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On 30 October 1976, the performance Io mescolo tutto: Cocaine, Frà Angelico by Gina Pane was held at the Museum of Modern Art in Bologna. The wound, an element already present in Pane’s practice, becomes a means to “subvert the hierarchies of the main components of her work, such as painting and gesture, and to show the capacity of these to merge and evolve into each other”. In TIME MACHINE dedicated to the artist – accompanied by a conversation between Pane and Helena Kontova taken from Flash Art Italia no. 92-93 October-November 1979 and some archive documents – Caterina Iaquinta explores the use of the wound as a sign generating a dialogue and the multiple references (from Beato Angelico to Kazimir Malevič) that guided the artist. This autumn issue of Flash Art Italia: an attempt to investigate the collision between different languages, media and techniques in the works of contemporary artists. The work of Alessandro Di Pietro, the cover story of this issue, fits right into this research. In his installations and films, he mixes artistic, philosophical and literary references, fuelling a practice that “resembles an explosive device exploded into a thousand fragments”. In conversation with Vincenzo Di Rosa, Di Pietro recounts his latest project, Ghostwriting Paul Theck: Time Capsule and Reliquaries (2020-ongoing), delves into the historiographical hacking operation carried out on Thek’s work and traces the genesis of Race of a Hippie (2023): a video in which found footage and scenes of the discovery of works “attributed” to the American artist coexist.