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Occupy the squares, the bridges… and the museums?


10 October 2011

Occupy the squares, the bridges… and the museums?

Although to some intellectuals and cultural agents travelling internationally, giving their lectures here and there, it might irritate them we are faced with a new movement, facing the appearance of a form of political activism without precedents. A movement that is ever more extensive and global, where the demands are not clear and transparent but complex, hidden and ranging from the most practical to the most symbolic. A movement that shuns pre-established and designated forms of media. That there aren’t leaders, with a name and surname, is to have understood how the machine works: they will go to the who in order to discredit the what, so better not to have a figurehead and see what happens.

Squares occupied in various cities and continents, bridges that are forced to close, demonstrations in front of stock markets, attempts to prevent evictions. And also cellular forms of organisation, work groups, lectures, critiques, a wish to redefine…hang on a minute, we are getting close to the language used in art!

And the museums? Are they not occupying museums? Maybe they are not directly the enemy, but who knows they could be an ally…for the time being, it is as if art observes the situation as if nothing much was happening, as if it all had nothing to do with us. And it keeps growing. Although, not so long ago, something very strange happened: the opening of a biennial was the location for a terrorist attack. In the Göteborg Biennial the opening party had to be evacuated due to a very real terrorist threat. Four people remanded in custody and a sensation of not quite understanding what it meant to be a target.

In this edition of A*Magazine we publish 3 new critical texts. Haizea Barcenilla analyzes the brutal gender inequalities that still pervade the politics in the acquisition of work by institutions, Eduardo Pérez Soler intermingles terms such as mob, technology and museum, and Paloma Checa takes a look at the latest film by Miranda July.

A*DESK is a critical platform focused on publishing, training, experimentation, communication and dissemination in relation to contemporary culture and art, which is defined by transversality. The starting point is contemporary art, because that is where we come from and this awareness allows us to go much further, to incorporate other disciplines and forms of thought in order debate issues that are relevant and urgent for understanding our present.

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"A desk is a dangerous place from which to watch the world" (John Le Carré)