We’ve made it to the number 100 of A*Magazine. We’ve entered into the third digit something that forces us to change a few things in the programming of the Web, to ensure it works better. The truth is that we didn´t think we’d reach this figure, though perhaps it is more true to say that we didn´t think about the future. A*DESK functions in the present, with an impetus and amidst a certain chaos, that demands the close at hand. We’ve reached number 100 and taking it in our stride, as we’re just carrying on as ever. With the same insecurity as with the first number.
Many people have written here, the rotation of names has been considerable. And for the moment this is the way we’re going to continue. There aren´t that many platforms that open their doors to new voices, that are understood to be a space for critique, but that also accept that renewal is important. Sometimes we make mistakes, but we always try to grow and learn, to talk about texts and the edition, to talk about the readers, art and the system. To dialogue and make proposals, to make mistakes and be aware of this very possibility.
And even though a priori it seems contradictory, at A*DESK we are happy to see that the work and dialogues that materialise in the texts we present (and pay for) resound in other parts of the Internet. The echo of its contents is important for a platform for the production with the aim to affect. So we would like to thank all those travelling companions, who, apart from reading us, also reproduce our articles for other readers.
In this edition of A*Magazine we publish texts that are in some way what we are all about: a series of questions and intents to analyse the artistic, its structures, forms and ideas. Verónica Escobar writes about nostalgia and the market, Paloma Checa about emotion and Warhol, Andrea Pacheco focuses on Latin America in response to a previous text by Marti Manen, and Ángel Calvo describes the worrying situation of art in Galicia.
The relationship between the market and the non-digital image reveals an interesting paradox: a technophile world dominated by nostalgia for the analogical. An obsession with the past dominates a large part of today’s cultural tendencies and consumer fashions. Where does the attraction for the obsolete lie?
The Polaroids by Warhol, as a system for maintaining emotion and memory, have currently taken on a new life. Their diffusion in various art centres and museums across the world responds to the desire of the Andy Warhol Foundation for the artist to remain one of the definers of an era that is still our own. In Madrid, Warhol now has a multiple presence.
What is known as "Brand Spain” is losing clout in Latin America. If traditionally cultural relations have been marked by a colonial past, at this point in time the situation is even more complicated, if that is possible, with strong positions that define the future of culture and the arts, as well as many other possible schemes.
The crisis serves as the excuse to dismantle the system of art and culture. The networks of libraries, museums and art centres suffer, if they don’t become extras or propaganda machines. Galicia, the place that reformulated an interesting network around culture, watches as it all goes down the drain. Precariousness is institutionalised and the future is ever more uncertain.