Tunica Issue 6.

The Design Collective Presents Their New Issue.

On September 20, Tunica launches their sixth issue, “Eternal Essentials," which was produced in the Workspace. It draws inspiration from diverse sources including pataphysics and Op art, and includes works by Carly Mark, Cecilia Salama, Jjon Yuyi, and Tom Galle.

Based in New York with satellites in Barcelona, Paris, South Korea and Mexico, Tunica's self-titled publication is a interdisciplinary "membrane" that combines wide-flung practices in art and design. We talked with the collaborators about their distributed working process:

At Tunica you embrace a wide range of different creative types – photographers, fashion designers, fiction writers – how did you first strike upon this special blend?

The core team is made up of so many different artists and creatives. We are them and they are us so naturally, we are all interested in all of these fields. We always want to know what other people are doing, creating and support that in any way.

The magazine has a very distinctive visual style. How do you negotiate between the projects featured and the design language? Does this mode of presentation accommodate the subject-matter, or deliberately set it off?

Our curation process with contributors and collaborators can begin anywhere, from online to networking, discovering  artists at events as fairs, and also with past contributors networking or online application. It is always a challenge we like to keep it organic, but we like to know more about the person behind the work. We look for emerging artists and established contributors to help craft the concept of each issue. The dichotomy between Tunica and our collaborators’ style is precisely what makes us, us. The fact that our aesthetic is fluctuating is now something expected, and it’s what makes us different in the market.

Some of your contributors are art directors who do a lot of editorial design themselves (with, it might be said again, very distinct styles) – Cordova CanillasStudio Lin – can you speak on those collaborations specifically?

With Studio Lin, we had this pretty cutting edge design that was really controversial for designers. The text box and photos were divided by the edge of the page. That literally divided the spread into three pages, instead of two. And no one has let us forget about that. (laughs)

About Cordova-Canillas they are old friends, so, it was an exercise of reunited forces to create something much more editorial. Since we were all interested in those directions in the lasts projects.

Would you care to talk about the format? 8.2 × 11.2 in. Sort of high-art fashion magazine look. Was that part of the strategy, or purely a physical, aesthetic choice?

Yes, the format changes every issue, our weak point is the big formats. It’s something that we do every time we have the chance since most of our content consists of very strong visuals that beg to be displayed. We like to think of Tunica as a collectible item, reminiscent of an art book or photo book, and we hope our readers also enjoy that experience as well.

One of the touchstones seems to be community: what are some secrets to building a successful community with a bunch of rowdy creative-types?

Rowdy? (laughs) No secrets, just a strong vision of ideas that make us available to work with like-minded people who are all after the same thing. That makes collaborating and community natural. Finding funding, on the other hand, is always a challenge because we’re creative types first, business people second.

Tell me about the name "Tunica" – I see that it's a botanical term, and of course makes me think of the word "tunic"?

A tunic covers the whole body, which is metaphorically what we’re trying to do. We are trying to cover the whole spectrum of creative fields.


RSVP for the issue launch party, featuring musical performances and art exhibitions by magazine contributors, September 20 at 7pm.

Images courtesy Tunica.