This issue of Flash Art
, with essays by Dorothea von Hantelmann
and Isobel Harbison, dedicates sixteen-pages dossier to the work of Rebecca Horn, a pivotal figure of performative art
, and develops a series of reflections on a younger generation of contemporary artists who are now using their bodies or their personas as agents in an attempt to re-cognize themselves in a present that increasingly rewards the loss of self-consciousness.
This season has seen a renewed and overwhelming interest in works engaging corporality, gesture, theatricality, or dance—works that in the visual arts we tend to group under the rubric “performance.” When we think of a work of art, we always feel a reflexive need to identify its medium, perhaps due to our ekphrastic or merely logistical nature, or more likely to assure ourselves that we have a label for everything.
Today, much of the legacy under the term performative be it work in the service of an ontological quandary, a dialogue with fashion, a political protest, a spiritual search, or an interrogation of form itself.
is an international quarterly magazine and publishing platform
dedicated to thinking about contemporary art, exploring the evolving cultural landscape through the work of leading artists, writers, curators and others.
One of Europe's oldest art magazines, Flash Art
was founded in Rome in 1967, before relocating to Milan in 1971, and was originally bilingual, published in both Italian and English. In 1978 two separate editions were launched: Flash Art International
and Flash Art Italia
. Today the magazine remains one of the most recognizable and widely read publications of its kind, and is distributed in 87 countries.