This issue of Flash Art introduces a new graphic identity. Developed with 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 the flagship publication of one of the leading voices in the field of 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.
Art Is Like a Vampire. Interview with Asad Raza
by Maurizio Cattelan and Marta Papini
To Be. The ever-malleable materials of Margaret Honda
by Tenzing Barshee
by Yaniya Lee
The Logic of Modernism: How Greenberg Stole the Americans Away from a Tradition of Euroethnic Social Content
by Adrian Piper (Originally published in Flash Art 168, Jan – Feb 1993)
Of Visuality and the Politics of White Fear
by Charles Gaines
Self-Abstractions. Juan Antonio Olivares’s 3-D animation Moléculas, 2017
by Stephanie Seidel
Savage Space. Anna Uddenberg’s heterotopic forms
by David Andrew Tasman
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.