Embarking on a new magazine about art in the world of overproduction may give rise to some ethical doubts. Why do we need yet another monthly magazine, even if it is not printed, saving forests, but a virtual one, displayed on screens thanks to the poisonous coal energy? Why do we need another platform feeding us with pieces of news we do not have time to digest?
Here is why— to make space for absolute anxiety, fear and doubts of female critics in the world that is finished; female DIY-critics, seamstress-critics who value simple and practical solutions more than technologically advanced haute couture theories. They do not pretend to know solutions to pains annoying us. They try to sew a thermal patchwork for the century that lost its shape out of the off-cuts from the idea-uniforms measured for the 20th century needs. Female critics of the RTV Magazine earn their money by providing various services. They collect the materials for texts, covers and thought constructions in the dumping grounds – the akropolis of our civilisation. They live in the epoch, in which the cultural recycling acquires deeply ethical dimensions, which boots the value of packaging, rubbish and destructions. The politics of identity and gallery minimalism are for them like high-heels from Balenciaga – pretentious and rich. Our female critics cannot afford them.
For them far more important is the art of survival, building houses resistant to drought and hurricanes, warm clothes for everyone and feminist materialism. They have their workshop in the building of the Arsenal Municipal Art Gallery, which originally was meant to become an electronics and service shop. We are reminded about it by a motif of a tv screen on a stone facade from Quadro street, right next to Meskalina club. There is also a story that instead of the Army Museum, which is right opposite the gallery, there was supposed to be a folk-art shop and a shop with textiles.