Spitzenprodukte’s CHUBZ: The Demonization of my Working Arse Montez Press / Hamburg
The premise of Spitzenprodukte’s CHUBZ: The Demonization of my Working Arse is the following: we are in the middle of…
The premise of Spitzenprodukte’s CHUBZ: The Demonization of my Working Arse is the following: we are in the middle of…
A sculpture is the same sculpture still, regardless of how much its form changes, even when outside intervention or a…
A glass of absinthe, such as those as seen in two of Willa Nasatir’s rephotographed photos on display in “Joshing…
Kunsthalle Lissabon (KL) is one of the few solid independent institutions in Lisbon’s contemporary art scene. Persevering through a climate…
“The Sharjah Biennial,” an editor of mine once opined, “has always been political, in a quiet way.” This year’s Sharjah…
A walk under the Oscar Niemeyer–designed marquise is one way to arrive at the MAM in São Paulo’s Ibirapuera Park.…
“Witty is always funny in the art world, but is funny acceptable, too?” asks John Waters. “It’s a thin line.”…
German painting of the 1960s, ’70s and ’80s was torn between an ironic relativism (Richter, Polke, Kippenberger, Förg) and an…
Sheikha Hoor al-Qasimi, recently named curator of the United Arab Emirates National Pavilion at Venice, is a rare breed. Not…
How many art fairs can you pack into a week? In New York this past week there were at least…
Recently appointed director of the Asian branch of Art Basel, Adeline Ooi discusses her efforts to represent the art world…
Paul Kneale’s “4 or 5 self portraits for free-form natural language descriptions of image regions,” his first solo show at…
Based between Mexico and Berlin for almost ten years, Mariana Castillo Deball knows a lot about back and forth. It…
We are pleased to announce the March–April 2015 issue of Flash Art International is now out.
Opening: 06.03.15, 6:30 pm07.03 – 04.04.15
For the first monographic retrospective of Hayan Kam Nakache at Fri Art, the young artist of Syrian origin presented a…