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ARTMargins, New from MIT Press Journals

The newest journal from the MIT Press, ARTMargins will foster awareness and conversation about contemporary art in an expanded field of practices that engage current global socio-political transformations. Within the fabric of a present moment characterized by different, and often incompatible, temporalities and agendas, ARTMargins wants to locate transnational commonalities and trajectories that connect, or divide, different regions of the world, bringing together artistic practices from (post-) transitional zones, while at the same time questioning the logic of transition itself: today the entire world is a margin in transition.


ARTMargins invites artists, curators, and critics who operate under the conditions of neo-liberal capitalism to critically reflect on what the editors call the “thickened global margin,” encompassing historical, geographical as well as philosophical or theoretical post-peripheries. The first issue of ARTMargins investigates, among other things, Armenian modernism and postmodernism (Angela Harutyunyan; Vardan Azatyan); the question of contemporaneity in art (Octavian Esanu); and the post-Socialist condition in the work of Thomas Hirschhorn (Anthony Gardner). Issue #2 is devoted to artist networks in South America and Eastern Europe.


More about the mission of ARTMargins from editor Sven Spieker:


ARTMargins is mindful of the ongoing shift in the definition of what it means to speak to, or from, the margins: away from the binary center-margin model (East/West; South/North) that dominated modernism and postmodernism alike to one that conceives of the periphery as a nomadic zone of contact in which the possibilities for a different future may be explored. ARTMargins will be as interested in following artists from India as they chart a trajectory from Delhi to Warsaw, as it might investigate modernist tendencies in Moldovan art practice of the 1970s, or concurrent takes on global migration by photographers from Eastern Europe and the Middle East. The point here is not to objectify the perceived or real similarities between heterogeneous regions of the world but rather to argue that there may be such a thing as an ever-widening (yet non-homogeneous) global periphery created and animated by artistic practices whose description and analysis cannot rely on the paradigms inherited from the pre-1989 era.

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