Offbeat is a space dedicated to contemporary art, created to foster an active field of inquiry where artists and their research, works, and words are presented and critically analyzed.

It’s a place of never impartial examination: if writing equates knowledge to self-exposure, all writing arises from lines of questioning in which doubt, study, and curiosity are at the root of every reflection. Its function lies in a critique that seeks to show things as they are and even as they are not, rather than simply interpreting their meaning.

This column does not offer a comprehensive analysis of all contemporary art. Instead, it selects a few experiences, not to exercise judgment, but rather with a commitment to narrate and evaluate, assuming all the risks and responsibilities of such a choice.

In an effort to open up naturally to the experience of art, we move beyond the usual review format to achieve in-depth study, where language is used as a tool for free inquiry, constantly open to movement and dialectical exchange. For this reason, a section of the column is dedicated to conversations with industry professionals, aimed at sharing their operational visions.

To clearly analyze the works, the original context of each piece and its relationships are also explored, so another section is dedicated to studio visits, where the artists’ spaces and their work are shown in their original context.

In Offbeat, it is not criticism that acts as a vehicle for communication, but rather the work itself becomes the circumstance and the possibility of movement, therefore, it will always be passionate, partisan, capable of taking sides, far from opportunism, and connected to sentiment, imagination, and poetry.