Pfeil issue 12
Delivered to Stack subscribers in Jun 2020
Editor of Pfeil Magazine.
What is Pfeil?
Within the format of a magazine, each page of Pfeil represents the floor, walls, or ceiling which together create an imaginary room displaying a printed exhibition. Each issue is dedicated to a specific word, and artists are invited and given space to work on and with this term, and to construct or deconstruct the architecture around it. Combined, the contributions form into an organic display surrounding the leitmotif.
What makes it different to the rest?
Despite the fact that the format of each issue never really changes, the concept and style of each issue changes every time, according to different contributions. The grammar is part of this architecture. Even though we publish the magazine in English, neither myself nor most of the contributors are native English speakers. Because of this, we try to take the mother tongue of each contributor into account and adapt it into an international English for the magazine. This is only possible through the work of Stacy Skolnik, our copyeditor, and with the support of my partner Giacomo Toffanello, who speaks five languages.
Who makes Pfeil?
The contributors; Stacy Skolnik, the copyeditor; Max Prediger and Julian Mader, the graphic designers; Nadine Droste and Tobias Peper, guest editors; and me.
Who reads it?
Even though we call Pfeil Magazine a printed exhibition, it is not only made for artists. The assortment and selection of the material favors a variegated and diverse audience for each magazine. I find that in the choice of language might lay a danger of exclusion. Rather than being exclusive, we try seriously to be as simple as possible to be open to everyone who is interested in the theme of each issue, and to try to shed light on the subject from as many different perspectives as possible.
Why do you work in magazines?
Because of how ideas flow, are shared and are developed within our team and with the contributors. Also because of the possibility to create a safe space within the magazine, which I hope to pass along to our readers. As soon as it is published it’s shared, but when the magazine is received by someone it becomes a private object, held in two hands to be read, understood and perceived.
Aside from the print magazine, what else are you involved in?
I am a performance artist, currently producing a concept album based on my musical performance Nicorette. For my live performances of Nicorette I used my body language to tell stories that differ from the lyrics to create misunderstandings, and I aim now to converge this into digital audio piece.
What would you change about Pfeil if you could?
I would definitely pay artists fees. At the moment the budget is barely enough to cover the printing costs, fees for guest editors and translations. Visibility is not enough and work in the art world is mostly undervalued.
Where do you see Pfeil in five years?
That question refers to the question above, but I hope it doesn’t take five years to be able to pay artist fees.