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Flash Art International

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

10/01/2024

If a space is a reflection of a mind, the details upon which Farah Al Qasimi fixates are not unlike the elements of the subconscious that we repress. As written by Sarah Chekfa, in her performance as an artist-psychotherapist, Al Qasimi illuminates what we’ve neglected, coaxing uncertainties and possibilities out of the shadows and into the limelight to confront, appreciate, learn from, and fantasize about.

Hit the link in bio to read “Assortment of Truths” from 345 Winter 2023-24.

Farah Al Qasimi’s work is currently on view in the group exhibition “Going Dark: The Contemporary Figure at the Edge of Visibility” at , New York until April 7, 2024.

08/01/2024

“Nonmemory” at Hauser & Wirth, Los Angeles by Sam Davies for 345 Winter 2023-24.

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&Wirth

21/12/2023

Kayode Ojo “EDEN” at 52 Walker, New York reviewed by Whitney Mallett for 345 Winter 2023-24.

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20/12/2023

O-Town House is a Los Angeles-based gallery situated in a townhouse, featuring a distinctive O-shaped window in the downstairs gallery. As Gracie Hadland states, the shows organized by its director, Scott Cameron Weaver, manage to create, maintain, and cultivate an auteur approach to art dealing that seems rare in a hyper-professionalized art world. The shows are often driven by a kind of desire – a personal, intimate curiosity – on the part of their custodian. There is never fussiness, but nor is there sloppiness either.

Hit the link in bio to read “O-Town House, Los Angeles” from 345 Winter 2023-24.

-TownHouse

18/12/2023

Gray Wielebinski “The Red Sun is High, the Blue is Low” at ICA London reviewed by Frank Wasser for 345 Winter 2023-24.

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15/12/2023

14 Dec  Rineke Dijkstra / Feature

Rineke Dijkstra’s photographs often evoke feelings of quiet contemplation and awkward transition or unease. According to Erik Morse, the gendered component apparent in Dijkstra’s portraiture, points out the photographer’s special talent at “identifying and mirroring the emotional state of others” and it can sometimes resemble a maternal act that mirrors the viewer’s empathic engagement with the photograph.

Hit the link in bio to read “Face-à-Face: Portraiture, Faciality, and Mirroring” from 345 Winter 2023-24.

Rineke Dijkstra’s solo show “Night Watching and Pictures from the Archive” is on view at , New York until December 20, 2023.

06/12/2023

#345 WINTER 2023-24 “FAILURES OF INFLUENCE” IS OUT NOW

Cover 4 / 4
Artist: , Shy Satanist Backdrop Study, 2005.
Words by: and
Editor in Chief:
Art direction:
Courtesy of © . All Rights Reserved / VAGA at ARS, New York.

What still influences us today? Can images incite us to action? Are we empathy deficient? Are we living in a time of post-empathy? We’re experiencing a dynamic takeover of our lives by incessant, graphic visual violence. Most of it is real. Our impotence to intervene, to take action, is even more real. This is the primary reason we’ve titled this issue “Failures of Influence.”

Featuring:

06/12/2023

#345 WINTER 2023-24 “FAILURES OF INFLUENCE” IS OUT NOW

Cover 3 / 4
Artist:
Photographer:
Editor-in-Chief:
Art Direction:
Photographer Assistants:
Production:
Production Assistant:
Location: , Marseille

Clothes and accessories:

What still influences us today? Can images incite us to action? Are we empathy deficient? Are we living in a time of post-empathy? We’re experiencing a dynamic takeover of our lives by incessant, graphic visual violence. Most of it is real. Our impotence to intervene, to take action, is even more real. This is the primary reason we’ve titled this issue “Failures of Influence.”

Featuring:

06/12/2023

#345 WINTER 2023-24 “FAILURES OF INFLUENCE” IS OUT NOW

Cover 2 / 4
Artist:
Photographer:
Editor-in-Chief:
Art Direction:
Production:
Production Assistant:
Location: New York City

Clothes and accessories:

What still influences us today? Can images incite us to action? Are we empathy deficient? Are we living in a time of post-empathy? We’re experiencing a dynamic takeover of our lives by incessant, graphic visual violence. Most of it is real. Our impotence to intervene, to take action, is even more real. This is the primary reason we’ve titled this issue “Failures of Influence.”

Featuring:

06/12/2023

#345 WINTER 2023-24 “FAILURES OF INFLUENCE” IS OUT NOW

Cover 1 / 4
Artist:
In conversation with:
Photographer:
Editor-in-Chief:
Art Direction:
Production:
Clothes and accessories:

What still influences us today? Can images incite us to action? Are we empathy deficient? Are we living in a time of post-empathy? We’re experiencing a dynamic takeover of our lives by incessant, graphic visual violence. Most of it is real. Our impotence to intervene, to take action, is even more real. This is the primary reason we’ve titled this issue “Failures of Influence.”

Featuring:

30/11/2023

Rhea Dillon is an artist whose work can be found across video, painting, sculpture, writing, live performance and even olfaction. As Zakiya McKenzie states Dillon’s artwork attains beautiful aesthetic resonance as well as thoughtful reflection on deep and sometimes painful topics that are rarely explored in British and European visual art.

Hit the link in bio to read “Viewing Altered Grounds” from 344 Fall 2023.

Rhea Dillon’s solo show “An Alterable Terrain” at is on view until January 1st, 2024.

28/11/2023

F4rt, a digital column run by Pietro D’Azzo for Flash Art and curated by Alessio Avventuroso.

Episode II: Education.

23/11/2023

What does it mean to live comfortably between worlds? As Alex M.F. Quicho points out adaptation does not always guarantee success. To WangShui, living well means appearing as they wish–and disappearing at will. The artist has lived as a drone, a dragon, a mollusk, a silkworm, an evacuated snakeskin. They have evacuated the public arena altogether, scrubbing the record of any visual representations of themselves, and returned to dazzling corporeal form in an interspecies photoshoot.

Hit the link in bio to read “Between Worlds” from 344 Fall 2023.

WangShui’s solo show “Certainty of the Flesh” is on view until March 10th, 2024.

21/11/2023

Isa Genzken "75/75" at Neue Nationalgalerie, Berlin reviewed by Louisa Elderton for 344 Fall 2023.

Hit the link in bio to read more.

15/11/2023

"OUT OF THE BOX" at Schaulager, Basel reviewed by Franklin Melendez for 344 Fall 2023.

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10/11/2023

Mindful of artistic subjectivity, Thornton reflects on the infrastructural constitution of identity, foremost of the artist as capital and commodity, to assail modalities of legibility as such. In the latest episode of Unpack, Reveal, Unleash, Alex Bennet marked down this statement from the artist “It’s useful at times to use yourself as a guinea pig to explore or analyze societal precarity, oppressive infrastructures or even complex pleasures, but how easy is it to begin to talk yourself into perpetuating ideas of narcissism and vanity play, slippages abundant? The fine line.”

Hit the link in bio to read “Vug Culturing, Swallet Thinking” from 344 Fall 2023.

Soil Thornton solo show "Choosing Suitor" is on view until November 12, 2023.

07/11/2023

According to Jazmina Figueroa, Precious Okoyomon’s work is situated in all that survives at the periphery of the apocalypse. Alluding to the canonical understanding of “apocalypse,” derived from its Greek origin meaning to uncover or reveal, Okoyomon’s trajectory feels revelatory amid the culmination of theoretical threads that interrogate endings, afterlives, and becomings. An ongoing and multifarious pollinating effect occurs through every encounter with Okoyomon’s work, and what gradually develops is a willingness to just let things take their course.

Hit the link in bio to read “Parabolical Apocalypses” from 344 Fall 2023.

26/10/2023

The work of Nikita Gale is kind of protected by the hard, smart shell of theory. But the instructive thing, the surprising thing, is that here is a body of work that, though it is surrounded by a glut of charming, compelling theory, actually does not need its justification. As Uzoamaka Maduka points out, Nikita Gale’s work, for all its throat - clearing, for all its accompanying text, is, quite simply, beautiful. And, as with all beautiful things, the artist’s work demands something beautiful of us.

Hit the link in bio to read “The Psychology of Ruins” from 344 Fall 2023.

Nikita Gale’s work is on view in the solo exhibition “BLUR BALLAD” until November 18th, 2023 and will be included in , New York from November 1 through November 19, 2023.

23/10/2023

“Falling Back into the Future of Old: Frieze London 2023” a report by

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19/10/2023

Struck down by psychological uneasiness and the pointlessness of living, Issy Wood browses in lost places under calcification, metallic air, fainting prasine buffalo, discount lobotomies, and philatelic messages from the afterlife. According to Estelle Hoy, her teeth paintings, brace themselves with chainmail fillings of zinc and liquid mercury; it’s poison, love philter, thoughtful dementia, palliative care. She’s a slave to unrespectability.
Hit the link in bio to read “Blue of Noon” from 344 Fall 2023.

Issy Wood’s solo show “Study For No” until January 7th, 2024.

16/10/2023

Yu Ji "A Guest, A Host, A Ghost" at The Orange County Museum of Art, Costa Mesa (California) reviewed by Oli Misraje for 344 Fall 2023.

Hit the link in bio to read more.

04/10/2023

The latest Time Machine is dedicated to Art & Language, an artists’ collaborative founded around 1967 in the United Kingdom by Terry Atkinson, David Bainbridge, Michael Baldwin, and Harold Hurrell. “Conceptual Art” by Mary Anne Staniszewski, originally published on Flash Art International no. 88–89, November–December 1988, undergoes a deep analysis of what constitutes conceptual art and how Art & Language can be seen as a paradigm of the institutional critique within which conceptual art was constituted.

Hit the link in bio to read “Conceptual Art” from 344 Fall 2023.

&Language

03/10/2023

What does it mean to live comfortably between worlds? To WangShui, living well means appearing as they wish – and disappearing at will. The artist has lived as a drone, a dragon, a mollusk, a silkworm, an evacuated snakeskin. They have evacuated the public arena altogether, scrubbing the record of any visual representations of themselves, and returned to dazzling corporeal form in an interspecies photoshoot.

Read more from “Between Worlds” from Flash Art International 344 Fall 2023.

29/09/2023

Described as “the trend to end all trends,” a paradoxical TikTok hashtag that briefly garnered mainstream attention at the beginning of the year. In the latest Critic Dispatch feature, Y7 investigates what did its chaotic, nonsensical, and melancholic output tell us about our relationship with contemporary online culture.

Hit the link in bio to read “A Postmortemof ” from 343 Summer 2023.

27/09/2023

Ginny on Frederick is a gallery in London’s Smithfield Market, founded in 2020. The familiarity of the name mirrors the intimacy of the programming: Powell’s shows have been almost exclusively with friends, or friends of friends. The gallery speaks to, and reflects, our remarkable historical moment. The original space was shut down during COVID, and the new one launched during the pandemic. Even more so, coming out of the cheap-money, high-returns era crashing around us, it tells about the possibilities for working tight, acting small, and thinking big.

Hit the link in bio to read “Ginny on Frederick” from 344 Fall 2023.

23/09/2023

“So much of my practice is about listening to what arrives around me and through me.” – Rhea Dillon.

Read more from “Viewing Altered Grounds” by Zakiya McKenzie from Flash Art International 344 Fall 2023.

22/09/2023

“I want everything, always, all the time. For me, it’s a correspondence with deep fragilization and constant witnessing for everybody. I’m always saying that I’m endlessly talking to God, this is my poetry. Because everything starts with the poem, and it always has. I happen to be an artist who has the heart of a poet, and this influences everything I do. It’s a nonstop poem — the relation between everyone that I work with and the projects I do functions as this poem. The Venice work, like older works, was burnt and will be part of another show. Everything leaks into everything else. It is endlessly leaking; this is what I constantly show people. It’s love leaking and the entangled, abundant, and excessive syntax of that.” – Precious Okoyomon

Read more from “Parabolical Apocalypses” by Jazmina Figueroa from Flash Art International 344 Fall 2023.

14/09/2023

Mire Lee "Black Sun" at New Museum, New York reviewed by Colin Edgington for 344 Fall 2023.

Hit the link in bio to read more.

13/09/2023

“POSTPOSTPOST”, not unlike the compulsive remixing of Madonna’s “Frozen”, is a reconsideration of the current cultural moment that occupies the now, succeeding its ancestors Modernism, Postmodernism, and Post-postmodernism.

Hit the link in bio to read “We, the Brand Evangelists of POSTPOSTPOST” from 344 Fall 2023.

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Video

Andrew Norman Wilson discusses with Aily Nash one of his most recent video productions, “In the Air Tonight.” Created during the lockdown in the spring of 2020, the video features the ubiquitous Phil Collins track and excerpted clips from commercial cinema of the ’80s and ’90s to make palpable the dissociative effect of mass media, estranged from their original signification yet employing the substrate that continues to resonate inside us. Read here “In the Air Tonight: A Conversation with Andrew Norman Wilson” by Aily Nash: https://bit.ly/3o72vCZ Andrew Norman Wilson’s “In the Air Tonight” is featured in Lo schermo dell'arte's streaming programme until November 21.

The latest round of exhibitions, which will open on 4 November and run until 20 November 2021, features DITTRICH & SCHLECHTRIEM (Berlin, Germany), i8 Gallery (Reykjavík, Iceland) and Allied Editions (London, UK). Explore in person at No.9 Cork Street or online on Frieze Viewing Room. Free and open to all: https://bit.ly/2ZuTjhR #Frieze #9CorkStreet