Flash Art International No. 275 out now
Flash Art is out with three covers by Tadeusz Kantor, Taryn Simon and Fabio Mauri.
Highlights from the news section: an interview with Mike Kelley about Mobile Homestead, the artist’s first public art project; reviews of the 29th Bienal de São Paulo, the 1st Aichi Triennale and the 6th Liverpool Biennial, followed by an interview with Zhu Tong, one of the curators from the 1st edition of the Nanjing Biennale; the “Contemporary Art Market – Fall 2010,” which concentrates on the hype that surrounds both young and established artists when it comes to recent (inflated) prices at the auction houses; “The Temporary Stedelijk,” which reflects on the Amsterdam Institution’s unique state “between being a building and a museum;” Adam McEwen, who responds to a series of quotes in relation to his “Carte Blanche” exhibition at Palais de Tokyo, “Fresh Hell”; and Christiane Rekade, who talks about curating 2010 blauorange art prize winner Klara Liden’s solo exhibition at the Bonner Kunstverein.
Features open with “Towards 2011,” Giancarlo Politi‘s survey on the art market, which offers almost 40 international gallerists’ views on the past season while forecasting the next.
This issue’s “Collecting” introduces MONA, the Museum of Old and New Art that Australian collector David Walsh, here interviewed by Jarrod Rawlins, will open in January of next year in Hobart, Tasmania. MONA will feature, among other much more, Christian Boltanski’s live 24-hour video The Life of C.B.
Writer, editor and designer Brendan McGetrick speaks with Ai Weiwei about his Unilever commission in Tate Modern’s Turbine Hall, the importance of collecting antiques and why sunflower seeds are haunting him.
Talking with Jenny Schlenzka, Assistant Curator of MoMA’s Media and Perforance Art Department, Taryn Simon tells about her latest body of work “Contraband.” Simon also discusses past works and the physical and conceptual difficulty of working outside of US borders for the first time on her upcoming project.
In 1957, Harald Szemann—who was leaving the world of theater to start a new profession as an exhibition maker—stated that the latter “[…] gives you the same rhythm as in theater, only you don’t have to be on stage constantly.” For “Amarcord,” Barry Barker recalls his visit in 1969 at London’s I.C.A. to “When Attitudes Become Form,” Szemann’s landmark exhibition.
“My creation was—and still is—my Home. The painting, the performance, the theatre, the stage.” On the 20th anniversary of the artist’s death, Tadeusz Kantor‘s rich body of work is discussed by Heike Munder, Director of migros museum Zürich, where in 2006 she curated a comprehensive exhibition of the artist’s work.
Italian artist Fabio Mauri was obsessed with theater, his main reference together with cinema. The artist is portrayed by critic Laura Cherubini through selected interviews with the artist from the last ten years.
Betti-Sue Hertz, Director of Visual Arts at Yerba Buena Center for the Arts, examines the contemporary relationship between visual arts and the theater with an essay that focuses on the practices of Geoffrey Farmer, assume vivid astro focus, Daria Martin, Kelly Nipper, Ulla von Brandenburg and Enrico David.
Pakistan-born artist Huma Bhabha talks to her friend and fellow artist Matthew Day Jackson about Duchamp, Brancusi, Giacometti, her peculiar interpretation of visual culture as a whole and the significance of the Urdu word bezabaan in her work.
In an interview with writer and art critic Bettina Mathes, Susan Hefuna discusses her recent project “MAPPING VIENNA.” Hefuna elaborates on the project that consists of 15 interventions in public spaces throughout the Austrian capital, and talks about how it challenges xenophobia and orientalism.
In this issue’s “Global Art,” Ann Hamilton’s Stylus, at the Pulitzer Foundation for the Arts in St. Louis, is discussed by Jeffrey Hughes, while Marcel Broodthaers‘ exhibition at Marian Goodman and Michael Werner galleries is reviewed by Gregory Montreuil in Flash Art’s “Spotlight.”
This issue’s “Brand New” artists are: Amanda Ross-Ho, interviewed by Michael Ned Holte; Claire Hooper, interviewed by Ian Hunt; and Ryan McNamara, interviewed by Miriam Katz.
This issue’s reviews include:
Sue Williams; Jonas Mekas; Dmitry Gutov; Katherine Bernhardt; Paul McCarthy; Jen DeNicke; Richard Hawkins; Polly Morgan; Mary Reid Kelley; Michael Fullerton; Bettina Pousttchi; Tim Eitel; Lisa Oppenheim; Sophie Bueno-Boutellier; Pierre Bismuth; Valentin Carron; Isa Melsheimer; Martha Rosler; Modernikon; Naoya Hatakeyama; Fernanda Gomes; Simon Evans.
Fabio Mauri, Gran Serata Futurista 1909 -1930, 1980. Ricostruzione futurista dell’Universo di Balla e Depero. Teatro Goldoni, Venezia, 1986. Courtesy Studio Fabio Mauri. Photo: Maria Mulas.
Taryn Simon, Bird corpse, labeled as home décor, Indonesia to Miami, Florida (prohibited), 2010. © Taryn Simon. Courtesy Gagosian, New York / Los Angeles / London / Rome / Paris.
Tadeusz Kantor, Children at Their Desk (from the play “The Dead Class”), 1989. Wood, cloth, polychlor vinyl, glas, hair, 144 x 330 x 260 cm. Installation view at migros museum für gegenwartskunst, Zürich, 2008. Courtesy Cricoteka, Krakow. Photo: A. Burger.