Flash Art International

23/01/2025

Caroline Elbaor reads Elaine Cameron-Weir’s work as an indictment of how we consume arbitrary dictums in order to provide our lives with definition and meaning. At the same time, like any good artist, Cameron-Weir shies away from inculcating herself in the work, stating, “I think I’m just really trying to be a conduit for what I’m seeing.” We are quick to embrace what is handed down to us, whether it be broad religious decrees, scientific claims, historical narratives, or personal labels that we willingly assign to ourselves.

Hit the link in bio to read “Cry, Scream, Die” by .elbaor from 349 Winter 2024–25

21/01/2025

Tom Burr, in conversation with Gordon Hall, reflect on his long-standing desire to work with space in a way that allows his past works to coexist and interact meaningfully. Their discussion revolves around the concept of “The Politics and Erotics of Receptiveness” – exploring how the acts of receiving and responding to space, ideas, and bodies can be both political and deeply personal. Burr also shares his sense of dissatisfaction and frustration with the systems he has been entangled in, expressing a longing to create something different – something the opens up new possibilities for thinking and working: The Torrington Project.

Hit the link in bio to read “The Politics and Erotics of Receptiveness,” a conversation between and from 349 Winter 2024–25.

Tom Burr’s book on the Torrington Project will be published by Primary Information in the Fall of 2025.

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17/01/2025

“Studio Scene” is the new Flash Art column that offers a more personal and direct look at the artist’s work through the experience of a studio visit. We kick off with David L. Johnson, whose practice explores and reimagines the cracks and porous spaces of the world around us. With words by Jessica Kwok and images by Flash Art Creative Director, Alessio Avventuroso, this first episode takes us through the hidden gaps and voids where Johnson’s art turns every small opening into a chance to reflect and rethink what’s possible.

Hit the link in bio to read “On the Occasion of Absence” by from 349 Winter 2024–25

In the Fall of 2025, Johnson will have two solo shows at Theta, New York, and Fanta-MLN, Milan.

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16/01/2025

In his text for CRITIC DISPATCH, Daniel Merritt delves into Anna Rubin’s The Gram (2024), a video captured by a homing pigeon flying over New York. The city appears in a frenetic blur of fragmented images, offering a psychedelic and, at times, comedic interpretation of urban chaos. Through hazy memories and suspended geometries, Rubin plays with the history of cinema and communication, creating a work that both celebrates and critiques modernity. Titled I ♥️ NY, Merritt’s piece reflects on the city’s overwhelming energy, finding both wonder and disillusionment in its ceaseless motion.

Hit the link in bio to read “I ♥️ NY” by from Flash Art 349, Winter 2024–25.

08/01/2025

Lizzie Fitch and Ryan Trecartin’s latest film TITLE WAIVE (2024), now showing at Fondazione Prada in Tokyo, transports the viewer into a re-imagined past and a reconstructed present. The experience is both alien and strikingly familiar, mirroring the fluctuating self-representations and shared experiences of our digitally driven lives. Described as “sculptural theaters,” these spaces transform visitors from passive spectators into integral participants of the unfolding narrative.

Hit the link in bio to buy Flash Art 349 Winter 2024-25.

Lizzie Fitch and Ryan Trecartin’s exhibition “It Waives Back” is on view at , Tokyo until January 13, 2025.

19/12/2024

“How does this history inform our present ecological crisis? By expanding the curatorial scope of the survey to include a wide field of activities and manifestations of energy and power, viewers are made aware of how each can be contingent upon the other — and in the process reconceptualize their various misalignments.”

- Hindley Wang

Hit the link in bio to read “Energies” at , New York reviewed by for 349 Winter 2024–25

17/12/2024

As Marie Catalano observes, Maren Karlson’s distinctive visual language captures both the fantasies and anxieties of a frictionless capitalist ideal – a spectral vision of the American Dream in Los Angeles, where the artist lives and works. The promises of smooth, ageless bodies and subtle technologies that obscure visible labor and mortality may reflect what post-capitalist philosopher Mark Fisher described as the Gothic Flatline — a conceptual space “where it is no longer possible to differentiate the animate from the inanimate, and where to have agency is not necessarily to be alive.”

Hit the link in bio to read “System Failure” from 349 Winter 2024–25

Maren Karlson’s solo exhibition “Staub (Holes)” is on view at , Los Angeles through December 21, 2024. Her work will be on view in the group show “And since my love is spent (an image repertoire)” at , Shanghai from January 19 until February 28, 2025.

13/12/2024

This issue’s Archive section pays tribute to the groundbreaking practice of Gordon Matta-Clark. Featuring a 1979 essay by Ted Castle and two short pieces that Matta-Clark penned for Flash Art in 1976, it captures the essence of an artist who redefined the boundaries of art, bringing people together and sparking new ideas. His works, like the rope-chain bridge in Kassel and Jacob’s Ladder at Documenta, weren’t just buildings — they were experiences that made us see the world differently.

Hit the link in bio to read “Archive: Gordon Matta-Clark” from 349 Winter 2024–25

All images: Courtesy of The Estate of Gordon Matta-Clark and David Zwirner. ©️ The Estate of Gordon Matta-Clark / Artists Rights Society (ARS), New York.

12/12/2024

“While much recent contemporary art locates identity firmly in the realms of race, gender, and sexuality, and represents those on the surface, Shin’s brain-scans-as-propaganda suggest that we have to go deeper inside the person: that it’s here in the brain that the person you are, your preferences and beliefs — which you’re in total Koonsian acceptance of — reside. Your imagination, creativity, expression, freedom, strength, individual agency, and subconscious streams of desire and association are all to be found in the mind.”

– Dean Kissick

Hit the link in bio to read more from “Heji Shin: A Portrait of the Artist as a Monkey’s Ass” by , originally published in Flash Art 345 Winter 2023–24.

“Heji Shin’s America: Part 1” is on view at , Aspen until March 2, 2025.

09/12/2024

Alex Bennett’s final installment of Unpack / Reveal / Unleash is dedicated to B. Ingrid Olson and her work that gives proximity to suddenness. “See legs open, become proscenium. See mirrors fluoresce, become retinal. See arms cradle, become parenthetical. Dashed to discarnate slices, (un)equal measures spark and smoke, her parts are rayed or slithered into obliquity: navels, fingerprints, the chatoyancy of a rarely sighted eye. Mannerism detaches from pose in this body beaded by avoidance,” this is just a taste of Bennett’s exploration of Olson’s practice, where every fragment invites us to look closer, to uncover the hidden tension between presence and absence.

Hit the link in bio to read “(I), Ellipse” from 349 Winter 2024-25

B. Ingrid Olson’s solo show at Keijiban, Kanazawa is on view through December 14, 2024.

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06/12/2024

After a visit to Matthew Barney’s studio, Travis Diehl delves into the artist’s exploration of physicality. A former football player, Barney has scaled the Guggenheim rotunda in Cremaster 3 (2002) and created drawings while suspended in slings in Drawing Restraints (2005), framing art as a contest of both brain and brawn. His latest work seems to return to this theme, yet Secondary is less about physical strength or struggle than it is about points of contact. The focus here is the interface. Like the impact between two players transmuted into a lump of clay, the sculptures related to Secondary carry the idea of interfaces within their materials.

Hit the link in bio to read “Young Men’s Games” from 349 Winter 2024-25

Matthew Barney “SECONDARY” is on view at , Miami Beach through December 8, 2024.


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04/12/2024

04/12/2024

#349 WINTER 2024–25 “POST-DESIRE LAND” IS OUT NOW

This winter issue of Flash Art delves into the essence of desire in today’s context, and explores what it means to be an artist in the United States at this moment. With terms like “brat” and “demure” being used to describe various lifestyles, we are prompted to consider what a new understanding of desire might look like. Following Shumon Basar’s concept of “endcore,” which captures the anxiety that social media, alarming news, and tumultuous historical moments have instilled in our society, we ask ourselves: Is desire still something we yearn for?

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The issue will be available for preview at Miami Beach from December 4 to 8, 2024

03/12/2024

#349 WINTER 2024–25 “POST-DESIRE LAND” IS OUT NOW

This winter issue of Flash Art delves into the essence of desire in today’s context, and explores what it means to be an artist in the United States at this moment. With terms like “brat” and “demure” being used to describe various lifestyles, we are prompted to consider what a new understanding of desire might look like. Following Shumon Basar’s concept of “endcore,” which captures the anxiety that social media, alarming news, and tumultuous historical moments have instilled in our society, we ask ourselves: Is desire still something we yearn for?

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Location: Artist’s studio, New York

The issue will be available for preview at Miami Beach from December 4 to 8, 2024

Featuring:
.cheng .gallery .elbaor .tappeiner .nyc .nyc

03/12/2024

#349 WINTER 2024–25 “POST-DESIRE LAND” IS OUT NOW

This winter issue of Flash Art delves into the essence of desire in today’s context, and explores what it means to be an artist in the United States at this moment. With terms like “brat” and “demure” being used to describe various lifestyles, we are prompted to consider what a new understanding of desire might look like. Following Shumon Basar’s concept of “endcore,” which captures the anxiety that social media, alarming news, and tumultuous historical moments have instilled in our society, we ask ourselves: Is desire still something we yearn for?

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Lizzie Fitch / Ryan Trecartin, TITLE WAIVE, 2019–24. Animation Still by Rhett LaRue. Commissioned by Fondazione Prada. Courtesy of the artists; Sprüth Magers; and Morán Morán.

The issue will be available for preview at Miami Beach from December 4 to 8, 2024

Featuring:
.cheng .gallery .elbaor .tappeiner .nyc .nyc

03/12/2024

#349 WINTER 2024–25 “POST-DESIRE LAND” IS OUT NOW

This winter issue of Flash Art delves into the essence of desire in today’s context, and explores what it means to be an artist in the United States at this moment. With terms like “brat” and “demure” being used to describe various lifestyles, we are prompted to consider what a new understanding of desire might look like. Following Shumon Basar’s concept of “endcore,” which captures the anxiety that social media, alarming news, and tumultuous historical moments have instilled in our society, we ask ourselves: Is desire still something we yearn for?

Cover 1/4
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Location: Torrington Project, Torrington

The issue will be available for preview at Art Basel Miami Beach from December 4 to 8, 2024

Featuring:
.cheng .gallery .elbaor .tappeiner .nyc .nyc

27/11/2024

Artificial intelligences and machines, Anicka Yi believes, are also part of our evolution as humans. “We’re at this critical razor’s edge,” she has said to Dean Kissick “where we can either annihilate ourselves with our fear of technology or try to endure and prosper.” In support of the latter, she has designed companion species for us, AI daemons that might be our friend. The artist hopes biologized machines like these might someday live among us.

Hit the link in bio to read “Live Forever” for 348 Fall 2024.

Anicka Yi’s solo show “There Exists Another Evolution, But In This One” at , Seoul is on view until December 29, 2024.

25/11/2024

“Bass wraps the entire basement, including whatever bodies are currently within it, into a sort of sonic monad. Viewers lose their status as such, as the work’s immense sound literally moves them.”

Hit the link in bio to read Steve McQueen “Bass” at , New York reviewed by Valerie Werder for 348 Fall 2024.