|Titre :||Flash Art, Vol. 52 No. 323 - Novembre 2018 - janvier 2019|
|Type de document :||Bulletin : texte imprimé|
|Paru le :||01/11/2018|
|Année de publication :||2018|
|Note de contenu :||
We are pleased to announce that the November January issue of Flash Art is now out.
Bodily figuration features prominently in this issue of Flash Art, which includes Judy Chicagos Immolation (1972) from her Women and Smoke series (196874) on its cover. The work counts among those Chicago made before taking up the central core imagery that constitutes her landmark 197479 work The Dinner Party, with which she is often narrowly identified. On the occasion of Judy Chicago: A Reckoning, a major survey opening at the Institute of Contemporary Art, Miami, this December, Flash Art invited Géraldine Gourbe, Viki D. Thompson Wylder, William J. Simmons, and Stephanie Seidel to reflect on Chicagos practice and legacy. This special dossier seeks to supplement the artists popular recognition with a plurality of critical voices.
This issue also features an essay by Thomas Duncan on the work of Antek Walczak, who writes that the artist clearly exploits painting as a means of working through technological systems, social networks, and the omnipresent forces of capitalism, while also appearing distrustful of paintings ability to properly channel these ideas outside the realm of art.
Agnieszka Gratza interviews Tania Bruguera on 10,142,926, a takeover of Tate Moderns Turbine Hall this fall with a series of works and interventions that includes a heat-sensitive floor and a tear-inducing air diffuser.
My starting point was to ask: How can Tate be global and at the same time local? I suggested we talk to Tates neighbors and see how they feel about the institution, whether they feel welcome or not, and what would need to change in order for them to feel its their institution. Tania Bruguera
Tiana Reid on landscape and the figural in the sculptures of Tau Lewis:
By mining the line between a human figure and its other, artist Tau Lewiss doll-like figures make the known feel strange, and the strange feel known. Tiana Reid
Kerstin Stakemeier on Amy Sillmans new paintings:
Representation as arts historical, institutionalized function in modern society which much contemporary art prides itself as having overcome in Landline appears as a treacherous revenant, introducing the painterly impossibility of consistently staging visual affirmations of the present. Kerstin Stakemeier
Fanta Sylla speaks to artist and filmmaker Cauleen Smith on the occasion of her exhibition Give It or Leave It at ICA Philadelphia:
Give It or Leave It is just as you say, constructed around individuals, collectives, spaces, and places that reflect radical forms of generosity and visionary ideas around sociality and living and producing culture. Cauleen Smith
A New Job to Unwork at Participant Inc, New York; Maia Ruth Lee at Jack Hanley, New York; Daniel Steegmann Mangrané at CSS Bard, Hudson; Rebecca Belmore at AGO, Toronto; Aria Dean at Château Shatto, Los Angeles; Marie Angeletti and Bedros Yeretzian at Commercial Street, Los Angeles; Pablo Accinelli at MALBA, Buenos Aires; 33rd Bienal de São Paulo; Caitlin Keogh at The Approach, London; Lawrence Abu Hamdan at Chisenhale, London; Franz West at Centre Pompidou, Paris; Urban Zellweger at Kunstverein Nürnberg; Julien Ceccaldi at Kolnischer Kunstverein, Cologne; Now Forever at Galerie Crone, Vienna; Barbara Kapusta at Gianni Manhattan, Vienna; Jamie Crewe at Tramway, Glasgow; 12th Gwangju Biennale; Mohamed Larbi Rahhali at Voice Gallery, Marrakesh.
|22337||P / FLA||Périodique||Centre de documentation||Périodiques||Exclu du prêt|