N° 1 2009
It is no ordinary artists’ segment. CURATED is an exhibition on paper, put together by an artist or curator. We are pleased that our first edition of CURATED has been at the hand of the New York artist, Paul Chan. CURATED is an important new feature of METROPOLIS M. Here, we put the art first, with critical reflection on the art in second place. Together with the columns in OPINION, CURATED will be part of the introduction to each new issue.
In this new first segment of the magazine, the METROPOLIS M editorial staff is handing over control to someone else. The two new sections are a new voice, a counterweight to the voices of the METROPOLIS M staff. The contributing artists and writers have both the space and the freedom to select their own subjects. This ‘outsourcing’ fits the METROPOLIS M profile as a magazine close to current artistic practice.
Another new section is the combined PREVIEWS & REVIEWS at the back of the magazine. Brief articles cover current art events and concerns in all their manifestations. This section also includes interviews, in association with a current exhibition, event or publication.
The editors of METROPOLIS M are delighted with the way that the young graphic designers, Joris Kritis and Julie Peeters, are giving shape to the changing formula for the magazine. The most prominent element of their design is the space given to visual images. More than ever before, this is what supports the substance of the magazine, the consistent thread along which the narrative takes place. We hope you enjoy it!
An Archipelago of Local Responses
Nicolas Bourriaud on the Altermodern
10/03/09 Christophe Gallois
The Tate Triennial is opening in London this spring, put together this time by the French curator Nicolas Bourrioud who became renowned for conceiving the term 'relational aesthetics'. He has seized the exhibition as an opportunity to further explore his newest art historical concept: altermodernity.
20/03/09 Bart van der Heide
Claire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a ‘readymade artist’ and began to elaborate a version of neo-conceptual art that often looks like other people's work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of contemporary art today.