One of our many exciting digest partners is Tunica magazine. Based in New York, Tunica values international culture, spotlighting various art and design talents from across the globe. 

We always want to hear about what Tunica has coming up next, so we spoke with them to find out more.

When was Tunica founded, where are you based, and how did it start?

We were working and creating independent publication projects and zines for awhile. Eventually in mid 2012 in New York, more than two years ago now, we decide to found Tunica. Since then, Tunica has been showing and giving voice to the many young and inspiring artists that are making amazing work right now. It was during a time where there was a particular type of revival in print. People were starting to express print and print design with a completely new approach, especially challenging the medium with all its modern 'inadequacies'. So yeah, for the love art  and the desire to assemble a publication that curates talent across a variety of mediums and practices. Our gallery and studio is based in Lower East Side and we've only been there for a couple of months. It's our publications first real working space so it's very exciting for us.

How did the name come about?

It comes from Spanish and the name Tunica simply derives from the word Tunic. It's dictionary definition is any of several types of garment for the body, a coat to various animals, plants and/or layerings of bulbs and fruits. So conceptually Tunica's a creative membrane, but the element that I guess we want to stress is that it's never static. We strive to change for all particular needs and purposes. All our Issues are spearheaded by different designers that we feel understand the project and the artwork and can add their personal creative touch.

What brought the idea of collaborating with new editors and art directors each time?

In spite of all the extra work, we love the idea of evolving, trying out new things and not being so possessive with it. There are a lot of publications out there who'll have a set format and style running through their issues for long periods of time. We thought it would be great to treat print a little more ambitiously; and that's essentially what we tell our art directors. Blow us away, lets do something new and interesting together!

This new experience is great when we’re all on the same page together and working in the same direction. It’s really a collaborative process that’s enlightening at the best of times. With each issue the project moves forward in art direction. This does not mean we just leave the project to the right hands and just wait. It’s actually a lot of work for us as well, more than if we have the same layout and edition guidelines. But this is what forces us to grow up in contents, concepts and visually.

What inspires your direction with the magazine?

Generally we work around our guidelines during the editing process, but we try to not discriminate! Each issue so far has always had a well balanced look over all mediums. We spend of a lot of great time searching, meeting artists, seeing what's out there.
Also, the open call for submission in the publication is always open and this is a very important for us, as to break with the previous stuff we did with the project. For this reason, every issue is new for us as well and is a really interesting exercise for the magazine, we never know how the magazine will look physically, is new born in every issue.

What's the office like? How would you describe it in three words?

Hmmmm…. white, white, white! Being based in New York also meant that we moved offices a couple of times. We began in a small place in Williamsburg, then in the East village and after that we move to our beautiful Lower East Side studio and that’s where we are based now. Unintentionally we’ve been working in different spaces for each issue, which besides being a little stressful, gives us a nice perspective on the past issue and the feeling of complete change for the new one.

Opening up a studio space with a gallery in New York was our most recent small adventure, and works well as a joint studio. In the gallery we are able to host exhibitions of the artists we show in our publication, so it’s really an extension of that whole idea.  Right now we’re playing around with the idea of pop-up exhibitions too. In Europe and Asia, we’re always trying to have regular satellite events of the Tunica project and this will continue that way.

One of our aspirations right now is to establish creative collaborations between artists, and to be able to show that work. If we can have artists as varied as product and furniture designers meet with their creative peers in a completely different field of work, we’d really like to see that outcome

What's the biggest reward in terms of Tunica?

Getting to spend so much time with such creative and talented people and do what we like for living. Also, And of course the day everything's completed and printed. It's extremely rewarding seeing all that hard work turned into something we can finally pick up with our hands.

What is exciting you guys this summer?

We had release parties for the Issue III designed by Studio Lin, in US and in Europe already and it was great! Right now we are planning to have more events soon with the new issue in South America and Asia. While we’re at it, we’ll have to try and work up the courage to complete all these new exhibitions openings. We’ve already begun working on the next issue, that’s number 4, and we can’t wait to work with you guys.  Alldayeveryday will be the guest editor and the Rodina in the Art direction. This is really exciting for us. There’s also a special Mexico issue with Savvy studio and we will be in the NY Art book fair and the Tokyo Art book fair this September. So stay tuned!