Ficha y entrevista realizada para el periodista independiente italiano Nello Russo, cuya investigación final fue expuesta en el festival Colophon de Luxemburgo en 2009.
http://so-and-so.it

Magazine name: La Más Bella
Web site: http://www.lamasbella.org
General e-mail: info@lamasbella.org
Adress, Zip code, City, Country: c/ San Millán 3, 6º Dcha, 28011 Madrid, Spain.
Format (mm): it changes every new issue
Language(s): mainly spanish
Copies (circulation): 1.000 copies every new issue, but sometimes we make special limited editions.
Issues / year: One main issue/year, but we can make special issues in between without a regular basis.
Cover price: it changes every new issue. Last issues: 30 euro (2005), 35 euro (2006), 50 euro (2007)
Founded in: 1993
Publisher: La Más Bella Cultural Association (Diego Ortiz and Pepe Murciego)
Creative director(s): Diego Ortiz and Pepe Murciego
Editor(s) in chief: Diego Ortiz and Pepe Murciego
Other informations about the staff: as you can see, Diego Ortiz and Pepe Murciego are totally responsable of everything in La Más Bella magazine. There are no other people working in the project.

Interview to:
Name and Surname: Diego Ortiz
Your position in the magazine: co-publisher

City, Date (DD/MM/YYYY): Madrid, 28/11/2007

Questions:

1. How and when did your editorial project begun?

La Más Bella started in 1993, the founders were Diego Ortiz, Pepe Murciego and Juanjo El Rápido, who left the project five years later. In those years we were finishing our universitary studies (fine arts Pepe and Juanjo, visual communication Diego) and we simply wanted to see our personal work published anywhere. So we decided not to wait someone to publish us, and make our own magazine. From the beggining we decided (quite unconsciously) some points that still in the soul of the project: we wanted to make an art magazine where the contents were made and/or proposed for the artists, so all the contents are contributions. We decided also try to publish friends and people like us, interested in the more experimental side of the contermporary art, so we publish only artists that we know personally. We decided publish every discipline, not only visual art: we love publish performance-art, video, sound art, experimental poetry… absolutly everything. And finally we decided that we wanted every new issue totally different from the previous one: we change the subject (normally every issue is based in a monographic subject/idea/…), we change the contributors and we change the format, trying to make an artistic object close to the artist-books that many artists made alogn the XX century.

2. Why the name LA MAS BELLA?

I am afraid there is no a special reason. Someone told the name at the very beginning and all the people agreed.

3. LA MAS BELLA definitively subverts the book form. Does it still make sense to refer to it as a traditional “Revista”?
We don’t know and we don’t care. If someone want invent a new name to our project we will apreciate, but the name “revista” is already invented, and it refers to many features of La Más Bella. And… who the hell can tell me what a “revista” is or is not!!?? We simply investigate the possibilities, because it must be quite boring to do the same every single month.

4. Do you think the printing form is still essential for magazine publishing in its most experimental forms? Why?
Of course we think printing is only a part of the magazine. If you are able to convert your magazine in an artistic objetc (or simply in an object) you will be adding value to your project. But of course simple graphic design applied to simple paper have many possibilities. There are many ways to experiment in magazines: a simple photocopy can be a wonderfull magazine (we know some examples), so there are many ways to experiment. In La Más Bella we love experiment with differents materials and supports, not only printed, but it is only our choice.

5. Your products tend towards the art object in a limited edition. What is your relationship with contemporary art?
La Más Bella is about contemporary art, absolutely. In the past 15 years we have published works of more than 500 artists, mainly spanish. Our friends are artists, we are involved in artistic circles in the city where we live (Madrid), and we are in touch with many groups, artists and projects similar to us all over Spain. And finally we are both artists and sometimes we work as organicers of artistics events. So, our relationship with the contempory art is narrow.

6. How important is the interactive-game component for communication artefacts like LA MAS BELLA?
One of the points that we unconsciously decided when se started La Más Bella is that we like funny things. We think that you can be a very seriours artist, and communicate very deep emotions and thinkings and also be funny. That is why many of our issues are similiars to toys, plenty of images from the popular culture or extracted from the mass media. For us this is an strategy, because we want our magazine be as popular as it can be. We know our contents are art, sometimes difficult to understand to everyone, that is why we try all the time to make .. how to say… visual jokes? conceptual tricks? using messages and objects that the reader can use, play… this is important to us, and we realize it works. It something as our trade mark.