New York–based fashion
label Telfar; Eli Diner on the proleptic videos of Melanie Gilligan; Julia Bryan-Wilson on the fleeting-yet-emphatic multimedia art
of Cecilia Vicuña
; Daniel Horn on Emil Michael Klein
's canny abstraction; Ronald Rose-Antoinette on the Wood Land School's yearlong decolonization of SBC Gallery; Cristina Guadalupe Galván talks to home-based artist Alison Knowles; Pierre-Alexandre Mateos & Charles Teyssou bid adieu to the hyperglycemic concept store Colette; exhibitions reviews.
The cover story of this issue is dedicated to the New York–based fashion label Telfar. Founded in 2005 by Liberian American designer Telfar Clemens, the label is the recipient of the 2017 CFDA/Vogue Fashion Fund's prize for emerging talents in the fashion industry. Telfar is plural and genderless. The label's agenda for a “horizontal” clothing company not only defies the threat of elitism that even the most progressive and experimental fashion labels seem to strengthen; it challenges the very dialectics of top-drawer and fast fashion, street and high: in the words of Kevin McGarry, who profiles Telfar for the issue, Clemens's clothes “game mass culture to the point of true subversion.”
A call for a society founded on pluralism recurs across many of the stories featured in this issue; here's hoping that 2018 will be, as Telfar would say, “not for you — for everyone.”
is an international quarterly magazine and publishing platform
dedicated to thinking about contemporary art, exploring the evolving cultural landscape through the work of leading artists, writers, curators and others.
One of Europe's oldest art magazines, Flash Art
was founded in Rome in 1967, before relocating to Milan in 1971, and was originally bilingual, published in both Italian and English. In 1978 two separate editions were launched: Flash Art International
and Flash Art Italia
. Today the magazine remains one of the most recognizable and widely read publications of its kind, and is distributed in 87 countries.