Three words that resonate throughout the pages of Flash Art Winter issue: coexistence, identity, and protest. While codes to define new standards of identity are being rewritten, populist authorities still distrust the idea of a diversified coexistence of individuals, inciting resistance in physical and digital realms and spreading confusion about who or what to follow or unfollow. This issue invites readers to pay attention to the stereotypes that infect our gaze.
Cover story artist Nora Turato, who “nails the disingenuity of our days” with her spoken-wordventriloquism of the internet. We live under a constant barrage of problematic content, as we see in Omer Fast‘s dialogue with an online content moderator; or in the false narratives of South Central Los Angeles that Lauren Halsey pushes back against; or in the regressive horror genre tropes that Misha Green‘s Lovecraft Country recalibrates through the lens of Black history. It is also implicated in the “passive seeing” questioned by Shaun Leonardo.
Also in this issue: William J. Simmons rethinks concepts of ugliness and identification in Cindy Sherman‘s work; Charlie Robin Jones considers Prada SS21 collection for its rehabilitation of the ugly and abject in the service of a new collectivity; Dean Kissick talks with Daniel Lopatin—also known as Oneohtrix Point Never—about his new studio album Magic Oneohtrix Point Never. Moreover Pierre Bal-Blanc’s fourth episode of The Curatorial Gaze; a new visual project on CDLM by Matthew Linde; Questionnaire on “Queer Correspondence,” a heartfelt Letter from the City by Charles Gaines. And a new column release: TELL EVERYONE–first episode on Lana Del Rey.