Nearly three years ago, four comrades sat at a sticky table to discuss a crisis in art criticism: something missing in the production and dissemination of contemporary arts writing that limited opposition and experimentation. KAPSULA was born to provide a space for critical, experimental texts—and although our content represents a range of formats and perspectives, we’ve never lost sight of the importance of leaving a little extra room for the margins. With change on the horizon, we’re taking the opportunity to look back.
Starting September 2016, KAPSULA will no longer be releasing regular monthlies to our subscribers. Opting instead for a collaborative, projects-based publishing model, you won’t be getting rid of us too easily; however, to mark THE END of KAPSULA as we know it, we ask writers to consider the idea of finality in both contemporary art and criticism. Modern art famously boasted its own demise, pronouncing THE END with each stroke of a brush. We’d like to venture that resonances of the modern death drive appear and re-appear across contemporary practices, always packaged differently according to disciplinary context. Selected texts will be published in a longer, compendium issue of the magazine, ceremoniously punctuating the end of an era.
And as a nod to the last three years, through which the magazine, arts writing, and the broader network of arts disciplines have undergone significant changes on varying scales, we’re asking writers to highlight a topic specific to the period that KAPSULA has been produced: 2013 – 2016. What, in the broad sense, has led us to THE END? Topics may be international in scope, but must fulfill the thematic and calendrical restrictions. Whether it’s an exhibition, a text, an artwork, or a seemingly unprecedented phenomenon in the art world, we ask that it be dated no earlier than 2013 and speak to the concept of finality in art. We made it this far without literalizing the magazine into a time CAPSULE, but awash with sentiment, we couldn’t help ourselves.