Pétunia presents artists' proposals and texts in French or English. Pétunia's issues are organised around subjective emergencies. Pétunia avoids using author's texts as illustrations of a main topic chosen by the chief editors. There is no editorial or publisher's statement. Each issue will be autonomous, and does not connect with territorial issues and current matters or trends. There are no chapters or sections, but diverse textual forms, from theoretical texts to diary entries to pure fiction or comics, mostly concerning contemporary art. The layout of Pétunia will be an important part of each issue; its graphic design will be very present and proclaimed. Pétunia wants to bean unclassified object that paradoxically affirms a strong identity in focusing foremost on the work of women critics, curators, artists...
From this perspective, Pétunia is a feminist publication playing the game of affirmative action, as a response to the constant imbalance of the role and place of women in the art world. Pétunia also reactivates — hopefully with nostalgia and humour — the forms of ideological engagement of women regarding art and critical production, while enriching its view of three decades of “women studies”, “black studies”, post - colonial studies and, of course, post - feminist studies .
Contributors in #3: Katarina Burin, Frances Stark, Laetitia Paviani, Lina Viste Gronli, Nana Oforiatta Ayim, Géraldine Gourbe, Dorothée Dupuis, Emmanuelle Lainé, Clara Meister, Kitty Kraus, Lili Reynaud Dewar, Kathy Acker, Fiona Jardine, bell hooks, Mathieu Kleyebe Abonnenc, Sisters of Jam, Spartacus Chetwynd, Elizabeth Diller.
Design : Change is Good