Kayode Ojo, Shuang Li, Colin Self,
Keller Easterling, Xinyi Cheng, Catalina Ouyang, Hayden Dunham, Craig Green,
Julien Creuzet, Janelle Reiring & Helene Winer...
Lord of the Flies, Shuang Li's work—cover story of the Spring issue—has been performed in Shanghai in January 2022. Trained remotely, the twenty performers embodied the sense of failure and implosion that defined metropolitan cities during the pandemic years. The performance is about the absence of human presence, both contingent and conceptual, as well as the metamorphosis of interpersonal relationships during a historical moment in which humans have become ever closer to a state of dematerialization. This work also resonates in this crucial moment of the global political scene which probably is going to define one more time the delicate relationship between continents as well as among humans. The entire issue reflects the lack of definition of the human identity through the own body, and aim to map the most interesting practices in studying desire and affect, which are reflected in nonhuman beings, questioning architectural spaces, in fictitious narratives across disparate temporalities and geopolitical contexts. This season will embody the essence of digitalized intimacy amid the existential restlessness of the world around us.
In this issue: Desire Machines: The Art of Kayode Ojo by Blake Oetting; Processing Placelessness: When Screens take Bodies.
Andrea Bellini in Conversation with Shuang Li; Colin Self: On Shadows and Spotlights. Text by Isabel Parkes. Photography by Joseph Kadow; Space As a Reflection Of the Mind. Olivia Erlanger in Conversation with
Keller Easterling; Xinyi Cheng's Intimate Assault on Reality by Ingrid Luquet-Gad; One to Watch. Catalina Ouyang: Perilous Embodiment by Jane Ursula Harris; A CONSTANT CHOREOGRAPHY OF RETURNING. Visual essay by Hayden Dunham; Profile. Craig Green: Silence and the Suburbs by Charlie Robin Jones;
Julien Creuzet's Complex Work: Plastic Poetics, Landscapes, Hybridizations by Pascale Krief; Time Machine. METRO PICTURES (1980–2021). A conversation with Janelle Reiring and Helene Winer by Paul Taylor Originally published in Flash Art International no. 133, April 1987; Questionnaire. For the Love of Doing Nothing: The bare minimum collective on Illness, Care, and Work. A Conversation with Olamiju Fajemisin; Letter from the City by Mandy Harris Williams.
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.
