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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 selflessly with A*DESK, and continue to do so. Their efforts, knowledge and belief in the project are what make it grow. 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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Magazine

October
Nicoline van Harskamp English Forecast, 2013 Performance en directo realizada una única vez; video 38’ min Encargo concebido originariamente para BMW Tate Live Performance Room, Tate Modern, Londres, 2013 Foto: Ana Escobar para Tate Photography © Nicoline van Harskamp & Tate
Narratives, display and textuality

A*DESK


We dedicate September to narratives and displays from an alternative perspective, because to us it still seems important, to continue to question everything. Because we believe the way things are told is key, not just in the way it is done – rhythms, tones, contents … so much as also, and above all, because of the potential for change that it brings. For the possibilities that open up having obtained results distinct from the norm, that modify, that cause a shift in direction, even if it is not necessarily forwards.

We began the month with a text by Manuela Pedrón Nicolau ein which she wrote about renouncing the habitual. About other ways of telling things, of narrating, making things public and disseminating them, and the reach this offers to the actual story and its future life. What is more she carried out an interesting revision of distinct practices carried out this year in Madrid, talking about the work that some collectives such as Play Dramaturgia or the artists Christian Fernández Mirón, Selina Blasco and Javier Pérez Iglesias are developing.

The second week we revised with Anna Dot, lthe relevance of translation as an essential element of communication. Because as we said, the way ideas are explained (and translated) is vital for them to be communicated effectively. Because, it can change everything. But also, for the centrality of translation in multilingual scenarios and in relation to “A voz do tradutor” this summer in MARCO of Vigo.

Paloma Checa for her part wrote about the practices of reading in a Biennial of art “around which orbit spiral devices that consolidate disparate narratives, floating images and vague references”…about Supercommunity and its reach and opening to gazes, subjects and possibilities. On this occasion we also pay tribute at the end of a Venice Bienale that has been controversial for its central pivotal theme, one where, however, we ought to highlight the undoubted centrality of narratives in its structure and development.

To end, Joan Canela interviewed Binna Choi, director of Casco Netherlands, an institution that carries out a programme centred on the construction of social space and themes of collaboration, collective production as well as process based projects in art, design and architecture, as well as research in its broadest sense.

This month's topic

A*DESK, Independent Institute of Criticism and Contemporary Art, is dedicated to learning, publishing and research related to the criticism of contemporary art. Taking the view that critical thought makes individuals free, its mission is to defend actively the importance of criticism: to generate debate about contemporary art, to enable each individual to establish their own opinion and by doing so promote culture.

Articles

10 October 2015

Narratives, display and textuality

31 December 2018

Artist’s Status

30 November 2018

COREOGRAPHY

31 October 2018

STONES

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