{"product_id":"355-summer-2026-the-unsolved","title":"355 SUMMER 2026 the Unsolved","description":"\u003cp\u003e\u003cem\u003eFlash Art\u003c\/em\u003e’s summer issue takes on “the Unsolved.” Many readers are just beginning to recover from the chaos and rumble that was the opening of the 61st Venice Biennale, “In Minor Keys.” In the weeks that have followed, publications have been awash with think pieces on what to do in the face of the event’s highs and lows. Ultimately, we’ve seen a melancholic heaviness seep into the corners and hues of the art being made in this time of conflict, economic recession, and unrest. In this summer edition, the artists and writers don’t attempt to provide a solution. Rather, their work is a kind of exploratory lens on the world, one that looks at the ways we’ve unraveled without attempting to put it back together.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eOn the cover, \u003cstrong\u003eLotus L. Kang\u003c\/strong\u003e—who presents \u003cem\u003eThe Face of Desire is Loss\u003c\/em\u003e in the Bvlgari Pavilion in the Giardini—appears in her studio, photographed by Jeff Enrikson. In a profile on the artist, writer Amy Jones reflects on the birds that populate her work, connecting them to an expansive use of analog film and light-sensitive material. In Ghent, painter \u003cstrong\u003eMichaël Borremans\u003c\/strong\u003e, photographed by Osma Harvilahti for this issue’s second cover, stands among the vast, near life-size canvases that dominate his work space. In conversation with Louisa Elderton, he talks about his process and his sudden desire to paint an apple. His show “French Painting” at David Zwirner, Paris, runs through July 22.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis issue’s features begin with \u003cstrong\u003eJenna Sutela\u003c\/strong\u003e, who populated this year’s Finnish Pavilion with fat, gray puffs of fur styled with big and small horns aplenty. Sarah Johanna Theurer goes through the artist’s body of work, tracing her relationship to scientific research and speculative thinking. Making a splash with her viral human bell, \u003cstrong\u003eFlorentina Holzinger\u003c\/strong\u003e’s practice, reflected upon by Jeanette Bisschops, has been defined by a transgressive relationship to performance that doesn’t fit easily on stage or in the gallery. \u003cstrong\u003eRose Salane\u003c\/strong\u003e speaks to Chiara Siravo about her film \u003cem\u003eMercurial New York\u003c\/em\u003e (2026) and the careful attention it required to capture the buzz of the city.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eRaoul Klooker and Ivan Cheng talk about Cheng’s performances, which, nevertheless, the artist insists are in fact “novels.” Navigating stray shoes and clipped newspapers, Sonja Teszler tackles \u003cstrong\u003eIan Waelder\u003c\/strong\u003e’s leveraging of archives in a way that reflects his own personal history as the grandson of a man who had to flee Germany during World War II. \u003cstrong\u003eLuzie Meyer\u003c\/strong\u003e, profiled by Tabea Marschall, is seen as an artist who works in bits, fragments, and sound bites, which inform her heavily research-based practice.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe columns similarly explore places and people that exist in the gray area of the not-yet-known. \u003cem\u003eFocus On\u003c\/em\u003e reflects on the complicated histories of \u003cstrong\u003eBerlin\u003c\/strong\u003e, with written narration by Philipp Hindahl and visual narration by Hyesoo Chung’s double-exposure photography of the city as it exists in 2026. \u003cem\u003eUnpack \/ Reveal \/ Unleash\u003c\/em\u003e by \u003cem\u003eFlash Art\u003c\/em\u003e’s managing editor Michela Ceruti hits replay on \u003cstrong\u003eSarah Brahim\u003c\/strong\u003e’s video and performance work, likening it to her hunt for “a physical copy of Emily Dickinson’s \u003cem\u003eEnvelope Poems\u003c\/em\u003e.” \u003cem\u003eStudio Scene\u003c\/em\u003e opens the door to \u003cstrong\u003eHenri McMaster\u003c\/strong\u003e’s studio, which Eilidh Duffy demystifies in all its scraps of fur and jotted-down notes. The \u003cem\u003eArchive\u003c\/em\u003e features two reprints of \u003cstrong\u003eHans Haacke\u003c\/strong\u003e profiles written twenty-four years apart, one from issue #126 in 1986 and the other from issue #270 in 2010.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eA Visual Essay\u003c\/em\u003e by \u003cstrong\u003eBella Newman\u003c\/strong\u003e includes images from highly saturated walks through “a place she once felt imprisoned by.” Diamond Stingily unpacks these clowns, cars, and underwear\/gun holsters through the lens of girlhood.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThe issue also finds reviews on \u003cstrong\u003e“In Minor Keys” at the 61st Venice Biennale\u003c\/strong\u003e by Anya Harrison; the \u003cstrong\u003eWhitney Biennial 2026\u003c\/strong\u003e at the Whitney Museum of American Art, New York, by Nina Chkareuli; \u003cstrong\u003e“Body Fragment”\u003c\/strong\u003e at The Power Station, Dallas, by Lucia Arbery Simek; \u003cstrong\u003eTracey Emin\u003c\/strong\u003e, “A Second Life” at the Tate Modern, London, by P. Eldridge; \u003cstrong\u003eBrook Hsu\u003c\/strong\u003e, “The Barcelona Pavilion” at Kraupa-Tuskany Zeidler, Berlin, by Alessio Avventuroso; and \u003cstrong\u003eSanya Kantarovsky\u003c\/strong\u003e, “Basic Failure” at Istituto Veneto di Scienze, Lettere ed Arti, Palazzo Loredan, Venice, by Annalise June Kamegawa.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eIN THIS ISSUE → Letter from the Editor \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Cover Story Taking Flight. Lotus L. by Amy Jones, photographed by Jeff Henrikson. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Cover Story A Mirror, Darkly. Michaël Borremans in Conversation with Louisa Elderton, photographed by Osma Harvilahti. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Focus On Berlin: After the Myth by by Philipp Hindahl, photography by Hyesoo Chung.\u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e ◯\u003c\/span\u003e wet flicks of sound. Jenna Sutela by Sarah Johanna Theurer. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e In the Waste of Others. Florentina Holzinger by Jeanette Bisschops. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Mercurial New York. Rose Salane in Conversation with Chiara Siravo. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e The Great Escape from Girlhood. A Visual Essay by Bella Newman Words by Diamond Stingily \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Balancing Surrogates. Ivan Cheng in Conversation with Raoul Klooker. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Unpack \/ Reveal \/ Unleash Slowly, Then All at Once. Sarah Brahim by Michela Ceruti. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯ \u003c\/span\u003eArchives as Footnotes. Ian Waelder by Sonja Teszler. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e The Sound of Broken Eggshells. Luzie Meyer by Tabea Marschall. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯ \u003c\/span\u003eArchive Hans Haacke. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Studio Scene. Dead Matter \u0026amp; Nervous Flesh. Henri McMaster by Eilidh Duffy documented by Avventuroso.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e \u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eREVIEWS→ Whitney Biennial 2026, Whitney Museum of American Art, New York by Nina Chkareuli \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e “Body Fragment” The Power Station, Dallas by Lucia Arbery Simek. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Tracey Emin “A Second Life” Tate Modern, London by P. Eldridge \u003cspan style=\"mso-spacerun: yes;\"\u003e \u003c\/span\u003e\u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Brook Hsu “The Barcelona Pavilion” Kraupa-Tuskany Zeidler, Berlin by Alessio Avventuroso. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e Sanya Kantarovsky “Basic Failure” Istituto Veneto di Scienze, Lettere ed Arti, Palazzo Loredan, Venice by Annalise June Kamegawa. \u003cspan style=\"font-family: 'Cambria Math',serif; mso-bidi-font-family: 'Cambria Math';\"\u003e◯\u003c\/span\u003e “In Minor Keys,” 61st Venice Biennale by Anya Harrison.\u003c\/p\u003e","brand":"Flash Art","offers":[{"title":"Michaël Borremans","offer_id":54061635862869,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":true},{"title":"Lotus L. Kang","offer_id":54061636550997,"sku":null,"price":20.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0023\/0306\/6161\/files\/FA355_cover_gif.gif?v=1780500801","url":"https:\/\/shop.flash---art.com\/products\/355-summer-2026-the-unsolved","provider":"Flash Art","version":"1.0","type":"link"}