independent magazine series | Correspondencia by YC Chen

Interview with Juan Ignacio Moralejo


Q: There is no image on the cover of CORRESPONDENCIA. The look of the images and texts are giving the audience a sense of freedom and random. Readers may not know what to expect to see and read. I think it gives this magazine a comfortable and enjoyable feeling. What is the structure of its content in this publication?

It has no images in the cover, because there are many images inside, from different people, so choosing one would be strange. It also leaves mental space to make it more neutral.

It is divided in 6 sections of 24 pages each:

  1. Visual dossier from one person.
  2. Original texts.
  3. Images from various sources.
  4. Texts that someone read, liked and transcribed.
  5. Letters.
  6. Visual dossier from one person. 


Q: What does the name “correspondencia” mean? What is the concept behind it?

The concept is the double meaning of the word "correspondence":

  1. Communication by exchanging letters, with someone. A printed message.
  2. To have a close similarity, connection, or empathy with someone.


Q:  How did you start your career in arts publishing? Long time ago I discovered a magazine calledSede and just realized it was one of your many publishing projects. Could you tell us a little bit background stories about it?

I always loved magazines, so as an experiment in publishing I started Sede. When I feel I reach  a point where I could make it better, I change de project and start a new one. So in the end, even if I present the magazine to the public, it’s just a personal workshop for me.


Q: What is your focus in CORRESPONDENCIA now? How is the next issue going to be like?

At the moment I am working with a new graphic designer that I really admire, Harsh Patel. So I am taking some time to rethink it and put more effort on it. I like working slowly, not really rushing things, so maybe in September or October there will be a new issue with many changes.


Q: As we are in Asia, maybe due to the distance, we don’t often see many independent publications from Argentina. I would like to know a practitioner’s idea of the arts publishing environment there. How do you reach your audience?

There are a couple of independent publications, but I feel there should be more. We have some connection with some of these, but its not too strong. I reach the audience by organizing gatherings, communicating through emails and distributing it in some selected bookstores.


Q: What do you treasure in images and texts? When flipping/going through this magazine, I feel you visualize the action “reading” in a book form. In other words, it is not only a book but it gives very much a feeling of reading. How did you do it? Could you talk about the editing process and designing process?

Yes, the feeling is very much like a book. That is what is going to change a little bit, to give more the idea of a magazine and less like a book. The editing process and design was easier to do because it was standardized, now it will require a bit more effort.


Q:  Does your lifestyle reflect to the magazine you create? How do you usually discover the materials that you would like to put in the magazine pages? Could you take an article for example?

Yes, that’s my goal, to live my life the way I do the magazine. With austerity, tranquility and not rushing anything. Not very commercial and not falling into the usual traps of working too many hours in things that are not interesting to me.


Q: In the second issue, you select photographer Takashi Homma and Henry Roy’s images under the section of “Dossier” instead of entitling them with a name.  How did you arrive at treating photography work in this way? I am interested in how you consider photography as a medium or as a form at our present time.

I’m not really interested in art, galleries or museums. I like the photography that reminds me of certain moments of everyday life. I don’t feel anything with complicated or conceptual images. That’s why to me the dossiers speak for themselves, they don’t really need titles like artworks do.


Q: From your website you mentioned that it took you two years to think of a magazine that you wouldn't get tired of making. And the result is CORRESPONDENCIA. I guess it is because you find a consist style that you would like to make it to reality as magazines. What is the reason for you now?

Haha its feels now I found things I want to change about Correspondencia. But I don’t complain about it, because when you do (not just think), you learn other things. The reason for doing it now is still evoling so I don’t have a clear reply to that.

自在的濾鏡 Correspondenciaby Juan Ignacio Moralejo

Correspondencia是一本充滿私人化生活態度的雜誌,來自於創辦者Juan Ignacio Moralejo。這本雜誌來自於阿根廷,只能在為數不多的各國獨立書店裡找到它的蹤跡,它並不特別強調個人主義,沒有人物專訪、也不將重點放在創作者的個人功勳之上。首期雜誌收錄了藝術家Wolfgang Tillmans和Mark Borthwick的影像。Moralejo曾在雜誌創刊號發行之初,表示自己非常仰慕Tillmans,直言這些藝術家在九〇年代改變了他理解雜誌和攝影的方式。





  1. 視覺卷宗(Visual dossier):收錄一位創作者的作品
  2. 文字創作
  3. 來自不同創作者的影像作品
  4. 收錄某人曾經讀過、喜歡且節錄下來的文字
  5. 信件們
  6. 視覺卷宗(Visual dossier):收錄一位創作者的作品



  1. 透過與某人進行信件交換所完成的溝通。一份印出來的訊息。
  2. 與某人建立起一份親近的相似性、連結或是同理心。





A:現階段我正與一位我非常仰慕的平面設計師一起工作,他的名字是Harsh Patel。我想要花點時間,重新思考這本雜誌的定位,並注入更多的努力。我工作時喜歡放慢速度,並不會急匆匆地把事情完成,所以也許九月或十月份新的一期才會出現,並且有許多改變。







Q:在第二期雜誌裡,你選擇了攝影師 Takashi Homma和Henry Roy的作品,並將他們二人的影像置於「卷宗(dossier)」這個欄目之下,而不是賦予這些影像作品一個名字,請問你為什麼要以這樣的方式來呈現攝影作品?攝影做為媒介或者是型式,存在於我們的生活之中,我很有興趣知道你是如何看待它。







本文首發於今藝術雜誌第236期  May/2012