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Parkett vol. 99

Parkett 99
Cover: Lynette Yiadom-Boakye

Vol. 99:

Cao Fei
Omer Fast
Adrian Ghenie
Lynette Yiadom-Boakye
and more



The four artists featured in Parkett 99 examine our troubled present, remember history’s horrors, and imagine possible futures.

For an important letter to our readers, please scroll down.





Cao Fei for Parkett 99

Cao Fei for Parkett 99


Rumba 1: Incubator, 2016
Mini vacuum cleaning robot, synthetic chicks


Cao Fei


The videos of Cao Fei take place in the hypercapitalist megacities of China, bleak landscapes where massive gray apartment blocks blend into the polluted skies. Hou Hanru, Tom McDonough, and Jiayun Zhuang describe the attempts of isolated inhabitants to forge tentative bonds, or else fashion alternate worlds into which they can briefly escape.

For her Parkett edition, Rumba I: Incubator, Cao Fei combines robot and animal in a kinetic sculpture that playfully speaks to the clash between the traditional and the contemporary, riffing on her recent video work.
› For more information on this work, please click here

› To view Cao Fei's edition in motion, please click here


“Few artists have plumbed what we could call China’s transnational imaginary more effectively than Cao Fei.”
—Tom McDonough

› Parkett vol. 99




Omer Fast for Parkett 99
Omer Fast for Parkett 99


White Male Selfies, 2016

9 portraits, including unique prints, in box

Omer Fast


Omer Fast’s lushly evocative, expertly acted films are riddles about Western morality and motives in an era of endless war waged in the Middle East. Sven Lütticken, Roy Scranton, and Kaelen Wilson-Goldie consider the convenient and comforting narratives we tell ourselves, stories that Fast consistently undermines.

In his edition for Parkett, Omer Fast explores and questions white male representation in the age of social media.
› For details on this work please click here

“We cast the traumatized soldier as our scapegoat, the one bearing the sins of war, and ignore numberless dead Iraqis in favor of attending to one American’s psychological suffering.”
—Roy Scranton

› Parkett vol. 99






Adrian Ghenie for Parkett 99

Adrian Ghenie for Parkett 99


The Lidless Eye, 2016/2017

Unique collaged paper print

Adrian Ghenie


In his virtuosic, visceral paintings, Adrian Ghenie summons the monsters and golems of the twentieth century: dictators such as Hitler, Stalin, and Ceaușescu; the “deathless corpse” of Lenin; the plastic dummy survivor of atomic detonation. Brigid Doherty, Suzanne Hudson, and Mihnea Mircan study these specters that refuse to leave us.

For his Parkett edition, The Lidless Eye, Adrian Ghenie reimagines different groups of images including the iconic self portrait seen here, in a series of unique collages.
› More info on this work here.

“Like a sci-fi monster staring into the camera in the final scene to guarantee a sequel, they hold the potentiality to return as malevolent speech, as headlines, hats, or badges.”
—Mihnea Mircan

› Parkett vol. 99






Lynette Yiadom-Boakye for Parkett 97

Lynette Yiadom-Boakye
for Parkett 99


Red Kite, 2016
Etching

Lynette Yiadom-Boakye


Lynette Yiadom-Boakye’s paintings of black life depict dancing women and lounging men, dreaming loners and animated groups, bringing color to the walls of the white cube. Hilton Als, Rizvana Bradley, and Adrienne Edwards reflect on her vividly imagined portraits, which open onto a wider world even as they question the limits of representation.

For her Parkett edition, Red Kite, Lynette Yiadom-Boakye etches a man in a feather collar, a recurring figure in her work.
› More info on this work can be found here.


“Yiadom-Boakye does not paint real people, but her imaginary sitters epitomize the rich vocabularies of movement and gesture that have saturated black avant-gardism’s artistic and literary traditions.”
—Rizvana Bradley

› Parkett vol. 99





Dear Readers

Rokni Haerizadeh, Insert for
Parkett 99


Also in This Issue


Naomi Beckwith spotlights the musical art of Jason Moran. For the Insert, Rokni Haerizadeh overpaints recent news images, already seared into our memories, and allows us to see them anew: the debris left behind by war and those who flee it; memorials to civilians killed in attacks; and the gold-plated penthouse of a newly minted tyrant.

For more details on Parkett 99 as well as on artists' editions, subscriptions, and back issues, please visit:
› www.parkettart.com


Discover illuminating views and insights by exploring Parkett works grouped by themes, including People, Nature, City, and Play. Please visit:
› www.parkettart.com/explore-editions-by-themes


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Dear Readers

Letter to Our Readers


Letter to Our Readers


With the present volume of Parkett 99 and the following special issue 100/101 appearing this summer, the publishers have decided to bring the publication of the printed art magazine to a close. One of the major factors behind this decision is the radical change in reading behavior brought about by our digital age.

Parkett volumes and editions will, of course, remain fully documented on our website and available via our offices in Zurich and New York. Furthermore, all volumes featuring some 1,500 texts, are currently being digitized and will soon be accessible online. New, expanded Parkett exhibitions in various museums are in preparation as well, and will further explore the publication’s singular approach as a time capsule of the art of the last three decades.

We would like to thank you, our readers, for your interest and your loyalty, and we are looking forward to the special double issue this summer.

To read the full letter, please visit:
› www.parkettart.com/news


logo Parkettart

a large ›library and
a small ›museum on contemporary art

Published bi-annually in Parkett's book-bound signature design, each volume features four artists' collaborations and some fifteen essays and texts, with numerous color illustrations on 250 pages. Each artist also contributes a work especially made for Parkett as a signed and limited edition. In addition to these artists' collaborations, Parkett features various contributions on contemporary art within a series of playful sections such as Cumulus, Insert, or Les Infos du Paradis.







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