Flash Art International

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Flash Art International

Flash Art is an international quarterly magazine and publishing platform dedicated to thinking about contemporary art.

04/06/2026

#355 SUMMER 2026 “the Unsolved” IS OUT NOW

To live is to navigate the world’s endless mysteries. In the Summer issue of Flash Art, painters, poets, and performers unravel the ways that they’ve decoded the universes around them. They’ve turned a lens on the knots and kinks in the systems around then, and instead of finding a solution, their work looks to trace how these problems arose.

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Artist:
Photographer:
Editor-in-Chief:
Creative Direction:
Stylist: Ketevan Gvaramadze
HMU: Miki Ishikura
Clothes: Commission

Location: Artist’s studio, New York

Featuring: .borremans .salane

04/06/2026

#355 SUMMER 2026 “the Unsolved” IS OUT NOW

To live is to navigate the world’s endless mysteries. In the Summer issue of Flash Art, painters, poets, and performers unravel the ways that they’ve decoded the universes around them. They’ve turned a lens on the knots and kinks in the systems around then, and instead of finding a solution, their work looks to trace how these problems arose.

Cover 1 / 2
Artist: .borremans
Photographer:
Editor-in-Chief:
Creative Direction:

Location: Artist’s studio, Ghent

Featuring: .salane

01/06/2026

In the density of Kaare Ruud’s studio, it’s obvious that there are many things, a few of which are the following: A stack of paper cups indented to look like hearts, ceramic dishes held together in a circle, watches (innumerable), and a garden hose. Yet these objects, when grouped together in his compositions, take on a gestalt narrative life of their own, sometimes melancholy often times ironic, always asking one to squint and go so what really is that?

Hit the link in the bio to read “Portrait of Matter,” by from 354 Spring 2026.

27/05/2026

Adam Gordon’s exhibition, “The Torture” at ZERO…, Milan, stunk. It wreaked. It has scented by a perfume that was made to smell, as he told writer Miles Huston, like a house with “thick, musty, wall-to-wall carpet. It’s summer. Someone left meat, cupcakes, and candy out.” In his works, images that look like photographs of CRT television or something shot from a first-generation video phone, creates scenes that are uncanny and unnerving – something that’s just barely recognizable as human.

Hit the link in the bio to read “Role-Casting in the Uncanny Valley,” by from 354 Spring 2026.
 

 
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26/05/2026

At times, Sara MacKillop’s work looks like the inside of a stationary store: highlighters, colorful gift bags, and calendars are abound. Often times directly referencing the makers of the mass produced objects she employs, such as the case in “Ikea Totem” (2023), she puzzle pieces together where all these things upon things are really supposed to go. In discussing her body of work, writer Margret Kross notes that, “MacKillop’s affective installations are as much about excess as they are the absence that results from excess, over and over and over.”

Hit the link in the bio to read “The tiniest event can tear a hole,” by from 354 Spring 2026.

25/05/2026

In this issue’s visual essay, Cairo Dipika, the photography duo made up of Jessica Canje and Isha Dipika Walia, their hazy images are shot with a texture from a bygone era of photography. Some filmic or digital quality from an indeterminate point at the turn of the twenty-first century. Their subjects are captured with a pointed nonchalance — centered yet unmoored — appearing both part of the landscape and already on the verge of departure.

Hit the link in bio to read “Margins as Method,” a visual essay by with words by from 354 Spring 2026.

22/05/2026

From where does Roni Horn make her work? In intimate portraiture, dusted gold, and seemingly endless pools of glass, the mind wanders to what the lived experience was that informed this. In reflection on the artist’s practice, curator and writer Daniel Merritt skates through the nieces, Icelandic travels, and storied friendships that have made up Horn’s “hyper-responsive inner world tempered by a need for steadiness.”

Hit the link in bio to read “After You,” by for Flash Art Volume 003 “Opacity.”

Horn’s solo show “Seizure of Hope” is currently on view at , London through August 1, 2026.

Artist: Roni Horn
Photographer:
Words by:
Creative Director:
Guest Editor:

07/05/2026

Sung Tieu’s work is a proliferation of historical events. Her own lineage, punctuated by migration from Vietnam to a recently unified Germany in the nineties, underwrites the artists examinations of the banal, yet violent, systems that quantify, dislocate, and relocate people around the world. Ahead of her exhibition in the German Pavillion, alongside the work of the late Henrike Naumann, in this year’s Venice Biennale, writer Sarah Johanna Theurer looks back on the exhibitions and pieces that have defined the artist’s career.

Hit the link in bio to read “Blank Spaces,” by .t for Flash Art Volume 003 “Opacity.”

Sung Tieu’s work, alongside that of the late Henrike Naumann, is on view in the German Pavillion during the 61st Venice Biennale (), “Minor Keys,” through November 22, 2026.

05/05/2026

In conversation with Luc Tuymans, Daniel Merritt describes the artist’s massive painting of a fruit basket, the very one that’s given to Premio Malaparte winners for literary excellence, as depicted in ‘hyperlink blue.’ This temporally sticky descriptor is apt for a body of work like Tuymans’s where each piece of work feels as monolithic as they do ephemeral.

Hit the link in bio to read “Shell Game,” a conversation between and from 354 Spring 2026.

Tuymans’s show “The Fruit Basket” is currently on view at , Los Angeles, through April 4, 2026.

Photography and Layout:
Creative Partner:
Post-production: Louwre Erasmus at Quickfix
Location: Artist’s studio, Antwerp

04/05/2026

“Submersion is not only a geological condition but a media regime. It names a state in which images circulate at high speed and low resolution, designed to evade duration while saturating the present. ‘The Island,’ Hito Steyerl’s solo exhibition curated by Niccolò Gravina at Osservatorio Fondazione Prada in Milan, unfolds within this system, taking its title from an artificial island discovered off the coast of Korčula, Croatia: a Neolithic structure that remained submerged for approximately seven thousand years at a depth of four and a half meters.”

Hit the link in bio to read Hito Steyerl “The Island” at Osservatorio , Milan, reviewed by from 354 Spring 2026.

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