Flash Art

Installation View of the exhibition ‘Looking back at you”, 2026, Kaiyuan Yang. Across a practice comprising photography, moving image and installation, Kaiyuan Yang conjures metaphorically rich image fields to address contemporary anxieties. Through meticulous scene composition, lighting control and technical interventions, he emphasises the dramatic quality and symbolic systems of images drawn from Chinese religious and cultural traditions.

“Anyone can make a case for the outside.” [1] An entry in fourteen small windows, flanked by two glass revolving…

“Anyone can make a case for the outside.”[1] An entry in fourteen small windows, flanked by two glass revolving doors and two glass swing doors. Taken together, just over five hundred square feet of transparent fenestration, or just a fraction of one percent of a stone-and-concrete monolith stretching five hundred and thirty-two feet high and covering a surface area equal to two Manhattan blocks.

I’m afraid to admit the exact amount of debt I’m in. Walking into the exhibition “Call me gravity” at WIELS in Brussels, I half-expected to find myself…

I’m afraid to admit the exact amount of debt I’m in. Walking into the exhibition “Call me gravity” at WIELS in Brussels, I half-expected to find myself in the numbered world of credit, debit, and interest rates. Curator Pauline Hatzigeorgiou proves that assumption dead wrong. She has refracted the concept through a kaleidoscope, reconsidering it financially, generationally, socially, and karmically.

Euphoric, machinic Italo disco pulses through Nottingham Contemporary’s galleries, audible from the street, where passersby press against the wall- length glass…

Euphoric, machinic Italo disco pulses through Nottingham Contemporary’s galleries, audible from the street, where passersby press against the wall- length glass windows trying to make sense of what is going on inside. The gallery has been converted into a gym. Long fluorescent strip lights flood the rooms with a cool brightness, and cobalt-blue court markings are outlined along the pinewood floorboards. The space has the unmistakable atmosphere of a school gymnasium.

“Oracles Beyond the Sea” is the final exhibition of the year-long residency of the fellows at Villa Medici. Curated by Marea Art Project, the exhibition brings together practices and research spanning visual art, music, writing, and architecture. The title takes its cue from a work by Palestinian artist Vera Tamari, opening onto a reflection on the Mediterranean as a space of memory, conflict, and imagination.

IN THIS ISSUE → ◯ Cover Story Everything it is it has. Thea Djordjadze by Ela Bittencourt, photographed by Osma Harvilahti. ◯ Cover Story Can’t Get You Out of My Head. Thomas Ruff in Conversation with Louisa Elderton. ◯ Cover Story Why are all Eyez on Alvaro? Alvaro Barrington in Conversation with Taylor Le Melle, photographed by Alice Mann. ◯ Life = Porridge. Tolia Astakhishvili by Anya Harrison. ◯ An Opera for Rebellious Currents.

Henri McMaster spent her childhood in Canada, where she began building things out of feathers, sticks, and snow from an early age. “It’s such a cliché, but it’s a natural impulse to make stuff with my hands,” she smiles, a bit self-conscious of the admission, given how ubiquitous it is to hear this kind of anecdote.