Você está na página 1de 3

ART PAPERS

032c A Prior Adult Magazine African Arts Afterall Afterimage American Art American Art Journal American Art Review American Artist American Ceramics American Fine Art Magazine American Indian Art Magazine Antike Kunst Antike Welt Aperture Apollo Appearances Archigram Archives of American Art Journal Archivo Espaol de Arte Arkitip Ars Ars Orientalis Art & Antiques Art & Artists Art & Australia Art & Design Art & Seoul Art & Text Art & the Public Sphere Art + Auction Art-Language Art-Rite Art Agenda Art AsiaPacific Art Book Art Bulletin Art Business News Art Criticism Art in America Art Issues Art Journal Art Licks Art Lies Art Monthly Art Newspaper Art Nexus Art on Paper Art Papers Art Review Art South Africa Art Tomorrow Art World Art/Text
1 1>

74470 75087

Art-E Art.es Artfancy Art Revista Arte Veneta Arte y Parte Artes de Mexico Artext Artforum International Artist Artnet ARTnews Artonview Art-Press Arts & Activities Arts & the Islamic World Arts Asiatiques Arts dAfrique Noire Arts Journal Arts Magazine Arts Review ArtUS Artweek Aspen Avalanche Bad Day Bidoun Blind Spot Bomb Brooklyn Rail Bulletins of the Serving Library Burlington Magazine C: Magazine CAA Reviews Cabinet Camera Austria International Camera Obscura Camerawork Canadian Art Canvas Capricious Casco Issues Ceramic Review Ceramica Ceramics Monthly Cine Qua Non Circa: Art Magazine Contemporanea Corduroy Corridor 8 Craft Arts International Creative Quarterly Cura Magazine Curator Curious Das Kunstwerk Das Muenster Depart der:die:das Die Bohm Die Kunst Documents

Dog Food ART MAGAZINES Dot Dot Dot NOVEMBER/DECEMBER 2013 US $7 CAN $9 UK 6 EU e8 Octopus Draft On Paper E-flux Journal Oriental Art E Il Topo Osmos Ein Magazin ber Orte Outpost Journal Elephant P: Art & Culture Errata# PAJ Esopus Paper Monument Etc. Montral Parachute Everything Paragone File Magazine Parkett Fillip Partisan Review Flash Art International Performance Research Framework Permanent Food Frau Boehm Perspecta Frieze Picture Magazine Frieze d/e Pop-Up Magazine Fukt Magazine Possibilities Gagarin Printed Project Garageland Printmaking Today Girls Like Us Product Grapheion Provence Hali Public Art Review Harbour Raw Vision Headmaster Rhizome Heresies Rooms Hesperia Sculpture Hunter and Cook Sculpture Journal Hyperallergic Sculpture Review Imbroglio Shifter Inuit Art Quarterly Shopping Hour Interview Smug Magazine Issues South Magazine Jamini Spike Art Quarterly Jewish Art Storia dellArte Juxtapoz Structurist K48 Sup Kaleidescope Tate Etc. Karen Texte zur Kunst Kays Kent A4 The Artist Kilimanjaro The Blackmail Kingbrown The Journal Kunstforum International The Thing Krytyka Polityczna Third Text Latin American Art Tigers Eye LEAP Toilet Paper Magazine Little Big Man Tribal Art Lovely Daze Triple Canopy LTTR Umbrella Online Matte Magazine Unpublished Magazine May V&A Magazine M/E/A/N/I/N/G Vague Paper Modern Matter Varoom Modern Painters Veneer Monaco Magazine Very Nearly Almost Mono.Kultur Vie des Arts Mousse Magazine Visible Language Myth of Europa Visual Arts Research Naked Punch Visual Culture & Gender Nero Magazine Volume Neural Whitewall Magazine n.paradoxa Whole Earth Catalog New Art Examiner Womans Art Journal New Ceramics X Magazine Nka X-tra Objects Zing Magazine October

ART SOUTH AFRICA


Cape Town, South Africa, art-south-africa.com
Art South Africa launched in 2002 on a cautious note. With a modest local readership, a limited group of artrelated advertisers, and no government or foundation funding, there was ample reason to be wary. In the inaugural issue, editor Sophie Perryer frankly acknowledged these challenges, recollecting a string of earlier art publications that had foundered. There was ADA, the acronym for Art Design Architecture, a large-format magazine of the late 1980s that had disappeared after several years. And Art Ventilator, art critic Ivor Powells offering of the early 1990s, which had not made it past the first issue. Only Artthrob, the online magazine founded in 1997 by artist and writer Sue Williamson, had maintained a steady presence and a sustained critical engagement with local art over a prolonged period. But its survival hinged largely on the reduced costs of publishing online. Perryers cautious prefatory remarks in the maiden issue were partly offset by the more buoyant statement of the publishers, Brendon and Suzette Bell-Roberts, for whom this venture joined their larger enterprise of a then-flourishing Cape Town art gallery and art consultancy, as well as a publishing and design house. Looking beyond the countrys borders, the publishers cited an influx of international design work, a burgeoning overseas interest in South African art, and the ever-expanding network of global art fairs as the moorings that they hoped would secure the magazine. And yet, presumably the Bell-Robertses and Perryer, who would helm the publication for its first two years, collaborated on the choice of the opening issues cover: a striking circular sculpture made by Doreen Southwood earlier that year, wrought of dozens of overlapping layers of ribbon which limn a slow passage from a shimmering cerulean exterior, through long stretches of lapis blue, into a central indigo void. Lovely though it is, we find ourselves staring into an abyss. And yet, from these vertiginous beginnings, South African artists, writers, academics, galleries, and the local art world seemed to rally quickly around the fledgling publication. All parties understood the pressing need for critical engagement with the countrys vibrant art, the efflorescence of which dovetailed with a growing international interest in contemporary African art, and a bid by the South African art establishment to cement itself as the hub. With Brendon Bell-Roberts as creative director, from the outset the quarterly magazine featured strong design and layout, and excellent color reproductions. Loosely modeled after frieze, with a newsy front section, a middle component of essays and interviews, and a back section of reviews, Art South Africa aimed to be an accessible and readable publication, but one that did not shy away from featuring the writing of academics as well as art critics, artists, and journalists. Not surprisingly in the fraught art world of the new democracy, these disparate voices often clashed, some-

JAMINI + DEPART
Bangladesh, departmag.com
times over a particular artist, but more often over broader questions, such as President Zumas inflammatory chant, Bring me my machine gun (the focus of the summer 2008 issue); controversial exhibitions such as the 2006 Picasso and Africa; or Julie McGee and Vuyile Voyiyas provocative documentary on the extant racism of the South African art world, The Luggage Is Still Labeled: Blackness in South African Art. On this count, though the magazine itself has largely showcased establishedand therefore disproportionately whiteartists from the countrys blue-chip galleries, the important Bright Young Things feature has to date sought out and profiled some 65 up-and-coming talents, including Thando Mama, Langa Magwa, Nandi Mntambo, and Dineo Bopape, who, in the early years of the publication, were all recent art-school graduates. Having celebrated its 10th anniversary just last fall, and with the summer 2013 appointment of Ashraf Jamal as editor to succeed Bronwyn Law-Viljoen (who in turn took over after Sean OTooles 20042010 stint), the magazine recently announced a shift to a more pronounced emphasis on design. This retooling is not only timelyit coincides with the naming of Cape Town, where the magazine is headquartered, as the world design capital of 2014but also draws on the citys established reputation as a design mecca. In an email announcement citing the understanding that the dichotomy between so-called high and low art is a dud idea and that talk about utility versus inutility is equally so, Jamal charges the magazine with demystifying established divides and embracing a more populist hiart-litesensibility. The aim: changing our readership, and broadening our reach. Although its unclear just how this new direction will affect the form and content of the magazine, yoking democratization of readership to democratization of media is an equalization that may find protest in certain quarters. But perhaps that is precisely the gauntlet being thrown down here. Leora Maltz-Leca

Jamini was recently searching for a guest editor in Bangladesh, and I was asked for suggestions. It was the second time I received such a request, and the sequel signaled the continuing lack of candidates to fill that masthead. The crux of the problem is that Jamini publishes in English, and finding an English-fluent artist or art critic in Dhaka is a significant challenge.This situation raises questions about the viabilityor even necessityof English-language writing projects about the visual arts in Bangladesh. Who is their imagined audience? An international art language hegemony of English and German (and to a lesser degree Spanish and French) has reinforced a BiennialArt FairCollection Museum-Auction trajectory that continues to orbit only around established centers of power. Bangladeshi arts attempt to enter this so-called globalized space has produced several English-language art magazinesbut are enough people reading or thinking in this language in Dhaka? Should they be? Why aren't there more Bengalilanguage art journals with the funding, marketing, and visibility of the English publications? There are now two main English-language art journals in Dhaka, the older Jamini and the younger Depart. Jamini has traced the modern-day inheritors of painter Jamini Roy (crucial to the development of modern art in South Asia), particularly the generation who trained at CharukalaDhakas main fine arts school, started by Zainul Abedinand came to prominence between 1960 and 1980. It has, however, been slower to discuss photography, video, or mixed media works. Depart started partially as a rival magazine to fill that gap. Since the English language occupies a microscopic space inside Bangladesh (partially a result of the post1971 shorbosthore Bangla/Everywhere Bengali policy), what is the impetus for two English-language journals? When the Bengali literary journal Kali o Kolom (Pen and Ink) hosted a discussion on the mongrelization of the Bengali language, the ensuing debate was explosive, lengthy, and played out entirely in Bengali. On one side

60 ART PAPERS

Reviews

LEAP
Beijing, China, leapleapleap.com
were next-generation creatives such as Anisul Huq and Mostafa Sarwar Faruqi, blamed or cheered for inserting realist slang into television plays. On the other side were professors, such as Dhaka Universitys Syed Manzurul Islam, who warned that the poetics of Nobel laureate Rabindranath Tagore were being obliterated by a coarse, nihilistic hybrid of Bengali, English, and D Juice mobile phone slanguage (one example of a newer innovation is para khayyo na or dont get para-noid). Why arent such debates happening in the Englishlanguage journals? There have been solid essays on visual art developments in both Jamini and Depart. But there are no letters written to those journals expressing vigorous counterpoints, nor any discussions anywhere else. Is everyone in smooth agreement on all aspects of the contemporary? I do not think so. I often listen to debates over photographys future (especially the documentary vs. speculative strands) at the tea stall near Shukrabad bus stand on Panthapath road. Many other discussions circulate on Charukala campus, mostly during cigarette breaks after class. But those debates dont intersect with the pages of these magazines. The problem remains the economic engine that dictates publishing in English, which doesn't reflect demographic realities inside the country. English is the lingua franca of the global art world, but at what cost to local movements? Those of us who have written for both Depart and Jamini are acutely aware that we often see these magazines at international venues (especially art fairs), but we would be hard-pressed to find copies of them at local homesexcept of course in a very tiny circle of artist friends and art patrons. This is not viable in the long run, and unless Dhakas art magazines find some way to generate real dialogueperhaps by publishing bilingual editionsthese magazines will languish as latent art objects: viewed and collected, but missing the vital energy of friction and discourse. Naeem Mohaiemen It may seem hard to believe, given the tremendous attention it has received in recent years, but the art scene in China is in fact of relatively recent vintage. Even in the early 1990s, more than a decade after the country began to open itself to what was going on in contemporary art, artists working outside the official circuits still had few options for getting exposure. There were few galleries to speak ofmuch less museums or independent art spacesso exhibitions were largely clandestine or simply held abroad. Contrast that with the scene today. Artists now enjoy an unprecedented degree of autonomy. Arts districts have sprung up in Beijing, Shanghai, Hong Kong, and countless other cities. Local dealers, joined by branches of international powerhouses such as Pace and Gagosian, cater to an ever-more-affluent collector class. In short, while it may not have fully matured, a support system for art seems to have established itself in China. One area that continues to lag is art criticism. Over the years, various publications have sought to fill that void. Yishu, an English-language periodical based in Canada, has been published since 2002, and even Artforum has gotten in on the act with a Chineselanguage website. The most prominent homegrown response so far, however, has been LEAP ( in Chinese, or Artworld), which was founded in 2010 by Philip Tinari and Aimee Yu Lin to bridge the gap between criticism in China and abroad. One way it sought to do so was to simply provide an independent forum for critical discourse (the inaugural issues editorial set the tone by declaring that we dont sell coverage). But it also literally injects new conversations by translating and republishing articles from other sources, evidence that it seeks to be less a chronicle of art in China than of art and Chinahence its tagline, international art magazine of contemporary China. LEAP certainly presents a great deal of information about art from around the world, all accompanied by lavish illustrations and a user-friendly design. Each issue

begins with a top section that offers short articles highlighting current events and topics, profiles of various figures and artwork, and even a social column called Airport. The main feature articles, meanwhile, can be found in the middle. These items address matters of mostly regional topicality, leavened with healthy doses of internationalism. Thus, special issues have been devoted to Hong Kong, the state of local museums, and the art scene in the second-tier cities of Wuhan and Chongqing, but also to broader topics, such as Chinas relationship to Africa, the state of theory, and performance. Reinforcing the magazines unmistakably cosmopolitan vibe are contributions from, and interviews with, heavy hitters such as scholar David Joselit and critic/theorist Boris Groys; features on and by well-known artists, including Agns Varda, Apitchatpong Weerasethakul, and Marina Abramovi; and reviewsin the journals bottom sectionof international events and exhibitions, including biennials in Sharjah, Berlin, and elsewhere. Indeed, if one were an aspiring art world globetrotter based in China, one could do worse than fall back on LEAP (the same could be said of outsiders seeking to get a grasp of the art scene there). One characteristic that might be less familiar to western readers is LEAPs open embrace of fashion in its editorial content. For instance, an early issue juxtaposed a fashion spread with a discussion of alternative spaces, and a more recent issue followed an article on Chanel with one devoted to Five Lessons Museums Could Learn from Luxury Labels (The Modern Media Group, which publishes both LEAP and the Chinese edition of The Art Newspaper, and which bills itself as Chinas leading producer of lifestyle and fashion magazines, is wellpositioned to dispense such advice). One could dismiss such mixing as an unwelcome intrusion of commercialism. But the phenomenon is relatively common across Chinaperhaps unsurprising in a country that experienced the near-simultaneous arrival of contemporary art and the market economy under Deng Xiaoping. Furthermore, across the continent, Western brands Herms, Louis Vuitton, and Hugo Boss among them have made inroads into Asian markets through sponsorship of art prizes and institutions. If nothing else, the editorial policy does at least have the merit of frankness, making it clear that culture, like everything else, is consumedin China as elsewhere in the world. That in itself may be a great leap forward. John Tain

Reviews

ARTPAPERS.ORG

61

Você também pode gostar