September 5, 2019
“…the purported cause of such unconstitutional police stops, which may lead to a fatal incident, is an officer reporting a supposedly non-functioning rear taillight as a pretext to stop a civilian motorist…”
These last few months of global geopolitics and history have highlighted once again the delicate moment in which we are living. Over the past three years, almost four now, we have witnessed a global crisis due to an overabundance of information and a plurality of vision that, nonetheless, produces uncritical and “simplistic narrative,” (James Bridle, New Dark Age, 2018). Our lack of control over technology has contributed to the resurgence of nationalism, homophobia, and ethnic division—meanwhile the average temperature of Earth’s surface continues to rise and global biodiversity, instead, falls.
This issue of Flash Art, published during a crucial moment, looks toward the visual arts and the transitions the art world is currently undergoing, with the aim of giving voice to those who are often questioned by the very same systems of division and control.
Flash Art #327 features a special cover and project focused on Luke Willis Thompson’s oeuvre. Also in this issue Candice Breitz, Meriem Bennani, Marianna Simnett, Elysia Crampton, Too Old to Die Young and essays by Pierre Bal-Blanc and Monique Roelofs. A selection of excerpts from Intervista, Flash Art’s side publication on visual culture in the late 90’s.
Reviews: Whitney Biennial 2019; Olga Balema; Landlord Colors; Inner Ear Vision: Sound as Medium; Yutaka Matsuzawa; Lois Dodd; Wong Ping; Libita Clayton; Lis Rhodes, Les Chemins du Sud, une théorie du mineur; Geumhyung Jeong; Thomas Hirschhorn; Gelitin & Liam Gillick; Homeland; Andreas Angelidakis; Tawan Wattuya; Takahata Isao; Tracey Moffatt
Flash Art #327 will be distributed during 16th Istanbul Biennial, 15th Biennale de Lyon, 1st Toronto Biennial and Contemporary Istanbul, Expo Chicago, Frieze London, FIAC Paris, Paris Internationale, Paris Photo, Artissima, Beirut Art Fair, wopart.
