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In 2005 it celebrated its tenth anniversary.
Since 1995, Matador has covered the fields of art, the artist’s mind, chaos, dreams, fear and utopia. It has been attracted by some of the most stimulating sources for imagination: the Mediterranean, Iberia and Mexico. In 2005 it celebrated its tenth anniversary with Volume I devoted to the Far East and in the following issue, letter J, inspiration came from the New Yorkers.
Throughout these ten years, numerous figures from the world of culture have participated in the magazine’s creation; others have joined the projects as subscribers: Yves Saint Laurent, Oliver Stone, Rafael Alberti, Henri Cartier-Bresson, Cees Nooteboom, Enrique Morente, Nobuyoshi Araki, James Nachtwey, Ramón Masats, Concha García Campoy, Juan María Arzak, Miguel Bosé and Eduardo Chillida, among others.
On this occasion and facing the 18 years left before arriving at Volume Z, Matador concentrates its experience in this six hundred page book. It contains the most surprising and essential pages. Without a doubt, it is a book that reconstructs an exceptional story.
Matador.The First Ten Years is also a work specialised in creation and publishing design, a book of essential references for learning the possibilities that magazine publishing offers today
Six texts comprise the introduction by Eduardo Arroyo, Oliviero Toscani, Robert Pledge, Abbott Miller, Toni Segarra and Alberto Anaut, which defines the nature and diversity of the Matador project.
Eduardo Arroyo, painter, sculptor, poster artist, set designer, writer and recipient of Spain’s National Plastic Arts Award in 1982, thinks that “Matador should be a beautiful trade of loneliness,” like that of artists, writers, boxers, etc. With these words, the artist presented the magazine’s Manifest in 1995.
Toscani, the Italian photographer known internationally for the Benetton advertising campaigns that amazed the public in the 1980s and ‘90s, presents an interesting analysis of the current meaning of communication. In his text he states that “Matador is an excellent example of courage and the will to experiment with future, alternative communication."
Robert Pledge, the co-founder and president of Contact Press Images, one of the largest international photography agencies, writes a tale about the relationships between photography and the media, particularly magazines, titled “La fotografía y la memoria” (Photography and Memory). In his text he points out that Matador belongs to a new genre of publications designed to show images of the various worlds that coincide on the planet today. For Pledge, Matador is "an elite, sophisticated, creative luxury product for collecting."
Abbott Miller, one of the most famous designers in the United States who introduced the concept of “signature design” has been a partner in Pentagram, New York since 1999 where he heads the editorial project staff. In his text titled “La revista cosmopolita” (The Cosmopolitan Magazine” he asks “How is it possible to make a magazine like this, full of beauty and intelligence, in the difficult world of contemporary publishing?"
For Toni Segarra, one of the most well-known award-winning creative directors in Spain’s advertising sector, commented that “Matador brings together a group of devotees who not only share something but also collect what they share. Matador is a bit of a cult object, a sacred chalice, talisman and fetish.”
Alberto Anaut, publisher and director of Matador comments that the ten-year book “is a good chance to scan the work carried out and to analyse how far a publication that has decided to look at its time with another rhythm and above all with another depth can go in our day.”
Sketchbooks, wine and topography
After an anthological review, Matador by Matador, of the best pages, the best essays and the best images, the book devotes a section to the Artist’s Sketchbooks, original, hand-crafted products that accompany the magazine every year and are created specifically with the collaboration of well-known plastic artists: James A. Fox, Eduardo Chillida, Manolo Valdés, Eduardo Arroyo, Louise Bourgeois, Sean Scully, Miquel Barceló, Sol LeWitt, Joan Hernández Pijuan and Luis Gordillo.
Next follows a chapter on the Matador Wine Cellar. This project, directed by Telmo Rodríguez, first saw the light in Volume B and its objective is to have the best wine growers make a never to be repeated wine. In each harvest an artist, the same one in charge of creating the Sketchbook, designs a label. The book presents the history and design of the nine wines that comprise this unique wine cellar.
The chapter that ends the book is dedicated to the typographies used for each magazine: Gill Sans, Caslon, News Gothic, Bureau Grotesque, Univers, Joanna, Courier, Akzidenz-Grotesk, Ehrhardt and Egyptian Condensed.