GAGARIN is an international artists magazine (°2000), entirely dedicated to the publication of especially written and unpublished texts by artists who are now working, anywhere in the world. The texts are published in their original language and alphabetical writing with the addition of an unabridged English translation. GAGARIN has published artist’s texts in Albanian, Arabic, Azari, Basaa, Bete, Bulgarian, Cherokee, Chinese, Cipher, Cyrillic, Dutch, English (American & standard), Finnish, French, German, Greek, Gujarati, Italian, Japanese, Latvian, Polish, Russian, Samoan, Slovak, Spanish, Thai, Transvaalian, Turkish, etc. Advertising and visual material are deliberately kept out. In close cooperation with the Research Centre of Artists Publications / Archive for small Press & Communication (ASPC) in the Neues Museum Weserburg in Bremen (D), GAGARIN features a regular column with an index of artists publications, texts and interviews which have appeared worldwide.
GAGARIN takes a specific editorial stance inspired by the following quote by John Baldessari: “Talking about art simply is not art. Talk can be art, but then it is not talking about art”. This statement is an excerpt from his answer to question 110: What are the dangers about too much verbalization about art? What does too much mean? What kind of people fear verbalization? Can a person who wants to appreciate works of art escape verbalization entirely? The questions for the interview (by Meg Cranston) were taken from Lester D. Longmans book 911 Questions in Art (William C. Brown Publishers, Dubuque, Iowa, 1950). Which of the 911 questions were to be asked was determined by throwing dices. The interview was published in its entirety in Journal of Contemporary Art, volume 2 #2, Fall/Winter 1989.
GAGARIN aims to focus not on the textuality but on the possibility that – almost against the odds – a space is opened up. GAGARIN chooses articles which may be non-specialist and which do not set out to be articles. GAGARIN is aimed at those who do not tend to wait until everything is accepted and synthesized and those who are prepared to leave the road to search for stimulating art and ideas while they are still fresh. GAGARIN strives for a compilation of artists’ texts whose content refers directly to the work of the artist. GAGARIN’s object is to provide an accurate source of information about contemporary artists using their own words.