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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.
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.
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Welcome to the new newsletter of A*DESK. A monthly newsletter where we will gather together the latest publications (interviews, in depth articles, national and international criticism) related to one specific theme, a theme that will change every month. In this new editorial stage at A*DESK we are aiming to explore subjects in more depth, looking at some of the must current issues in art and culture, in a range of formats and from different perspectives.
The month of February we’ve focussed on participation, in its multiple facets and registers. We’ve considered its different uses (undoubtedly not all of them); from the perspective of the artist as well as that of the institution; looking at the public as object and the participant as subject; placing it in relation to the community while also introducing collaboration.
So we began the month with Juanjo Santos conducting an interview with Daniel G. Andújar where we read about his current exhibition at MNCARS (Operating System), but also about visibility, alterity, communities and access.
In the second week Xavi Acarín carried out a magnificent revision of participation with “experience” as a satellite concept; a synthesis of the evolution of performance that pivots around the tension between artist (performer) and public (collaborator, assistant, participant, spectator…).
We dedicated the third week in February to “international” criticism; Sonia F. Pan wrote from Brussels about the exhibition of Tino Sehgal at the Jan Mot Gallery. She also wrote about the work of this artist, with whom participation can go even beyond the public.
To end the month, “The indefinitely ideal variable of the popular”, or out of the ordinary communities or individuals and their voice (to which Jeremy Deller grants visibility) are the focus of the exhibition review by Montse Badia not to be missed while it’s on at the CA2M.
"A desk is a dangerous place from which to watch the world" (John Le Carré)