Identity Coexistence Protest
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POSTE ITALIANE SPA SPEDIZIONE A.P. A.P. SPEDIZIONE SPA ITALIANE POSTE EU NO. €(! 333 , VOL. $$€ UK £ UK !" ● (" WINTER 2020 , %! USA $ USA (% , ! %! 21 ● ISSN ' D.L. D.L. IDENTITYIDENTITY $"%&'(&%" "!" / *$$" + CONVERTITO IN LEGGE IN LEGGE CONVERTITO *, / $* / *$$& N° &-. ART. ART. COEXISTENCE COEXISTENCE ( , COMMA ( LO/MI CDLM / Lana Del Rey / Omer Fast / Charles Gaines / Misha Green / / / Misha Green Misha Green / / Charles Gaines Charles Gaines / / Fast Fast Omer Omer / / Lana Del Rey Lana Del Rey / / CDLM CDLM / / Never Never Point Point Oneohtrix Oneohtrix / / Shaun Leonardo Shaun Leonardo / / Halsey Halsey Lauren Lauren Correspondence Correspondence Queer Queer / / Sherman Sherman Cindy Cindy / / Michele Rizzo Michele Rizzo PROTEST PROTEST Nora Turato Turato NoraNora ! "#$%% %!!%& & Luis Jimenez, Study for Southwest Pieta, 1983. Detail. Fiberglass. 23 × 15 × 11 in. Courtesy of Massimo De CONTENTS Carlo, Milan / London / Hong Kong / Paris. 42 Letter from the Editors 161 Slanted and Re-enchanted: Magic 44 Cover Story How to Oneohtrix Point Never become a medium: by Dean Kissick Seismic transmission with Nora Turato 178 MODEL CITIZEN: by Adam Jasper Miuccia Prada and Raf Simons. A Modernist 64 Cindy Sherman: Revulsion for Nostalgia Goodbye, Little Yellow by Charlie Robin Jones Bird; or, A Cage of Gold by William J. Simmons 180 TELL EVERYONE 193 Reviews Tishan Cindy Sherman, Untitled #333, 1999. Gelatin silver print. 38 !⁄" × 25 !⁄" in. Courtesy of the artist; Metro Pictures, New York; and Sprüth Magers, Berlin / London / Los Angeles. Episode I: Love Song: On Hsu “Liquid Circuit” 81 KARLA Lana Del Rey’s Violet SculptureCenter, New A visual project by Omer Fast 114 Giving Image to an Bent Backwards Over York / Harold Mendez Afro-Future with Lauren the Grass “Let us gather in a 97 THE CURATORIAL GAZE Halsey A Column by William J. Simmons flourishing way” ICA, Episode IV: Parterre / by Ana Briz and Leah Perez Los Angeles / Robert The Stalls 182 Questionnaire Smithson “Primordial A Column by Pierre Bal-Blanc 128 Fluid Gesture: Queer Correspondence: Beginnings” Marian Transformations and A Mail-Art Initiative by Goodman Gallery, Paris 102 NEWCOSTUME Transmissions in the Cell Project Space, East / “JUNQUE” Massimo Episode III: CDLM: New Bodies of Michele Rizzo London De Carlo, London / Alex Dead Stock by Stefano Mudu Eleonora Milani in conversation with Eliel Jones Da Corte “Helter Shelter A Column by Matthew Linde or: The Red Show! or...” 144 Against Passive Seeing: 191 Letter from the C!y Sadie Coles HQ, London Shaun Leonardo by Charles Gaines / Tarek Atoui “Waters’ by Jane Ursula Harris Witness” Fridericianum, Kassel / Raphael Hefti Harold Mendez, Margarita, 2016. Reclaimed foam from a baseball 152 Lovecraft Country: “Salutary Failures” batting helmet, broken glass, dried foliage, owl, rooster and vulture feathers from El Astillero, Misha Green’s Historical Kunsthalle Basel / Zacatecas, Mexico and steel. 81 × 12 × 12 in. Private collection. Melodrama “PUSH THE LIMITS” Courtesy of the artist and PATRON Gallery, Chicago. by Samantha Noelle Sheppard Robert Beatty’s artwork for Oneohtrix Point Never’s Magic Oneohtrix Point Fondazione Merz, Turin Never (Warp Records, October 2020). William J. Simmons is a writer, curator, and art historian based in Los Angeles 180 181 and New York. His work centers TELL EVERYONE on queer/feminist contemporary Love Song: art and the Pictures Generation. He is a contributing editor at Flash Art and King Kong Magazine. His work has been published in numerous global magazines, monographs, and On Lana Del Rey’s journals, including books by Laurie Simmons, Sarah Morris, Toyin Ojih Odutola, and Judy Chicago. He was the co-editor of the Spring 2020 issue of Framework: The Journal of Cinema Violet Bent Backwards It follows that perhaps and Media and he has lectured widely inside and outside academia. He is at the only major change work on his first novel. I would note betweenNorman Over the Grass Born to Die and is Fucking Rockwell! by William J. Simmons that in the former, I/we/ ...I worried that I too would Lana assume that he, disappear, because I the handsome chimera, (like Lana, I think) am not will leave, no matter In “How to Disappear,” a song from and open spaces that cannot hide her last album, Norman Fucking ready to grow up, nor do I the immediacy of theviolence. I have come to learn, Rockwell!, Lana Del Rey leads us thankfully, from Lana and Felipe alike, to expect a how-to manual, but she automatically equate the beautiful pleasures andthat both ways of relating to Vernon gives us a poem instead: “Now it’s traumas he brings.are beautiful and valid. It follows that perhaps been years since I left New York / death of youthful fantasies its way, with confused and thrilling clicks, the only major change I would note between I got a kid and two cats in the yard / into the discourse in 2011. There was absolutely Born to Die and Norman Fucking Rockwell! is The California sun and the movie stars with/ painful artistic to experience quality.life as if it were a movie, so nothing like it, hearing that song for the first that in the former, I/we/Lana assume that he, I watch the skies getting light as I write / As I we insist, for our own sakes, that Del Rey must be time, in a strange house across the street from a the handsome chimera, will leave, no matter think about those years / As I whisper in your ironic, that she is deconstructing something, that cemetery while on study abroad in Cambridge, the immediacy of the beautiful pleasures and ear / I’m always gon’ to be right here / No one’s she is telling stories of fictional characters from UK. I was not a bad girl; I was not an object of traumas he brings. But with Norman Fucking going anywhere.”1 Such an unabashed display whom we can maintain a respectable distance, desire; I was not as self-destructive as I wanted Rockwell!, I would quote “Love Song” from the of sentimentality is compounded by the or that these stories are only about her, someone to be (yet); I still had not disappeared. In Del Rey album as characteristic of a new outlook: “I’d like photographic and/or painterly image on the who we can relentlessly critique for claiming to fashion, I would stand outside the apartment to think that you would stick around.” What we album’s cover, in which Del Rey clings to a man, a speak only to majoritarian values. We praise her that I shared with a charming stoner and smoke have learned in the interim, perhaps, is that we handsome man, and she clings to the American when she appears to disappear, that is, when cigarettes and look into the cemetery and I was deserve to find happiness in certainty itself and flag and Americana, and she clings to kitsch and her work and her histories, her storytelling, her sure I would see Sylvia Plath’s ghost. I had heard not only the certainty of loss. she clings to melodrama and the problematic photography, the daydreams of the early 2010s, somewhere that Plath and Ted Hughes had Of Vernon Del Rey writes, “I’ve never histories that each of these normative and the men she met along the way, disappear in first met at that burial ground on Botolph Lane, really fallen in love / but whatever this feeling is / patriarchal phenomena might provide, even as favor of some hidden meaning we ascribe to though I later learned that I was mistaken. One I wish everyone could experience it.” Only those they all sink together. Staying with the doomed her work that we insist is actually anything but might still love a lie, so every time I return to who have truly loved claim to have never done ship (loving the doomed ship, even) is an act of sincere if we are to enjoy it (and if it is, in fact, England I stop by that very street and imagine so, and there is nowhere better to feel, really feel, radical generosity. sincere, it is all wrong). Yet we might believe the myself there and imagine Sylvia there among that paradox than in Vernon or on Botolph Lane, Conference at Tate Modern. Tate at Conference Indeed, one way to disappear would be artist when she writes of Violet Bent Backwards the tombstones. I leave a cigarette butt each where trucks come and go, filled with drifters to live one’s so-called real life as if it were Written Over the Grass, “[These poems] are eclectic time in and among the mossy cobblestones on and Sylvia Plath and dead bodies maybe, or, just on the Wind or Imitation of Life or Melancholia or and honest and not trying to be anything other Botolph Lane — an ersatz and suicidal memorial as thrillingly, nothing of cinematic or literary or Brokeback Mountain or cherished photographs than what they are.” If Lana Del Rey is “about” to myself. photographic note at all. Falling in love, refusing that we want to be documentaries but are in fact anything, she is “about” belief, which is not the In “The Land of 1000 Fires,” one of to disappear, writing a love song with a happy fantasies (as might be the case with the Del Rey’s same as sincerity. the poems in Violet Bent Backwards Over ending: these are our mandates now. photographs, both archival and original, that It has been suggested that Del Rey the Grass, Del Rey pays homage to a are interspersed in her new poetry book Violet finally “grew up” in Norman Fucking Rockwell!, bleak, industrial wasteland just outside Bent Backwards Over the Grass). It might be too that her melodramatic fantasies about cocaine of LA proper.