Flash Art 332 – Exhibition and Reflection
Flash Art breaks new boundaries with each issue. Featuring articles and interviews on new and emerging artists who will one day be the stars of the contemporary art market. – Starting with this issue, Flash Art will become a seasonal publication. It has doubled its page count and contents to offer readers a more in-depth, discursive experience.
Flash Art 332 – Exhibition and Reflection | Issue Fall 2020
Flash Art 332 – Exhibition and Reflection | After more than fifty years of history, Flash Art is ready for reinvention. Starting with this issue, Flash Art will become a seasonal publication. It has doubled its page count and contents to offer readers a more in-depth, discursive experience. A new logo also heralds this change: an apparent return to the visual identity of Flash Art, albeit revised and updated with an evolving graphic layout. The new logo is designed by Agenzia del Contemporaneo under the art direction of Alessio Avventuroso, with the exclusive “ABC Gravity” typeface designed by Dinamo – to be released in 2021.
This issue will explore the dynamic hybridization of the languages of contemporary art, focusing on the theme of the curatorial process — the exhibition as a moment of reflection and revelation with infinite potential for investigation. Central role in this landscape, Germano Celant (1940–2020) to whom Terry Smith and Pascale Krief essays pay tribute defining how the visionary curator and critic upended the criteria for curating and exhibiting contemporary art. These pages analyze in depth practices of artists such Liliane Lijn – cover story of this issue – Philippe Parreno’s work which tirelessly tests the limits of the exhibition format; the oral practice of Ian Wilson, as well as the curatorial abuses, as Françoise Roche points out in regard to Yona Friedman.
Also in this issue Barbara London’s survey on sound-based art practices; Matthew Linde’s visual project on Masahiro Nakagawa’s 20471120; a conversation with The Kitchen, New York on the concept of artist residency in relation to the current states of art production through projects by Autumn Knight and Baseera Khan; Letter from the City’s first chapter by Ivana Basic – a brand new column conceived as a correspondance embodying artists thoughts as an overlap between the internal and external world.
Reviews: “Don’t Let This Be Easy” Walker Art Center, Minneapolis / Rose Wylie “where i am and was” Aspen Art Museum, Colorado / Toyin Ojih Odutola “A Countervailing Theory” Barbican Centre, London / Robert Morris “The Perceiving Body” MAMC+, Saint-Étienne Métropole / “Shifting Proximities” Nxt Museum, Amsterdam / Irma Blank “Blank” CCA – Center for Contemporary Art and at the Bauhaus Foundation, Tel Aviv / Martin Kippenberger “K” Fondazione Prada, Milan / “Untitled, 2020. Three perspectives on the art of the present” Punta della Dogana, Venice.
Cover: Liliane Lijn, Lilith, 2001. Patinated bronze, phlogopite mica, gas, brass and stainless steel fittings. 186.5 × 55.5 × 60 cm. Courtesy of the artist and Rodeo, London / Piraeus.