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Sharing the archive

Magazine

August
This month's topic: Sharing the archiveResident Editor: A*DESK
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Sharing the archive

Every month of August we like to slow down the pace, distance ourselves, casting our gaze back, taking stock, to delve into the A*DESK archive (with its trajectory of 14 years and a volume of over one thousand published articles) to revise and reread its texts. But this year we wanted to do it a bit differently. We wanted the vision of our archive to be new, free of connotations, and for this, we wanted to invite people we admire to explore the A*DESK archive. We asked them to point out a text and tell us why they thought it stood out. Swetlana Heger, Cuauhtémoc Medina, Carlos Acero, Antonio Ortega and Filipa Ramos have been the people who responded enthusiastically and generously to our invitation.

Coinciding with the attack on Nice, Swetlana Heger, who found herself there at that moment, recuperated and gave new meanings to the editorial on fear and control, published in November 2015.

Cuauhtemoc Medina fixed on an article written in 2007 by David G. Torres in which he reflected on the omnivorous zeal of the institution based on a one-off event, the inclusion of the chef Ferran Adrià in the Documenta in Kassel.

Carlos Acero recuperated and commented on a relatively recent article by Glòria Guso about the exhibition “ Cabinets of curiosities in the era of global art” curated by Jean-Hubert Martin, an exhibition that was the subject of debate during the last AICA Congress.

Antonio Ortega recuperated a text by Montse Badia about satire and parody as artistic strategies, a subject very close to his own interests.

And Filipa Ramos talked in the first person to rediscover a text, from the earliest period of A*DESK, written by Chus Martínez about an artist as particular as he is fascinating, Alberto Greco.

This month's topic

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)