#57 Autumn 2018
“There is no such thing as society,” Margaret Thatcher said in 1987. The dismantling of the welfare state, careerism, selfishness and lobby renovations. A rabid free-for-all for those with something; a big betrayal for those who would be left with nothing. It ushered in the political predicament we are still mired in today. But there was also a growing sense of community. In England workers took to the streets, in New York there were protests against the cynicism of the government’s response to the AIDS crisis. And for part of the art world, political collective engagement was more important than the market. This issue is about the 80s.
Palermo, Vienna, Salzburg, Mönchengladbach, Berlin, Dresden, Frankfurt, Zurich, Basel, Bucharest, London, New York
by Jessica Diamond, Ed Fornieles, Richard Hoeck & John Miller, Ida Ekblad, Julia Wachtel
By Ericka Beckman
from Tehran by Mahan Moalemi
Back when artist Pippa Garner was still called Phil, she worked as a combat artist in the Vietnam War. After that she studied automobile design and designed ironic functional products for a future that was never to come. A conversation about living in willed alienation. By Fiona Duncan.
The New York artist/activist collective Gran Fury emerged in 1988 out of ACT UP. As “individuals united in anger and dedicated to exploiting the power of art to end the AIDS crisis”, they shaped public discourse about AIDS with iconic agitprop imagery. By Alison M. Gingeras and Jamieson Webster