May #16, May Revue, 2016
This issue, realized with Claire Fontaine, positions itself in the many continuities of a previous one—May no. 4, published in October 2010, that presented a selection of foundational resources from the Italian feminist movements of the 1970s and 1980s (with texts by the Milan Women’s Bookstore, Carla Lonzi, Lea Melandri, Antonella Nappi, etc.) At the time, Fulvia Carnevale, an assistant of Claire Fontaine and the guest editor-in-chief, edited the group of texts and signed the introduction.
The texts published here are for the most part interventions from two London symposiums that took place in 2015 and 2016, whose specific issues Claire Fontaine’s introductory text will illuminate. A number of these essays take direct inspiration from the textual sources introduced in May 4. With this second chapter, the revue seeks to trace an editorial line more emphatically marked by feminist questions stemming from this Italian history and to re-interrogate complex concepts such as self-abolition, self-consciousness and separatism—or, to cite Marina Vishmidt, to contribute towards a “way of thinking the affirmative and negative moments of any radical emancipatory movement.”
May #15, May Revue, 2016
"The 2000s were marked by the collapse of the fashion industry and art world into each other. Fashion brands started to engage in cross-collaborations with artists in a more ambitious manner. Independent fashion houses eventually were absorbed by luxury groups— this has been the case for Margiela, Helmut Lang—or disappeared. This was maybe seen as the end of the utopia of the bohemia seen as an existential experience. But more recently, a new rhetoric appeared in fashion, relayed by the press, with the terms of “crisis”, “burn out” or “accelerationism” due to the continuous fashion shows, openings, launches and the impact of social media like Instagram and its instant visual communication. (...)
This issue aims to understand what would be the other channels, contents, discourses, economical models and new aesthetics of fashion, outside the models of the traditional high fashion. We are interested in how all this effects the art world, what kind of parallel conclusions, side effects, impacts it has and could have in a close future." (extract from Preface)
May #14, May Revue, 2015
“This issue of May considers the reception of Sigmar Polke in France, from the 1980s to the first American retrospective dedicated to his work, which took place at MoMA in New York in April 2014 and subsequently traveled to Europe to the Tate Modern in London and finally to the Museum Ludwig in Cologne in the spring of 2015. (...)
By interesting ourselves specifically with the dynamic that Polke maintained with galleries and the way in which he worked with institutions, we attempted to establish a model of relationships in which artists can remain autonomous. Taking this idea as a starting point, we explored the current dynamic of artist-gallery relations with emerging artists looking to position themselves early on, despite a changed context.“
Features texts/contributions by Magnus Schaefer, Marie Angeletti, Camille Blatrix, Hélène Fauquet, Renaud Jerez, Mélanie Matranga, Sam Pulitzer, Kari Rittenbach, Lili Reynaud-Dewar, Jay Chung, Ellie de Verdier, Tanja Widmann, Catherine Chevalier, Edouard Montassut.
May #13, May Revue, 2014
Issue #13 featuring contributions by Déborah Danowski, Stephanie Wakefield, Antek Walczak, Jenna Bliss, Elise Duryee-Browner, Damon Sfetsios, Alejandra Riera, Valentin Bourré & Mélanie Matranga, Daniel Horn, John Beeson, Karl Holmqvist, Édouard Montassut, Kerstin Stakemeier, Mica Ghergherscu, Jason Simon.
May #12, May Revue, 2014
"Our 12th issue is the third and last part of a series about the 1990s in France. It will be articulated around a selection of key documents representative of a moment and time of opening toward other forms of production abroad and new ways of thinking about exhibition making. A moment of experimentation, which may have been outshined by the all the discussions around the notion of “relational aesthetics” later used to define the artistic production of that period. This subjective panorama of experimentation will also bring into perspective the shows of Pierre Huygue, Philippe Parreno and Dominique Gonzalez-Foerster held almost simultaneously in major institutions in France and will give keys for a new reading of these works in light of all the current debates on the end of aesthetics."
May #10, May Revue, 2013
How to Do the History of French Theory in the Visual Arts: A New York Story, John Rajchman