Contemporary art, read closely

Four ways into the magazine

Who makes LARMAGAZINE

LARMAGAZINE is a contemporary art magazine published from Nuevo León, Mexico, built for the way art is read now. Its editorial approach treats visual culture as something to be explored rather than merely looked at, combining long-form writing, portfolios and multimedia pieces within a single print-bound format. The result is a publication that feels equally at home on a coffee table and on a phone screen, bridging the tactile pleasure of a printed issue with the immediacy of online viewing.

The magazine was founded by Catalina Restrepo and Judith Memun with the aim of innovating how contemporary art content is presented, edited, transmitted and consumed. Rather than accepting a fixed division between criticism and documentation, LARMAGAZINE moves between interviews, essays, artist portfolios and visual studies, allowing the reader to encounter art through multiple entry points within the same issue.

Publication runs on a mixed rhythm, with editions released bimestrally and trimestrally across the year, complemented by a weekly smartphone edition known as LARMAGAZINE Pocket. This schedule keeps the conversation with artists and audiences continuous, ensuring that news, exhibitions and commentary circulate between the more substantial printed volumes.

One of the defining characteristics of the editorial format is its support for interactive material. Video, audio, GIF, VR and AR components are woven into pages as integral features rather than decorations, giving room for sound works, moving image and immersive practices that a purely printed page could not accommodate. Readers are invited to spend time inside each work.

The full back catalogue has been migrated to the web, with past issues uploaded one by one over time. This gradual, piece-by-piece transfer has made years of accumulated writing, interviews and portfolios newly accessible, and it means that a reader arriving today can begin with an early issue and move forward through the publication's history at their own pace.

Artist portfolios occupy a central place in the magazine, offering sustained attention to individual practices across a spread of images and text. Alongside them, longer articles, recommended reading lists and thematic essays structure each issue, giving readers orientation while leaving space for the productive uncertainty that comes with encountering unfamiliar work.

The identity of LARMAGAZINE is deliberately spare: a clean white ground, a bright orange accent and near-black typographic contrast, with thin teal outlines marking cards and interactive elements. Headings are set in bold uppercase sans-serif with wide letter spacing, body copy in a lighter regular weight of the same family. The restraint lets the artwork and writing carry the visual load.

Sections are separated by shifting background blocks rather than hard rules, alternating white with orange and dark bands to give the reading experience a modular rhythm. Generous vertical padding, centred content blocks and small uppercase orange labels introduce each area of the page, producing an airy, gallery-like calm that mirrors the pacing of looking at exhibitions.

LARMAGAZINE also runs LARSCHOOL, an educational programme attached to the publication's ambitions. By pairing editorial work with instruction, the magazine treats writing about art as a practice in itself — something that can be studied, discussed and refined, and that helps readers build a more attentive, informed way of looking.

The magazine is produced by Casa Editorial LARMAG, with all rights reserved and a stated commitment to new voices in contemporary art. Beyond the issues themselves, the project sustains a shared space for artists, writers and curators working across Mexico and beyond, and it continues to invite contributions, submissions and collaboration for future numbers.