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THE diskurso MAGAZINE TEAM
Logistics and Other Questions (Publisher)
Jojo Soria de Veyra
Discoursers' Pool Maintenance (Managing Editor)
Simkin de Pio (inactive)
Discourse Team (Contributors)
Angelo Oyardo (inactive)
Gabriel Luis Roxas de Veyra, editor (appointed April 5, 2018)
diskurso curation's CURATORIAL TEAM
Jojo Soria de Veyra • Alwin Reamillo • Marcel Antonio
Germee Ronirose Abesamis
diskurso.com is an independent, Philippines-based online magazine on art aiming to veer away from a present mental landscape replete with the customary peacock and weasel words that continue to service the art industry.
As advocates for a return to detailed appreciation of artworks (or artwork production), distancing ourselves from a perennial culture obsessed with empty trivialities about artists and their art (for instance, what music an artist listens to and what type of chocolate he eats before he enters his studio), we at diskurso.com will entertain nothing but discourses on past, current and developing art phenomena, situations, happenings, events, or exhibitions.
Necessarily, therefore, diskurso will try to discourage the usual course that puts premium on thematic claims to significance and will seek instead to discover the true art-historical significance in a body of work, a specific individual work, or a particular aspect of an artist’s mannerism.
Enough said. Now that we are clear on this matter of what diskurso is about and—by logical conversion—what it is not about, let us not anymore be dismayed by certain goings-on not to our liking, nor be dissuaded by some false modesty from fulfilling long-held desires to hype up only those things that truly amaze us. Let us, instead, and by all means, now begin . . . our collective discourse.
Oh, by the way, in 2017 diskurso came out with teasers for a March 2018 diskurso.com-curated show. That essentially announced diskurso.com's having established a curatorial platform under its wing.
diskurso.com SUBMISSION GUIDELINES
First off, we are diskurso, a new, independent, non-profit online magazine for art with an advocacy to liberate art coverage from the usual peacock and weasel words of paid (directly or indirectly) reviews/criticism. After all, some or many in our art community are bored enough already with the usual criticism replete with these words that have been applied to ongoing art, criticism written as if only for the sake of writing . . . well, something, anything. The community is bored enough with this, so much so that your piece veering towards a different direction could just be the piece they in this community have been waiting for all their lives to see! Well, all right, maybe peacock and weasel words stop being so when they're inside a thesis piece, a piece with a take different from what the other critics are concocting. Hmm, maybe.
Secondly, eager though we are with fulfilling our mission’s goal, we can for now only accept contributions the authors of which would be willing to publish them pro bono. So, do you have something you just need to put out there, something positive or negative or both, written in English or Filipino/Pilipino/Tagalog or Taglish or Englog, about a current or developing art phenomenon, situation, event, or exhibition inside your city or country of residence or in a city or country you recently visited? Would you be willing to share that something with our readership, and pro bono? If indeed you have this something in your mind’s baul that fits the above description, you should then be both bold and kind to share it with our readers (art community) free of charge instead of leaving it to wallow on your Facebook Notes’ wall of exclusivity.
Would you also be willing to share your big and/or little ideas, or points of view, to the art community as a whole, that is to say, in a language the majority in this community can understand? Not to discourage you from using “big” or “exotic” words associated with professors, which we personally love, but only to encourage you to use them in plain-jane sentences that would welcome the community-majority’s interest in those words’ meanings instead of deter them from reading on. An example of such an inclusive plain-jane sentence with a “big” word embedded in it might go like this: “Inapply ko ang hermeneutics ko sa paintings niya, at di ako natuwa sa nakinikinita kong metanarrative na lumalabas doon”. There you go. In short, if you wouldn’t mind writing your big ideas in the style of a Facebook comment, that is to say, a comment that, despite its length, would still want to avoid a “Huh?!” reply, then we would certainly be equally accommodating and welcoming. After all, this is not a magazine for writers solely; this is a magazine for all sorts of text and is but a formalized extension of Facebook sincerity (in whatever form of eloquence).
Is the view in your piece independent, or has the semblance of independence, despite its author’s affiliations or bias, delivered with an effort at objectivity, one might say, if only because it is intent on proving its point on a significance? Good.
Is your piece willing to focus on real art appreciation, treating of the works of artists and how they work or fail to work for you, instead of being involved with trivialities (like what desserts the artist groups of Antipolo eat before they go to their collective studios)? If so, then that’s the kind of piece we want.
Is your piece the type that is more enamoured with, say, a show’s real art historical significance than with its thematic claims to significance? Good.
This paragraph serves as our guarantee that the copyright to all works submitted to us (whether thereunto published by us unexpurgated or with emendations) will remain with their authors, with all rights attendant to each piece’s authorship kept intact. These rights include the author’s right to syndicate his/her submitted piece to other publications. But to the invocation of said right, diskurso would only request the author to at least acknowledge that the piece in question first appeared on diskurso.com. :-)
Finally, we will only accept submissions that have not previously appeared in another publication (printed or online). But new compositions reiterating a previously published point or argument (that appeared a decade ago or only a week ago) will still be considered, especially when there is due mention of where else in the publishing industry that point was peddled.
(c) 2014 Jojo Soria de Veyra
© 2014-2016 diskurso art magazine online. all rights reserved.