Exploring the creative zeitgeist, Aesthetica editorial is engaging and offers new perspectives on contemporary arts, looking at the arts in relation to the social, political and economic.
Issue 34 celebrates experimentation and the impact of the creative process. Through an exchange of ideas new definitions can be created, and an exploration of new possibilities takes place. Presenting a survey of these ideas, this issue engages with the wider social context.
In art, we look at non-conformist Soviet art from the 1980s with Glasnost, opening later this month at Haunch of Venison, London. The venerable performance artist, Marina Abramović discusses her new show, The Artist Is Present, which recently opened at MoMa in New York City. Stuart Semple looks at popular culture and the aesthetic discourse in his new show, The Happy House. While, over in Toronto, CONTACT, the world’s largest festival of photography taking places at 200 venues city-wide puts Marshall McLuhan’s theories to the test.
In film, Yorgos Lathimos speaks candidly about his provocative new work, Dogtooth and the Artists Cinema Project (a collaboration between the Independent Cinema Office and LUX) playfully subverts mainstream cinema. In music, the film soundtrack can take a band to the top, but what’s the overall impact? In keeping with the theme of cinema, The Postmarks chat about experimentation through the ultimate musical narrative.
The short story has become the underbelly to the novel, but writer, Andrew Porter tells us why the short story is not dead with an author Q&A, while Justine Kilkerr looks at fact and fantasy in her debut, Advice for Strays. And finally, Rufus Wainwright speaks about the decisive crossover from Pop to opera, with his opera, Prima Donna opening later this month.
With all the best exhibitions, productions, music and new releases of the coming months, this issue provides enough creativity flowing from these pages to inspire you for months. Enjoy.
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