11.01.2016 - 28.03.2016
The hangover is an altered state, as absorbing and mind-bending as drunkenness. Ambivalent and unpredictable, it may depress you or, on the contrary, infuse you with irrational optimism. It can free you from fear, prolonging the euphoria of a celebration, or it might just increase the paranoia of this impending doom. As the world becomes increasingly more unjust, intolerant, and amnesiac we’ll address current concerns related to the conservative turn of society by means of manifold approaches to the hazy memories of yesterday’s parties.
With this issue, the magazine celebrates one year of survival in independent publishing by reveling on this altered state of guilty euphoria, anticipating the inescapable failure of some of its future plans–using the hangover as a metaphor for the disillusion brought by broken ideals. If, as Clarice Lispector evoked, “The beauty of Brasilia is its invisible statues”, we will emphasize the imaginary dimension of utopia, which is by definition it’s most real aspect.
Through a variety of voices, tales, and conversations reflecting on this mental loop of pleasure/ withdrawal the issue will discuss the possible drives that make the next celebration still worth it, may it have us wake up hung-over, time and again.
5
2016
Naomi Fisher, "You know that it's real if you feel that it's real, cibachrome" 60 x 50 cm, 2003. Image courtesy of the artist
5 2016
01.01.1970
Issue 5: All Yesterday's Parties
Manuel Correa
Nowhere, today.
Based on his dialogues with ethnobotanist Wade Davis and indigenous artist of Haida descent Raymond Boisjoly, Manuel Correa analyzes the treatment of oral tradition in historiographical constructs in times of planetary computation.
5 2016
01.01.2016
Issue 5: All Yesterday's Parties
Elise Lammer, SOL CALERO
Elise Lammer and Sol Calero discuss the artist’s critique of tropical and Caribbean exoticization.
5 2016
01.01.2016
Issue 5: All Yesterday's Parties
Diego del Valle Ríos
Diego del Valle sums up the story of Clemente Jacqs, a visual experimentation laboratory that operated in Guadalajara from 2004 to 2005; a place that brought together a community of artists who have kept the city’s art scene alive.
5 2016
18.01.2016
Issue 5: All Yesterday's Parties
Francesco Pedraglio
5 2016
15.02.2016
Issue 5: All Yesterday's Parties
Naomi Fisher, Dorothée Dupuis
Naomi Fisher and Dorothée Dupuis discuss the place of femininity, celebration and nature in Fisher’s work, and the idea of reaching a « guilt free » turning point in one’s practice.
5 2016
22.02.2016
Issue 5: All Yesterday's Parties
Pedro Neves Marques
Pedro Neves Marques addresses the hangover in relation to the ideology of progress as translated into the concept of desenvolvimentismo (“developmentism”) in Brazil, within the nascent neoliberal right of South America. Neves analyzes the work of artist Beto Shwafaty and architect Paulo Tavares’s architectural research into the Amazon region.
5 2016
29.02.2016
Issue 5: All Yesterday's Parties
Laura Huertas Millán
Laura Huertas Millán examines Chilean filmmaker Patricio Guzmán’s enquiry into the inscription of political history in nature within his recent film productions.
5 2016
07.03.2016
Issue 5: All Yesterday's Parties
José Aramburo
In this news story Aramburo describes every stage of a Bogotá hangover in real time: triumphs and defeats reveal themselves in this theater of war and pain.
5 2016
14.03.2016
Issue 5: All Yesterday's Parties
François Cusset
The hangover consists in waking up in cruel reality from a long and irresponsible utopian sleep. What if the hangover is also an ideological nightmare we are now sinking into, breaking with times when collective desires and agency were real, and people could stand up proud and bold amidst the tempest of history?
5 2016
21.03.2016
Issue 5: All Yesterday's Parties
Natalia Valencia
Natalia Valencia and Terence Gower discuss abstraction, the mental thresholds of modernism and the architectural hangover.
5 2016
28.03.2016
Issue 5: All Yesterday's Parties
Heriberto Yépez
Heriberto Yépez recounts the experimental scene of Tijuana’s border art laboratory (1992-2014).
