Art and culture sometimes seem to have become machines that smooth out and systematically rehabilitate any attempt at subversion or excess. This third, not to be missed issue brings us a round of meetings with artists who question the underlying “values” of the art and culture they are involved in, yet trying to escape. A plurality of resistances and micro-utopias; a cleansing read.
Art Book Magazine

As a cultural yardstick and as a discipline subject to different codes than plastic arts, music is emerging as a medium, a cluster of eclectic references, from which it seems possible to set out some alternative conceptions of the world, and to take a critical look at certain processes currently at work in our societies.
So-called “popular” music represents an inexhaustible source of inspiration for artists, who can either pose the question of its fetishization and elevation to the state of museum piece, or exploit its new status, oscillating from subversive to mainstream. Appropriation, hijacking have become the favored tactics or artists building approaches perfectly congruent with the art of remixing.
For their part, experimental as well as improv'ed music - and sound poetry too - possess the ability to induce collective, social situations that are wholly new, embedded like so many “temporary autonomous zones” within the strictures of the economic liberalism they seek to evade.
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