OOF – Issue 5

OOF – Issue 5

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OOF #5

Issue five of OOF dives down into the emotional safety net that football provides for so many people. On the cover, we've got the amazing Senegalese photographer Omar Victor Diop, interviewed by Ayodeji Rotinwa. Deeper in the mag, Justin Hammond gets all misty-eyed over Martin Andersen's photos of pre-match mischief, Rosemary Waugh explores the unravelling of masculinity in Corbin Shaw’s football flags, and Lydia Blakeley tells us why Delia Smith is a modern icon. Elsewhere, we've got Orit Gat dropping some art theory on a photo of Dele Alli and Eddy Frankel comparing crowds to bacteria in William Reginald Howe Browne's stunning painting of a Wembley FA Cup final.

FOOTBALL IS the quintessential communal experience. Across the world - in stadiums, bars and living rooms - countless milions of people experience collective emotion through the teams they support. As one, they feel the ecstatic joy of a goal scored, or the crushing pain of a brutal defeat. It's a mass experience, communal emotion on a huge scale. Every day, football does with ease what art constantly tries to do: it makes people feel.

And because it plays such an important part in the everyday life of so many people, it has been a recurring topic in fine art for centuries. From Flemish landscapes filled with children kicking around animal bladders to multi-screen contemporary video installations, football acts as a symbol: a metaphor for national obsession, passion, physicality, belief, and any number of human emotions and experiences.

But it's not a one-way relationship: art's job is to deconstruct the world, to help us figure out what everything means, to offer new perspectives.  The artists featured in OOF peel back the layers of meaning in this obsessive sport, and help us make sense of something bigger and more ungraspable in the process. OOF hopefully goes a little way towards laying all of that bare. Football and art have been intertwined for centuries, we're just going to try to unravel that a little bit.

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