To search for an exact match, type the word or phrase you want in quotation marks.
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.
At A*DESK we believe in the need for free and universal access to culture and knowledge. We want to carry on being independent, remaining open to more ideas and opinions. If you believe in A*DESK, we need your backing to be able to continue. You can now participate in the project by supporting it. You can choose how much you want to contribute to the project.
You can decide how much you want to bring to the project.
At the beginning of autumn things seem to begin to go slow — time seems to stretch and the dark, shorter days seem to spread the weeks out. We wanted to dedicate this month of October to longevity, to extended periods and to slow cooking, to the proposals of old that are still valid and to the discourses of yesteryear that still seem relevant.
Yet in Catalonia, our home, we were ignited by a disruptive process whose dimensions have yet to be measured although, to tell the truth, all that is clear is that the solution will be a long time coming.
What is long and constant, if not directly repetitive, is the career and oeuvre of Yoyoi Kusama, an artist who has been the object of a retrospective at the Hirshhorn Museum and Sculpture Garden in Washington, and which travelled to the Seattle Art Museum (SAM), surveyed by Jeffrey Schwarz. By the way, the exhibition was a blockbuster, beating records where it opened and culminating in the opening of a monographic museum in Tokyo.
In another order of longevities, Carolina Jiménez talked to Martín Llavaneras about things that take their time, more in accordance with the durability or the senescence of matter, to quote the artist himself, whose exhibition Fruit Belt staged at Fundació Miró (Espai Tretze) won the Art Nou award and triggered this interview. Montse Badia signed an essay on artistic projects that unfold over the course of more than ten years, like Jeremy Deller’s proposal at Skultpur Projekte Münster, for instance, or those by performers Eva & Adele, or Andreas M. Kaufmann. All these are examples of proposals that develop their own agendas and terms, aside from institutional needs or today’s urgency and speed.
Last but not least, Xavi Acarín wrote a substantial essay that returned to the current trend of revisiting the classics, perhaps starting from the existential doubts of the present (not only of the art market), in which change is constant, renewal is permanent, and the trace of the long-lasting, apparently absent.
As we draw to an end, the anxiety hasn’t reduced — while it is necessary to emphasise the validity and relevance of proposals that seem to preserve their space in spite of their age, it is also important to note that in some cases this space has not yet been transcended, with all that this implies.
"A desk is a dangerous place from which to watch the world" (John Le Carré)