Yalda Afsah,
Tolia Astakhishvili, Alvaro Barrington,
Dora Budor, Mimmo Haraditiohadi,
Lap-See Lam, Vladislav Markov, Armineh Negahdari, Lydia Ourahmane, Ewa Poniatowska,
Thomas Ruff, Martín Sabyno, Maria Toumazou,
Bruno Zhu...
The language of borders has become inescapable. It shapes political discourse and public debate, but also the ways in which images circulate, technologies operate, and communities imagine themselves. Today, borders are no longer confined to the edges of territories; they emerge through infrastructures, memories, architectures, and systems of representation, revealing themselves as dynamic sites where identities, geographies, and forms of belonging are continually negotiated.
The fall issue of
Flash Art, titled "Borders," approaches the border not as a fixed geopolitical line but as a condition that permeates contemporary life. Bringing together artists and writers whose practices unfold across different cultural and geographic contexts, the issue explores borders as spaces of conflict and translation, exclusion and encounter, asking how art can make visible the forces that shape our present while imagining other ways of inhabiting it.
The issue presents three cover stories. Thea Djordjadze, photographed by Osma Harvilahti in her studio in Berlin, is profiled by Ela Bittencourt, who reflects on the artist's poetic understanding of architecture, materiality, and memory, where objects and places become carriers of psychological resonance.
Thomas Ruff speaks with Louisa Elderton about photography, artificial intelligence, and the mutable status of images at a moment when technological innovation is reshaping visual cultural. Alvaro Barrington, photographed by Alice Mann in his London studio, discusses painting, collaboration, and cultural inherence in conversation with Taylor Le Melle, reflecting on the artist's practice as a space of community, exchange, and lived experience.
This issue comes with different covers, randomly distributed.
Flash Art is a contemporary art and culture magazine 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.
