Ayşe Erkmen
Ayşe Erkmen’s distinctive process shows a commitment to long-term research-based projects that can be traced as far back as the…
Magazine Articles
Djordje Ozbolt
There is a perverse logic in setting up a conversation between old friends Djordje Ozbolt and Subodh Gupta. After staying…
André Butzer
John Newsom: Knowing that in 1993 you encountered both Asger Jorn’s Green Ballet (1960) at the Hamburger Kunsthalle as well…
Gerhard Richter
Let us think this thought in its most terrible form: existence (das Dasein) as it is, without meaning or aim,…
Marina's Diary
On October 8, at the Garage Center for Contemporary Culture in Moscow, I will be presenting for the first time…
Mark Barrow
Nicola Trezzi: How important is the process in your work? Mark Barrow: The process is as important as any…
Zak Prekop
Daniel Byers: Can you talk about the idea of absence in your work? There are often gaps (which repeat as…
After the Deluge
The waters in Piazza San Marco were rising the night of the official Venice Biennale opening, causing a mini flood…
Notes on Venice Biennale
A tale of a Nose Everyone talks of the high life, money, carousing and non-stop parties of Venice. I love…
Erika Hoffmann
Ellen Blumenstein: You are currently working on the new installation of the annual exhibition at your collection, which opened in…
German Institutions
Accompanying the second part of Flash Art Focus Germany is a survey devoted to German art institutions that play an…
Number Shows
Lucy R. Lippard’s first numbered show was “557,087” at Seattle’s World’s Fair Pavilion in September 1969, followed a few months…
Vladimir Nikolic
Maja Ćirić: Where do you see yourself “at home” in the art world? Vladimir Nikolic: “Home” is not stable in…
Reality and Co-Reality
in Painting
This issue of Flash Art introduces a new framework for our ongoing engagement with contemporary art and its discourses. In addition to…
Is There a Lot to Understand?
Pure draughtsmen are philosophers and dialecticians. Colorists are epic poets. — Charles Baudelaire In an interview published in March 2011…
Cyprien Gaillard
Susanne Pfeffer: For your exhibition “The Recovery of Discovery” at KW Institute for Contemporary Art in Berlin you created a…