close

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.

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.

Magazine

September
picturestoneroses.jpg
Work

A*DESK

Be it by excess or default, we could all recognise that we end up dreaming or, even, thinking in bed about this “work” / research / curiosity / collaboration / on the whole poorly paid, that occupies a large part of our time. It’s so be it whether we consider this work creative, productive, thrilling, purely for sustenance, or just loathsome.

For this, and for the fact that two of the main international artistic events of this year tackle these subjects – in a more or less direct way – it seemed a question we needed to consider. Moreover, tradition has it in this country that September marks the return to the daily routine after a forced holiday break, the moment of “re”incorporation which arrives every year with articles about post-vacation depression, re-adapting to work, and its effects on productivity. Blah, blah, blah.

We began with a reflection from a broad perspective, with Marx invited, a text (“Contemporary Prisoners” in which Montse Badia, in the form of a derive, stopped and considered artists and thinkers who had reflected on the subject, such as; Harun Farocki, Beatriz Colomina, Ciprian Homorodean and Mladen Stilinovic, amongst others.

“What people do for money? was the suggestive title that structured Manifesta 11, curated by the artist Christian Jankowski, who Uta Reindl interviewed for A*DESK to talk about the whys and wherefores, the weak points, as well as the virtues of this edition.

And without abandoning the interview format, María Muñoz and Pilar Bonet talked to Marco Roso, a member of the DIS collective, about the present edition of the Berlin Biennale, titled “The Present in Drag”. A constructive conversation complemented with an intense, moving stroll through the Biennale in the form of a text, at the hands of a very lucid Martí Manen.

On her part, Marina Vives brought to a close the subject, which has as much to do with analysis as with foresight, with a critique of Andrea Fraser at MACBA. Or, better still, a critique of the retrospective exhibition the institution dedicated to the artist of institutional critique (which is still on for the first few days of October), in which she goes on to reflect on the world of work of Raquel Friera and how, in some way or other, we are all involved in it.

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

30 September 2016

Work

31 December 2018

Artist’s Status

30 November 2018

COREOGRAPHY

31 October 2018

STONES

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