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Flash Art International

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

02/10/2026

Inside the studio of Mimmo Haraditiohadi there are drawings of Christmas trees smoking pipes, tiny wooden houses, and swatches of paint. While reflecting on the artist’s work for the Studio Scene column, Otto Bonnen writes of seeing “Der Sägefisch” (2023), 2consisting of three paintings of sawfish, each canvas holding a single fish’s snout and head against its own color field: a cold gray-blue, an acid yellow-green, and a bruised violet-pink.” He points out that the artist’s goal was not to recreate the fish in its reality, but to depict an idea, a thought, of the thing as it arose in the mind.

Hit the link in the bio to read, “Familiar Grounds,” by 👁👅👁 with documentation by Alessio Avventuroso from 356 Fall 2026.

28/09/2026

In describing Vladislav Markov’s upcoming work at MASSIMODECARLO’s Pièce Unique in Paris, writer Guillaume Blanc-Marianne notes that “It takes at least three people to make a society. Three, then, are also enough to make a secession.” In the exhibition space, the artist will put three teenagers behind a glass pane to play a game for public view. In staging this interplay of strategy, spectatorship, and youth, the artist creates a look at what Blanc-Marianne identifies as “a ‘magic circle’: a bounded space of play.”

Hit the link in the bio to read, “Territories,” Vladislav Markov by with photography by Pavel Golik from 356 Fall 2026. Feature Development & Editorial Coordination by Estella Sirotta .

Markov’s solo presentation is currently on view at MASSIMODECARLO Pièce Unique, Paris, through October 10, 2026.

25/09/2026

“Spurred on by the twin contexts of poststructuralist conceptualism’s interrogation of Minimalism’s formal neutrality and the AIDS epidemic, the concept of the remainder is where Gonzalez-Torres’s work meets our present moment in its host of concerns and queries. It echoes Leif Weatherby’s notion of ‘remainder humanism’: human quintessence defined structurally by its negative, as a core remainder not yet chiseled away by the advancement of technology’s own intelligence, personified by AI’s inexorable progress.”

Hit the link in bio to read Felix Gonzalez-Torres “Sweet Revenge,” Museo Reina Sofía, Madrid reviewed by Valerie Mindlin’s from 356 Fall 2026. 

Gonzalez-Torres’s show “Sweet Revenge,” is currently on view at Museo Reina Sofía, Madrid until October 12, 2026

 

21/09/2026

Invoking Gaston Bachelard’s conception of the poetic image in his 1957 work “The Poetics of Space,” writer Ela Bittencourt looks at the work of Georgian-born artist Thea Djordjadze. Using Bachelard’s conception of the house as an intimate space, she frames Djordjadze’s work with found objects as one that puts into question the built architecture of the places we call home. During a visit to her in Berlin, the two had a conversation that “ranged from the spatialized writings of Georgian Futurist and Dada poets to the tensions and unexpected affinities between poetry and geometry.”

Hit the link in the bio to read, “Everything it is it has,” by from 356 Fall 2026.

Djordjadze’s solo exhibition “A well of night” is currently on view at Sprueth Magers, New York, through October 24, 2026.

Artist:
Editor-in-Chief and Creative Direction: Alessio Avventuroso
Editor-at-Large: Gea Politi
Photographer: Osma Harvilahti 
Photographer assistant: Phuong Anh Nguyen Le
Retouch: Grading Bureau
Production: Flash Art Studios
Location: Artist’s studio, Berlin

FlashArtMagazine

15/09/2026

“Although absent in representational terms, the body is constitutive of Porter’s work. As an absent operator, it acts as a condition of production. In a quasi-alchemical logic of material reconfiguration, the ashes return as geometric forms. They also shift from being a remainder of something that has happened to something that still carries the capacity to create. As Ned Lukacher writes in his introduction to Jacques Derrida’s Cinders (1991), a cinder ‘is a very fragile entity that falls to dust, that crumbles and disperses.’ But cinders also name the resilience and the intractability of what is most delicate and most vulnerable.”

Hit the link in bio to read Nina Porter “Sample Question,” Kunstverein in Hamburg reviewed by Katrin Krumm from 356 Fall 2026. 

Porter’s show “Sample Question” is currently on view at the Kunstverein in Hamburg until September 22, 2026

 

10/09/2026

When Thomas Ruff created his series “jpegs,” (2004–22) he was missing the image itself. After witnessing the fall of the Twin Towers and capturing photos from the ground, he returned to Germany to find nothing on the strips of film that were in his camera. Seeing how documentation of the event proliferated online motivated one of his most iconic works. In conversation with Louisa Elderton, the photographer discusses his historical approach to images and how to document tragedy itself.

Hit the link in the bio to read, “Can’t Get You Out of My Head,” a conversation between and Louisa Elderton from 356 Fall 2026.

Ruff’s solo exhibition “jpegs ny” is currently on view at David Zwirner – Art Gallery, New York, through October 17, 2026.

08/09/2026

“Walking into the exhibition ‘Call me gravity’ at WIELS in Brussels, I half-expected to find myself in the numbered world of credit, debit, and interest rates. Curator Pauline Hatzigeorgiou proves that assumption dead wrong. She has refracted the concept through a kaleidoscope, reconsidering it financially, generationally, socially, and karmically…the results of this refraction are uneven: in some works, the conceptually rich frame sharpens the story the works are already telling.”

Hit the link in bio to read “Call me gravity,” WIELS reviewed by Emilio Marroquin from 356 Fall 2026.

“Call me gravity” is currently on view at WIELS, Brussels until September 20, 2026

 

07/09/2026

“The classical body and the Soviet body are, it turns out, the same body: two different political projects modeled on the same ideal. Serapinas’s art school education was a formal training in copying these very objects, the founding reference points of the entire Western tradition of the idealized male form, upright, proportioned, physically perfect, and radiating disciplined virtue. These were the standards against which student work was measured, the standard to be aspired to.”

Hit the link in bio to read Augustas Serapinas “Physical Culture,” Nottingham Contemporary, Nottingham reviewed by Sofia Hallström from 356 Fall 2026.

Serapinas’s show “Physical Culture” is currently on view at Nottingham Contemporary until September 13, 2026

 

04/09/2026

In Berlin, Henri McMaster’s studio is speckled in animal furs, images of creatures, and photos of uncanny forms. It’s awash with references and materials that demystify the artist’s anthropomorphic forms. Taking us through her studio for this issue’s Studio Scene, Eilidh Duffy reveals how McMaster’s childhood in Canada, love for archeology, and Anne Carson influence her body of work.

Hit the link in the bio to read “Dead Matter & Nervous Flesh,” Henri McMaster by documented by Alessio Avventuroso from 355 Summer 2026.
 

02/09/2026

#356 FALL 2026 “Borders” IS OUT NOW  

At the confine between two entities, many things can emerge: movement, conflict, understanding. The Fall issue of Flash Art explores the concept of borders –– not just geographic ones, but poetic, conceptual, and material –– seeking to uncover how permeating these divides informs our material reality.

Cover 3/3
Artist: Alvaro Barrington
Editor-in-Chief and Creative Director Alessio Avventuroso
Editor-at-Large: Gea Politi
Photographer: Alice Mann
Production: Flash Art Studios
Location: Artist’s studio, London

Featuring:  Tolia Astakhishvili Lap-See Lam Vladislav Markov Lydia Ourahmane armineh_negahdari Maria Toumazou martinsabyno brunozhu __.ewa.__

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