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A*DESK has been offering since 2002 contents about criticism and contemporary art. A*DESK has become consolidated thanks to all those who have believed in the project, all those who have followed us, debating, participating and collaborating. Many people have collaborated with A*DESK, and continue to do so. Their efforts, knowledge and belief in the project are what make it grow internationally. At A*DESK we have also generated work for over one hundred professionals in culture, from small collaborations with reviews and classes, to more prolonged and intense collaborations.
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First hand. When a series of artistic proposals look for specific people as receivers it seems logical to respond with a personal, subjective and particular point of view. Forgetting universalism, contemporary art approaches specific people with forms of contact that seek to please or displease, in equal measure. And what is the role of criticism? To explain pieces that can’t be seen? To enter pieces through the eyes of another? To enter the world of fiction?
Faced with a series of works which many people won’t be able to access, at A*DESK we want to investigate critical formats, the frontier between critical narration and distanced analysis. That is if the first can be separated from the second.
In this issue of A*Magazine we present three critiques written in the first person, three narrations about three pieces, three works where the passing of time and its activation is important. Frederic Montornés writes about “Te oímos beber” (We hear you drinking) by Alex Reynolds, Lorena Muñoz-Alonso about the new proposal by Ryan Gander, commissioned by Artangel, and Marti Manen about “Cooking Catastrophes” by Eva Meyer-Keller and Sybille Müller.
By way of us
Sharing the archive with … Peter Freund
Artists, status and other contradictions
"A desk is a dangerous place from which to watch the world" (John Le Carré)