Vortice Project history

 

 

VORTICE was born in January ’96 while on a lonely holiday in Buenos Aires, when the city’s daily speed slows down and the meditative thinking starts flowing. That’s how the idea of sending some writings to fellow artist friends began. These were originally introduced as typewritten letters. There were five writings: one from J. Kosuth, another one from Uruguayan painter Torres García, a Rainer M. Rilke letter, a review by Robert Hughes and one last writing done by me named Paideuma. They were all illustrated with three images: two engravings, and a digitalized drawing I created via a friend’s computer. Given its format, it was quite difficult getting the right envelopes to put them in, so I had to use big ones. I then designed a logo to be printed on the cover and on the envelopes as a xylography. I sent out the stuff and, some time later, I got a few replies.

As I was finishing the second issue, the project was already getting shape. The format, due to convenience and economical reasons, changed to a postal size; more images were added; there was a blank centerpage, where the readers could publish their own writings or artworks. Thus, I could start arranging the next issue by using the materials I was already reveiving. The magazine’s mailing extended to 60 artists.

During the first year of the project I worked in the house of my old-time friend "Chino" González who, with great patience and dedication, taught me the first steps with his Macintosh computer. After much invested time, I finally learnt to manage the programs for designing the publication and also setting a database. By the end of 1996, I submitted the project to the National Arts’ Fund and was given a credit to buy a PC, and eventually to work at home.

Issue # 3, from June ’96, had a millboard cover. Received artworks were featured as writings’ illustrations.

On issue # 4, published in August ’96, the stamp request to pay for the shipping charges, not obligatory, was announced. In October that year, I again submitted the project to the National Arts’ Fund summoning a subsidy, then to be refused.

From issue # 8 (April ’97) onwards, artists’ original artworks were added and featured on the cover and on the centerpage, and the magazine was slowly turning into an artist’s book.

All through 1996 the publication was released bimonthly; the working schedule comprised 45 days to receive the materials, and 15 remaining days for the magazine’s general edition (image scanning, design, printing, assembling and sending) From 1997, due to reasons of time and price, it begins being published every three months, as the seasons of the year take place.

The magazine’s distribution varies between 250-300 issues, thus reaching a 40% of Argentine mailartists and a 60% of foreign ones.

 

 

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