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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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To take the leap from culture to cultural industry presupposes forgetting too many issues. A cultural industry implies profitability based on an industrial structure. That is to say one defined by profit and economics. To forget the existence of a series of parameters that are hard to evaluate instantaneously signifies the loss of options for the future, as well as for the past.
The future, that seems ever more distant. Something that appears increasingly more difficult to attain. The supposed lack of options and ongoing emergency that make it impossible to think beyond today, the general uncertainty and the fact that the results don’t offer, for the time being, too many avenues for the imagination or possible escape routes. Or perhaps they will all be provided at the end of the fall.
The past, that serves as a way of resituating our time and place. Without the option of rethinking the past it would be hard to understand our present. Speed and imperial desires also devour the option of a critical and thoughtful dialogue about multiple origins, as if it were taboo to touch upon certain things at this point in history, as if we hadn’t learnt to value critical positions as also being definitive of a mature society.
And art. What about art? Well in this edition of A*Magazine we present three approaches, three options, three fields in which to discuss, debate and reconsider through art. Paloma Checa takes a look at “Pacific Standard Time”, a project born with the aim of modifying history. Verónica Escobar analyzes “Estilo Indirecto”, an exhibition that talks of utopias and dismissed projects. And Sonia Fernández Pan considers the relation between art and politics and the constant paradoxes.