This issue of Flash Art dedicates a ten-page dossier to the career of the Damascus-born artist
Simone Fattal. The cover is a previously unpublished project specially conceived by the artist for the magazine. Ala Younis retraces various aspects of Fattal's journey through “the light and the darkness of the self and the other,” while Lina Robertson, with the poem “Alba,” establishes a connection with Fattal's mode of writing
par excellence.
This issue starts with an essay-monologue by Marina Fokidis in which she reflects on how “efforts to forge a counter-discourse to hegemony can themselves become hegemonic.”
Also in this issue,
Peter Halley's schematic abstractions are considered by Elena Sorokina, starting from an analysis of the room as an architectural container “interconnected by invisible channels of communication.” Peter Benson Miller delves into the work of
Yto Barrada, highlighting how the artist unmasks modernist abstractions.
Jacob Korczynski in an interview with Ghislaine Leung talks about the “disruptions” in her exhibitions “which ultimately complicate the institutional infrastructure that enables them.”
This issue also features
Laure Prouvost, who will represent France at the 58th Venice Biennale with a project that posits, as Lillian Davies explains, “an infinity of surprising possibilities” in the notion of the collective; and Shu Lea Cheang, who discusses with Tess Edmonson and Paul B. Preciado her site-specific project 3x3x6—a work that will represent Taiwan at the Venice Biennale as well.
Reviews: Ulrike Ottinger, Elliott Jerome Brown Jr., Elif Saydam, K.r.m. Mooney, Tony Cokes, Mark Rodriguez, Lewis Hammond,
Approaching Abstraction, Kris Lemsalu, Cady Noland,
Isa Genzken,
No Thing: Pope L., Adam Pendleton,
Ellen Gallagher with Edgard Cleijne: Liquid Intelligence,
Decolonizing Appearance, Lauren Luloff, Shoplifter, Naeem Mohaiemen,
Kochi-Muziris Biennale, Ibrahim Mahama,
Mario García Torres.
Flash Art is a contemporary art and culture magazine (and a
publishing platform) founded in 1967. Within a decade, it became an indispensable point of reference for artists, critics, collectors, galleries, and institutions. In 2020,
Flash Art became a quarterly publication, at the same time increasing its trim size and updating its graphic identity. The magazine offers a fresh perspective on the visual arts, covering a range of transdisciplinary approaches and fostering in-depth analyses of artist practices and new cultural directions. Today,
Flash Art remains required reading for all who navigate the international art scene.
Flash Art is known for it covers featuring artists who subsequently become leading figures in the art world. The magazine includes photoshoots, productions, critical essays, monographic profiles, conversations with emerging and established artists, and a range of ongoing and thematic columns that change every few years. The long history of the magazine is also highlighted by pivotal texts from the archive that are included in the publication time to time. Finally, every issue offers a highly curated selection of the best institutional exhibitions on the global scene.
See also
Flash Art Volumes.
