Flash Art International no. 313
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.”
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.”
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.”
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.”
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 La Panacée, Montpellier; Peter Campus at Jeu de Paume, Paris; Jean Pigozzi at Gmurzynska, St. Moritz; Huda Lufti at Gypsum, Cairo; Trevor Yeung 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 Art Dubai; Art | Basel | Hong Kong; miart, Milan; sp-arte, São Paulo; Art Brussels; and Independent Brussels.