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#330 April-May 2020
Selected articles

Invulnerable Vulnerabilities: Tala Madani and Nathaniel Mellors Discuss Life and Art in the Time of the Virus
Tala Madani, Liquid Bunny, 2018. Oil on linen. 78 × 130 × 1 1⁄4 in. Photography by Fredrik Nilsen Studio. Courtesy of the artist and Pilar Corrias, London.

What I’m not interested in is a kind of nostalgia in painting. Paintings that are interested in technique for its own sake, or that take pleasure in the way things have been painted — a nostalgic way of painting. The painting should have something that’s motivating it in the present and in itself — to have an interest in actually getting born, as an artwork, to be interested in becoming, rather than what has been.
+ Read more (https://flash---art.com/article/invulnerable-vulnerabilities-life-and-art-in-the-time-of-the-virus/)

Jana Euler: Contextual Painting in Times of Global Groundlessness, by Ingrid Luquet-Gad
Jana Euler, “Unform.” Exhibition view at Artists Space, New York, 2020. Photography by Daniel Pérez. Courtesy of the artist and Artists Space, New York.

Jana Euler is a painter, among the most challenging ones of her generation, but her paintings, before anything else can be said about them, are first and foremost social objects. The canvas does not open up as a magical portal into a parallel dimension, and there is no escape, no outside to this world. Her painting is immanent, entangled in a radical present tense. It is a social object submitted to the same gravity as any other object —just look at that slug’s heavy, tired body! And this is, precisely, its force.
+ Read more (https://flash---art.com/article/jana-euler-contextual-painting-in-times-of-global-groundlessness/)
THE CURATORIAL GAZE. A column by Pierre-Bal Blanc. Episode I: An Introduction

The curatorial gaze consequently becomes a new paradigm available for all creative people. Whether professional or amateur, occasional or experienced, the latter are in any event capable of breaking with the predatory principle of the traditional author who appropriates resources without acknowledging or promoting his sources. The curatorial gaze, on the other hand, proposes a posture that displays the collective and individual movement of a multi-subjectivity.
Rochelle Goldberg "Psychomachia" Miguel Abreu Gallery / New York
Wild lilies, sand, sourdough bread, tuna cans, gold, eye shadow, desert dirt: these are among the distinctive materials that Rochelle Goldberg sculpts into sensuous configurations. Spanning the organic and inorganic, these things become re-enchanted in “Psychomachia,” bearing a narrative of gestures across their fragmentary forms.
+ Read more (https://flash---art.com/article/rochelle-goldberg-psychomachia-miguel-abreu-gallery-new-york/)
Liam Gillick Casey Kaplan Gallery / New York
“Redaction,” the current show by Liam Gillick at Casey Kaplan Gallery, New York, brings together a selection of key texts, abstract structures, and installations, spanning from the early 1990s to the late 2000s. It is a mini-retrospective of the artist’s career, timed to celebrate the gallery’s twenty-fifth anniversary. What’s striking at first is the consistency between the artworks: they seem to be from the exact same period, although they aren’t.
+ Read more (https://flash---art.com/article/liam-gillick-redaction-casey-kaplan-new-york/)
Cerith Wyn Evans White Cube / London
If the stark, ascetic coda of Cerith Wyn Evans’s sculptures disintegrates under anything it is the sensuality of optics. Diluting the scopic regimes that codify cinematic aesthetics and experience, Evans interlaces scientific, technical, and conceptual art precedents to calibrate an optics whose minimalism belies a sub-structure of translation, nonlinear linguistics, and an appeal for transcendence.
+ Read more (https://flash---art.com/article/cerith-wyn-evans-no-realm-of-thought-no-field-of-vision-white-cube-bermondsey/)
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