mertz at Croy Nielsen, Vienna; Enzo Cucchi at Galerie Balice Hertling, Paris; Tobias Spichtig at Malta Contemporary Art, Valletta; Francesco Lo Savio at MART, Rovereto (Trento); “You’ve got 1234 Unread Messages” at Latvian National Museum of Art, Riga; Francis Alÿs at Beirut Art Center, Beirut; Mithu Sen at Chemould Prescott Road, Mumbai; Nancy Lupo at Antenna Space, Shanghai.

We are pleased to announce Flash Art’s participation in the 2018 editions of The Armory Show, New York; Art Dubai; Art | Basel | Hong Kong (booth 26); Art Paris; SP-Arte, São Paulo; miart, Milan; and Art Brussels.

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Flash Art International no. 316 September – October 2017

We are pleased to announce that the September – October issue of Flash Art International is out now. This issue serves as a window on developments in the field of artificial intelligence. It therefore sits at the intersection of several contiguous discourses, among them contemporary art and new media studies, as well as computer and social science. Our ongoing cession of identity to nonhuman agents and intelligence demands new structures of analysis.

This edition divides its treatment of AI according to theories of utopia and dystopia, of existence and consciousness, and of gender and identity. For each of our featured artists (Ian Cheng by Sandro Weilenmann; Mario Klingemann by Luba Elliott; Sondra Perry by Nora N. Khan; Sam Lavigne; Harold Cohen’s AARON by Alex Estorick; Lawrence Lek by Anya Harrison; Jenna Sutela; Lynn Hershman Leeson by Elvia Wilk; and Cécile B. Evans by Katharina Weinstock) AI serves as a problematic –– oscillating between visibility and invisibility –– that articulates the struggle to represent our changing selves through often hybrid approaches to new technologies.

How does art reveal the cyborgian condition? How might automation reduce cultural diversity? Will AI render artists and curators jobless? And what happens when robots get tired of our oppression? Contributors to this issue — scholars, writers and researchers from the fields of data analysis, systems theory and digital culture — seek to address these and many other questions.

Edward A. Shanken triangulates the work of artists Leonel Moura and Stelarc with insights on human-robot interaction. Katherine Cross exposes the racially and gender-motivated bigotry hardwired into the nascent AI “service industry.” Eli Diner explores scenarios of automating the looking at and the making of art. Steve Kado questions whether, by fueling the AI project, we are really asking machines to change our minds. Lev Manovich sheds light on AI’s role in our cultural lives through his ongoing analysis of big cultural data and global cultural trends.

Against a backdrop in which AI’s implications are being contested by Elon Musk and Mark Zuckerberg, our final word, with Ars Electronica’s artistic director Gerfried Stocker, cautions against leaving developments in machine learning up to engineers and private companies, instead suggesting that AI be considered in relation to society as a whole.

In “Reviews”:

Louise Lawler at MoMA, New York; Sidsel Meineche Hansen at Ludlow 38, New York; “In Search of Expo 67” at the Musée d’art contemporain, Montreal; Marisa Merz at the Hammer Museum, Los Angeles; Camille Blatrix at Bad Reputation, Los Angeles; Manuel Solano at Karen Huber, Mexico City; Mathis Gasser at Chewday’s, London; Richard Serra at Museum Boijmans, Rotterdam; Win McCarthy at Silberkuppe, Berlin; Jenny Holzer at Hauser & Wirth, Zurich; Beatriz González at Peter Kilchmann, Zurich; Cerith Wyn Evans at Marian Goodman, Paris; Haroon Mirza at LiFE, Saint-Nazaire; Nick Mauss at the Serralves Museum, Porto; “TV 70” at the Fondazione Prada, Milan; “Moscow Diaries” at MMOMA, Moscow; “Canton Express” at the M+ Pavilion, Hong Kong; and Patty Chang at Bank, Shanghai.

Finally, we are pleased to announce Flash Art’s participation in the 2017 editions of Contemporary Istanbul; Art Berlin; Vienna Contemporary; Frieze London; Fiac, Paris; and Paris Internationale.

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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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