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.
Speed is not without its charms, but it’ll put you in a fluster if caught unawares. I remember how, as a little boy, one used to be told that books for grown-ups have no pictures in them. Nothing but text, as dry as it sounds. However, with the passing of years, it turns out there are more and more pictures everywhere. Important, definitive, history-making, all of them. One feels like in one of those souks straight out of Tintin where before you even had a chance to check out anything, someone else will be trying to divert your attention into something else.
During February, we’ve wanted to think from images, to look at them for longer than we usually do. And then comment on them, gloss over them, because a long spiel is worth a thousand photographs. To that end, I thought about calling in a few artists, alongside the expected and ubiquitous art theorists (we make quite a crowd, and we reproduce by spores). In particular, I was interested in the opinion of painters, who have spent all their lives working with pictures, outmoded as that is (people who adjust and compose; a strange lot, no doubt). We could have dealt with other subjects, but those impressions (the printing press, the Pope on live stream, the uprisings, and the prêt-à-porter hospital) helped us identify four key points to guide our discussion. Powerful pictures which, in the lightness of our times, leave us with the same haste with which they came.
In the frenzied flow of absolutely relevant events which take place one after the other, some of those motifs – which we began to consider months ago – are now back to the headlines (one of them will be relevant every time a police officer cracks a protester’s skull, so I’m afraid it will pay off itself). Some others resurfaced from newspaper archives, like the Ghost of Christmas Past. With the Ifema hospital, we’re bringing February – the so-called “art month” – to a close. Isn’t that some coincidence?
"A desk is a dangerous place from which to watch the world" (John Le Carré)