Flash Art

“The door of a house was just opened after a month. All of the windows are closed and the plastic blinds are pulled down. There's thick, musty, wall-to-wall carpet.

Now here's a lesson: “The only thing you got in this world is what you can sell,” utters Charley, one of the characters in Arthur Miller's Death of

Kaare Ruud's artistic practice unfolds within interiors and their overlooked margins, where disparate belongings accumulate without clear hierarchies. These materials resist clear interpretive guidelines, operating instead through partial recognition. Objects from one's own childhood or mundane daily life recur: abandoned Formica tables; wristwatches; the distinct but loaded contents of a father's nightstand drawer.

Kaare Ruud's artistic practice unfolds within interiors and their overlooked margins, where disparate belongings accumulate without clear hierarchies.

I arrive in Lisbon during Europe's stagnant hot season. A heat dome has settled over the continent, high pressure trapping air like a lid over boiling water. Temperatures rise, movement slows, cities harden into exhausted versions of themselves. Light becomes excessive. White façades throw heat back into the streets. Meanwhile Lisbon seems to be having its own superheated moment. Tourists move through neighborhoods faster than memory can adapt. Local commerce disappears behind identical premium cafés, boutique hotels, and short-term rentals. And yet, another current runs underneath it all. During ARCOlisboa 2026, the city feels suspended between erosion and invention. Here, contemporary art is not only for making exhibitions; it feels like an attempt to imagine forms of resistance against acceleration itself.

Joshua Serafin presents Relics: An Eye Once Blind with Görkem Şen and Pierre Bayet, 2026. Performance view at Kuboraum Editions, We Travel To Know Our Own Geography, Venice, 2026. Photography by Vince

IN THIS ISSUE → Letter from the Editor ◯ Cover Story Taking Flight. Lotus L. by Amy Jones, photographed by Jeff Henrikson. ◯ Cover Story A Mirror, Darkly. Michaël Borremans in Conversation with Louisa

Located less than half an hour south of Luxembourg City, the small town of Esch-sur-Alzette could be regarded as something of a working-class underbelly of the tidy, bourgeois capital. Since opening just five years ago, in the stripped-back premises of a furniture store, the Konschthal Esch has presented an ambitious program featuring notable national artists such as veteran Bert Theis and newcomer Vera Kox, as well as internationally renowned figures such as David Claerbout and Titus Schade. The current exhibition, “état bruit,” combines homegrown and international talents in a thematic group show, presenting, as the press text puts it, a contemporary survey on art reflecting the “channels, signals, and background noises” of present-day life.

“Majority rule no longer means anything when nobody trusts anybody. Doing something just because 51% of those who voted said…

“Majority rule no longer means anything when nobody trusts anybody. Doing something just because 51% of those who voted said so is starting to feel really, really stupid.