COLECTA Magazine - Oct-Nov / 21 - Year II - Vol 4

T h e

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M a g a z i n e

october - november 2021 | Year II, Ed. 4

Gala photographed by Boris Kocis

Colecta Cover

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Gala Caki Dragon

Oil on Canvas

GALA cAKI Serbian artist GALA CAKI got her Bachelor’s and Master’s degree in Fine Arts with Honors, for painting and drawing at the Academy of Arts at the University of Novi Sad. She also holds a Ph.D. in study of painting. She is Faculty of Fine Arts in Belgrade at the University of Belgrade, and member of Art Link Us (The Association of Artist of Ehime, Japan). @ galacaki Gala Caki Night Sun

Oil on Canvas

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Gala Caki Flying Rabbit Oil on Canvas

See more works

COVER INFO: FLYING HORSE Technique: Oil on Canvas Certificate of Authenticity: Yes Signature and Year: Gala Caki, handmade, 2020 Size: Large - Painting Material: Canvas Frame: without frame Dimensions: 140x200cm | 55 x 79 In. Weight of the work: 4 kg | 9 lbs.

City: Novi Sad, Serbia Gala Caki Into the Woods Oil on Canvas

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editorial

deAr reAders, We ArriVe AT The FourTh eDiTion oF colecTA MAgAzine as ex-

cited and proud of the new projects and partnerships as ever. With the arrival of autumn, there is also the positive expectation of the reopening of the most important art events in the USA, Art Basel Week 2021, which always takes place in the first week of December.

Speaking of Art Basel Miami: we are also pleased to announce our media support to Casa Brasil Miami 2021, an Art Experience Project supported by the Brazilian Consulate in Miami, The House of Arts, BRG International, and Atlantic Streaming.

We have endured a long wait for the reopening of international borders, and after almost two years of the pandemic, the American government authorized the entry of foreigners into the country. This decision will positively impact the creative economy around the world.

Through IT Mondo, our correspondents in the old world, we present in this edition the official coverage of the Venice Festival, and the arrival of more amazing artists from all over Europe, Brazil, Australia, and Asia.

Architecture, design and wellness come together in the article about the art of living. A special interview section presents the trajectory of very talented Brazilian indigenous artists.

In our ongoing ‘Out & About’ section, we continue to present you with an inspiring tour of museums, art galleries, gastronomy and personalities that inspire us. Our Art and Social section also returns to this edition of the magazine. Stay tuned to upcoming news!

Embrace Art, and enjoy your reading!

Editor-in-chief @giu_brandao | 2021

Photo by Pablo Coy

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Flocking Tejas detail (clay tiles, steel and cables)

T h e

A r T

M A g A z i n e

Contributors

Editor-in-Chief Giuliana Brandao

Business Art Expression Art History Architecture Out & About

ART CURATOR & DIRECTOR Jade Matarazzo

Graphic Art Director Vivian Lobenwein

POP Culture Wearable Art

Business Development Managers Giuliana Brandao Jade Matarazzo

Art Photography

SPECIAL THANKS Flavio Iryoda Karo Delgobbo

Featured

Jade Matarazzo Simone Piva Jonatas Chimen Flavia Griesi Bruna Amorim Simone Piva Igor Sampaio Bruna Amorim Ronaldo Fraga Alex Korolkovas Messi Schneider Tiago Magro Messi Schneider

Content Writer Bruna Amorim

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COLECTA Magazine is a quarterly digital and print on-demand publication focused on Art Expression, Fashion & Art, Art Editorials, Art & Design, POP Culture, Art Tech, The Art of Living, Art Gastronomy, Art & Purpose, Out & About, and Featured Artist by The House of Arts. Founded in December 2020 with main operations in Miami and Sao Paulo, Brazil with a wide network of collaborators distributed across the globe.

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© 2021 AVESSA Media Group LLC, a Florida limited liability corporation. All rights reserved.

The information contained herein is of a general nature and is not intended to address the circumstances of any particular individual or entity. Although we endeavor to provide accurate and timely information, there can be no guarantee that such information is accurate as of the date it is received or that it will continue to be accurate in the future.

No one should act on such information without appropriate professional advice after a thorough examination of the particular situation.

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summary

14 Business A rt’s B u s y B u s in e s s

22 art Expression IT MONDO + Th e Hou s e of A rts

34 Art History D é jà Vu à Pa ris

44 pop culture Sq u id G a m e 13

49 Interview M oq u e n Su ra ri Conte m p ora ry In d ige n ou s A rt

58 out & about E x p e rie n ce lif e

79 architecture Th e A rt of B a la n cin g you r e nv iron m e nt

83 ART photography Se cret G a rd e n

94 wearable art D re s s in g for th e p a rt

80 Featured Colla b : Tia go M a gro x M e s s i Sch n e id e r

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Business

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Art’s Busy Business

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Inte r nati o na l a nd nati o na l a r t co m e to g ethe r ev e r y D e c e m b e r i n M i a mi fo r the i co ni c M i ami A r t B a s e l We e k .

Miami has become the international center of art and design during the first week of December. That’s when Miami Art Basel Week happens: seven days full of art, design, installations, interventions, content and inspiration. There are hundreds of activities between fairs, events, parties and exhibitions for those who want to consume, learn and be inspired. There’s a lot to see, and that’s why we’ve prepared a guide with the most interesting fairs that are worth visiting.

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Art Basel in Miami Beach Art Basel’s impact was so great that it impacted the surrounding neighborhoods. The Miami Art District and the Design District ended up undergoing a revitalization. During Art Week, the artistic side of Miami gets the attention of the whole world. Museums and galleries take advantage of this global stage to showcase their best pieces. Journalists, advertisers, architects and designers of all styles and industries organize fairs and exhibitions in neighborhoods such as the Design District, South Beach, Wynwood, and other central Miami neighborhoods.

Miami nightlife also thrives with Art Weekend. Famous nightclubs promote exclusive parties featuring the presence of numerous celebrities. Independent producers organize parties in spaces booked by the city. It really is a week of parties and celebrations.

The fair features 269 galleries from around the world divided into the following areas: New (with works created in the last three years by one, two or three artists); Positions (projects by a single artist); Survey (classic works); Kabinett (artist-curated exhibitions); and Editions (prints and other edited works). This year the fair opens with unconventional artwork for an art fair, including large-scale sculptures, video projections and installations.

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Business

Art Miami World-famous for its stylish gallery-like decor, its outstanding quality and extraordinary variety, Art Miami showcases the best in modern and contemporary art from 125 international art galleries. Art Miami maintains a prominent position in America’s contemporary art fair market.

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Business

Design Miami Design Miami is an event not to be missed. This leading brand promotes 20th and 21st century design during two prestigious shows, one in Basel in June and the other in Design Miami in December. Design Miami is a subset of Art Basel that is a design lover’s dream event. The show is open to the general public for six days.

Visitors can view and purchase the newest and most innovative design available anywhere. Forty five international galleries display highly designed seats, floor coverings, rugs, lamps, ceramics and storage. The space is an exciting marketplace where unique items can be discovered, and the fair offers opportunities for collaborations and commissions to take place. Attendees can also participate in talks and lectures.

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Context CONTEXT Art Miami, presented

by Art Miami, returns for its ninth edition between Nov 30 - Dec 5, 2021.

It will feature international galleries showcasing emerging, mid-career and cutting-edge artists. CONTEXT Art Miami continues to develop and push boundaries on the conversation about contemporary art. It offers an exceptionally strong platform for collectors to discover and acquire fresh and significant works in today’s primary art market.

CONTEXT will be held alongside Art Miami at the prestigious waterfront location of One Miami Herald Plaza on Biscayne Bay, nestled between the Venetian and MacArthur Causeways in the heart of Downtown Miami.

Aqua The 16th edition of Aqua Art Miami will take place from Wednesday, December 1 to Sunday, December 5, 2021. Aqua has consistently earned critical recognition for presenting vibrant and noteworthy international art programs with a particular interest in supporting young and established galleries with strong emerging and mid-career artists.

Located inside a classic South Beach hotel with spacious exhibition rooms that open onto a breezy, intimate courtyard, Aqua’s unique environment has become a favorite gathering spot for collectors, curators and art lovers. There, they can discover fresh talent and acquire new pieces while exchanging cultural ideas and forming meaningful connections.

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Untitled UNTITLED, ART is an international, curated art fair founded in 2012 that focuses on curatorial balance and integrity across all disciplines of contemporary art.

UNTITLED, ART innovates the standard fair model by selecting a curatorial team to identify and curate a selection of galleries, artist-run exhibition spaces, and non-profit institutions and organizations, in dialogue with an architecturally designed venue.

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Scope Celebrating its 20th year in Miami this December, SCOPE returns to its iconic location along the sands of Miami Beach, nestled amongst the iconic architecture of Ocean Drive at 8th Street. With stunning views of the ocean, SCOPE’s extraordinary selection of contemporary art from 140 international exhibitors will be presented alongside museum-quality installations, panel discussions, and nightlife events.

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Business

RED DOT Red Dot Miami is a curated gallery-only contemporary art fair during Miami Art Week. In addition to showcasing 75 of the top galleries from around the world, Red Dot Miami features a provocative agenda that includes site-specific installations, ongoing collaborations with their partners, and specially commissioned events that take place during the fair.

Spectrum As a part of the Red Dot Miami Group, Spectrum Miami is a curated art fair presenting 150+ independent career artists, studios, and younger galleries that are pushing the boundaries in surprising and significant ways. Taking place amidst Miami Art Week, Spectrum Miami offers the unique opportunity to talk to the artists, learn their stories, and take home pieces you love.

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Pinta With more than a decade as a benchmark in Latin American art for collectors, professionals, museums and institutions around the world, PINTA MIAMI is considered among the best art fairs of Miami’s art week.

Having become a significant booster of Latin American artistic activities, PINTA brings together both established and emerging art agents. In this way, it consolidates a powerful stage and broadcast channel to make Latin American artists known and integrated into the international circuit.

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Art Expression

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IT MONDO + The House of Arts Cu ri o sit y is c e nt ra l to a r t. Whethe r i t i s d i r e c te d towa r d s o n e se lf , ot he r s o r the i r s ur ro und i ng s , cu rio sit y is w h at co m p e l s us to i nq ui r e , i nv e s ti g ate , an d p ro c e ss t h e wo r l d . A r t i s a to o l of exp l o rati o n, both a co m p a ss w it h w hi c h to r e a d the r e a l i ty at hand , a n d a lso t h e p e n that d raws the m a p .

By Simone Piva and Jade Matarazzo

Colecta Magazine’s main goal is always to take readers through different journeys. Sometimes these journeys are very foreign and new, showing us things we never before considered or acknowledged. Sometimes, they are mirrors to our own journeys. Through the partnership between The House of Arts and IT Mondo, we proudly present glimpses into different artists’ journeys, opening a corner of their maps to the world.

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brazil

Edson Landim Bike Urca Amarela

Born in Vitória in 1957, Edson Landim moved to Rio de Janeiro, Copacabana as a child, so he considers himself a real carioca. It’s no surprise that Rio de Janeiro inspires him to create art as urban as Rio Babilônia. After attending Dragão do Mar and UNIFOR in Fortaleza, where he took several courses, he moved back to Rio. Today, the artist is still very enthusiastic about a diverse range of techniques, which he learned in Fortaleza from great masters and makes use them in his art.

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Art Expression

UK Claire Deniau lives and works in Paris and Dubai. She graduated with MA & BA in Fine Art Central St Martins, London. Claire Collections are available at Tate, Victoria and Albert Museum (UK), FRAC Paca (France). Claire Deniau questions the inescapable addiction to the digital image.

She plays with the viewer’s gaze by creating a direct interaction via the body, the senses - exploring ideas of contemplation, beauty, and tactile imagination. Sometimes, with a subtle sense of humor, Claire Deniau aims to capture the viewer’s attention to open a dialogue that triggers dreams and a sense of otherness. She creates an unsettling space, in which these potentialities are explored, in many propositions held out to free the viewer’s imagination.

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Claire Deniau Contemplation III

Claire Deniau Contemplation IV

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Art Expression

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Paulo Renato Colombiano Quatre

Photography with Smartphone

brazil Paulo Renato Colombiano is a visual artist born and raised in Rio de Janeiro.

When he was a child, he spent the day looking at slides on a small display that he received as a gift from his father. The slides showed the interior of the human body with its vivid shapes and colors, which fascinated his imagination. This changed his perception of what is real and abstract, and guides his work to this day. He works through photographic research with cell phone cameras, and post-production is made on the device itself. With the photos printed on cotton canvas and mounted on a wooden chassis, he establishes a counterpoint between digital and traditional support, between mobile phone portability and the larger scales of printing.

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Art Expression

IRAN

Born in March 1987 in Kerman, Iran, Zahra Soltaninejad started painting in 2001 and in 2010 bachelor’s degree in painting and in 2013 a master’s degree in painting. A university professor, Zahra has research experiences in the field of art therapy and social prevention for children, and her paintings clearly reflect his routine in contact with the deepest human feelings.

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Zahra Soltaninejad Alien Series, 2019 Oil on Canvas

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Art Expression

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FANAVISKAS Hortus Vitae

Acrylic on Canvas

brazil FANAVISKAS - This is how Fernando Antonio Naviskas, signs his artwork! The artist was born on August 2, 1961, in the city of Barretos, in the interior of São Paulo. Naviskas was always involved with the arts, since childhood, his main occupation was drawing. He addresses other diverse themes, such as urban sceneries from São Paulo, the city where he lives, and from many other cities he has visited around the world. Not infrequently, the strong connection with psychology brings a myriad of dreamlike, symbolic themes to his canvases.

He seeks a unique expression of intense vibration and energy in each work, whatever the theme addressed. A large number of works today are book covers, records, and posters and the artist has collectors throughout Brazil and in many countries on different continents.

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Art Expression

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Pablo Coy Barcelona, 2020

B&W Photography

ITALY Pablo Coy, known to most as “Coy”, has been an artist since childhood, painting graffiti in the streets with his friends as a teenager.

After studying Advertising & Marketing, he transformed himself into a self-taught plastic artist. He started to work on canvas, and his international professional career began at Le Murate, in a collective exhibition. Another face of the multimedia artist is photography, which serves also as inspiration for many of his paintings, including abstract compositions.

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Pablo Coy Catalan Scene, 2020 B&W Photography

Art Expression

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Art Expression

Lise Rodembush D015, Doors Series Photography

USA Lise Rodembush sees the details of the world through the lens of a camera, registering the present, which, seconds later, is already the past. Then, a curator of a past that had her as a creator. Lise shares with others her peculiar view of the world, to show how a world so diverse, colorful and multifaceted, can be inhabited by billions of people who are sometimes the same, but in others, completely different between itself.

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Art Expression

brazil Ara Celis Vilela was born in the environment of artistic creation.

Passionate about manual works, she has become a self-taught artist in canvas painting, even developing her own tools for applying materials such as gold leaf on canvas. Ara Vilela’s contemporary abstract style carries a strong message and translates all the exuberance of gold through various feelings and emotions, stimulating the individual perception of art lovers.

Ara Celis Vilela Passion Fragments, 2021

Acrylic Painting and gold foil on Canvas

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Art Expression

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Dalton Romao Untitled

Expanded Collage

brazil Dalton Romao describes himself as “essentially a graphic artist” as he has navigated through several design schools. He works with the construction and deconstruction of the grid (composition mesh). His aesthetic experiences range from the knowledge acquired by the Bauhaus, through the Ulm School and David Carson’s RayGun to the current typographic deconstruction. Dalton worked for years in advertising, and went through the entire production chain of graphic projects. His work includes advertisements, book cover projects, periodicals, posters and various graphic materials, and he is a guest graphic artist for 46pgs magazine of the European Community.

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Art Expression

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Une Tarlabassi Soulmate

Freeform crochet, embroidery

Lithuania Une Tarlabasi is an intuitive freeform crochet artist from Lithuania based in Turkey. Having MA in Turkic history, crochet was her hobby for a long time. She felt the urge to make an auto portrait two years ago, and it marked the beginning of her passion to create realistic portraits that carry messages that speak to people’s hearts. As she continued to share the art on social media, she found that there were other hearts resonating with her works. Crochet provides unlimited possibilities of expression. She creates using references of real pictures merging them with her imagination following her senses. Her crochet works are sewn on canvas.

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ART H ISTORY

Déjà Vu à Paris: 34

My Postmodern collage exploring consumerism Amy Jane St. denis original

The Theory of Colliding Universes and the Rise of New Histories

by Jônatas Chimen, MFA.

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Gold Fish Large - Postmodernist art, via amee123’s blog.

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Imagine you are not bound to living only in this Universe, but instead, you live in a multiverse. Imagine there are infinite versions of you roaming around in this multiverse, each unaware of the others, each living a life with completely different possibilities and outcomes. As bizarre as this may seem, it so happens that some of the world’s greatest thinkers and physicists have independently arrived at the conclusion that we might, indeed, live in a multiverse reality.

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ART H ISTORY

Now, let us revisit the moment in history when Postmodernism was born, by allowing author Stuart Jeffries to guide us through this excerpt:

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Such is the account of the birth of postmodernism, a moment which would permanently transform the western world, by influencing societal tendencies, public policy, the world economy – and most importantly – the Art Establishment. This new movement in time was not manufactured; it grew as the natural consequence of the ideas and ideals of an entire generation, as they negotiated with a new reality that radically differed from that of their progenitors.

As we revisit the dawn of postmodernism (born out of the need to end old hierarchies, binary systems, and the belief in a Universal Truth), we discover that our current time seems quite convulsive, much like what preceded postmodernism. We are now living through an ever-evolving pandemic, a major mental health emergency, a global economic downfall, the return of western ethnonationalism, and an international refugee crisis – all in the age of technological hyperconnectivity, amidst great discord and polarization.

And so, we begin to wonder: Is history about to repeat itself?

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Duncan Hall, USA, 1996, by John Outtam, from Postmodern Architecture

“(…) in Paris, a French penseur called Jean-François Lyotard stopped rummaging in his lover’s black turtleneck to light his 37th Gitane of the afternoon. He inhaled deeply, breathed out, narrowed his eyes and said: “Bah, ouais,” and started writing there and then his ground-breaking book The Postmodern Condition [in 1979]. (…) Lyotard argued that the intellectual foundations of western thought as built by Kant, Hegel, Marx, though probably not De Botton, were teetering. Western societies since the Enlightenment had, he argued, been informed by “grand narratives” that were no longer convincing stories of human progress. He, like lots of other soixante-huitards, was disappointed by the failure of one of those grand narratives, Marxism, to deliver paradise. He glanced narrowly too across the Channel and, seeing Thatcher’s policies (soon to be echoed by Reagan) of economic deregulation, selfish enterprise culture and the denial of society, thought that political progress – as he and like-minded beret-wearers had comprehended it since 1789 – might well be over. (…) Henceforth, he and the likes of Foucault thought, localized political interventions – feminism, environmentalism, identity politics – would replace mass progressive movements. And then, bored by his thoughts, Lyotard put his hands back up his girlfriend’s jumper, like the French stereotype we’ve imagined him to be.” 1

Guardian News and Media. (2011, September 20). Postmodernism: The 10 key moments in the birth of a movement. The Guardian.

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Enterlechy II, Sea Island, GA.

ART H ISTORY

Postmodern Architecture

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As we revisit the dawn of postmodernism we discover that our current time seems quite convulsive, much like what preceded postmodernism.

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Author Francis Fukuyama would answer this in the negative – as he once wrote in 1992: “What we may be witnessing is not just (…) the passing of a particular period of postwar history, but the end of History as such (…).

That is, the end point of mankind’s ideological evolution and the universalization of western liberal democracy as the final form of human government.” Furthermore, Fukyama argues that there could be no large-scale wars over fundamental values since “all prior contradictions are resolved, and all human needs satisfied”. 2 Alas, history did not end – neither by the judgement of our shared experiences, nor by what science reveals us today. As writer for SPACE and Live Science magazine Clara Moskowitz explains: “space-time goes on forever, then it must start repeating [itself] at some point, [since there is only] a finite number of ways particles can be arranged in space and time”3. A few of the possibilities that support this idea are the Theory of Parallel Universes, the Theory of Bubble Universes, and the Theory of Daughter Universes.

Indeed, Fukyama erred on many fronts; western liberal democracy has yet to become universal, our prior conflicts have yet to be resolved, and human desires have yet to be satisfied. Instead, in this dwindling postmodern society, we are evermore eager to break free from the extremes of Cancel Culture4, to liberate ourselves from the nihilism of the current creative discourse, and to finally arrive at a condition which praises meaningful connection and a deeper sense of purpose. Thus, we walk towards a moment when a new kind of structure must arise, one that is open-sourced and decentralized, capable of enabling creatives to remain industrious for the sake of virtue, fulfilment, and self-actualization. Far from sheer utopia, this proposition will allow this generation to pick up the pen, and continue writing history – as they are so inclined to do.

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Composition VIII- Wassily Kandinsky - post modernism painting

ART H ISTORY

Guardian News and Media. (2011, September 20). Postmodernism: The 10 key moments in the birth of a movement. The Guardian.

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Moskowitz, C. (2012, December 7). 5 reasons we may live in a Multiverse. Space.com.

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Romano, A. (2019, December 30). Why we can’t stop fighting about cancel culture. Vox.

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ART H ISTORY

Hence, Fukyama’s perception of the universe directly crashes against the upcoming Metamodern Universe, and science can explain why. Ranga-Ram Chary – the Project Scientist and Manager of the U.S. Planck Data Center at Caltech, sheds some light on how universes can collide, by observing strange abnormalities in cosmic microwave background (CMB), which is the radiation leftover after the Big Bang: Chary found abnormalities using the Planck telescope, observing what could be evidence of a “bruising” that occurs when one universe bumps up against another: “Think of it as bubbles in a soda bottle…Each bubble is a universe.

If the bubbles were rare, they would never collide, and we’d never know the existence of the other universe…If however, they are not rare, they may collide, and we can see the imprint of it in the [cosmic microwave background] (CMB) (…)5.”

As a new universe comes roaring in opposition to the postmodern hegemon, the bruising of a new-fangled history is bound to hurt those unwilling to accept that oscillation is the pattern that identifies all looming development. Consequently, it behooves all makers and thinkers to remain inquisitive, not only by observing the randomness of life (as the consequence of arbitrary successes and failures, and coincidences and mismatches), but by finding the repeated designs which lead to cataclysmic changes.

History shows that major changes occur after plagues, pandemics, wars, and famine – and that their consequences are revealed in artistic, philosophical, spiritual, and technological breakthroughs (i.e., it is suggested that the Black Plague made the Renaissance possible6).

And in terms of location, one place on Earth seems to be the most propitious incubator of brand-new alternate realities: Paris!

For the past few centuries, Paris has been the breast that nourishes minds into devis-

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Moskowitz, C. (2012, December 7). 5 reasons we may live in a Multiverse. Space.com

Sequoia, Theresa, Richards, D., 11, A. D. M., Erickson, S., Eric, Carolyn. (2020, May 13). The plague brought the Renaissance. what could covid-19 bring? Sightline Institute.

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sunderlandsocialsciences.wordpress.com

ART H ISTORY

ing blooming ideologies and art movements: Impressionism, Symbolism, Art Nouveau, Neo-Impressionism, Divisionism, Fauvism, Cubism, Art Deco, and Abstract7 are just a few of the art movements that evolved in the most sensual city of the world – and as Stuart Jeffries writes, Paris is the place where the birth of postmodernism was first recorded.

It is no coincidence that I am right now sitting at a Paris café writing this article, having lived in this city since the onset of the Covid-19 Pandemic, breaking the rules as an artist and Digi-Nomadic college professor. In two weeks, my fellow thinkers and makers are coming to join me, so that we may further conceptualize Jada – our manifesto-based Metamodernist art

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List of art movements compiled by Le Louvre Museum.

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The kitsch consumerist art of Jeff Koons at Versailles_ Michael Jackson and Bubbles, 1988, ceramic sculpture

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ART H ISTORY

we walk towards a moment when a new kind of structure must arise, one that is open-sourced and decentralized, capable of enabling creatives to remain industrious for the sake of virtue, fulfilment, and self-actualization.

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Barbara Kruger-Installation 3 retouched

movement, co-founded by me, Dana Blickensderfer, Jamie Moshe Straz, Suzanne Khalil, and Sam Loetscher.

As Jada appears at Paris Art Week with its own exhibition, Jada founders will be joined by other members and sympathizers of the art movement. Among them there will be Ginat Salman (Israel), Manu Militao (Brazil), Ninon Lacoume (France), Stephanie Agudelo (USA), Jacob Khalil (USA), Ari Hirschman, (USA) Alla Broeksmit (USA), Aaron Jackson Bowman (USA), and Sean Christopher Ward (USA). Is this the Parisian coming-together that occurs prior to a radical artistic transformation? Only the cosmos can tell.

As I sip on my second glass of Pinot Noir overlooking the Rodin Museum, I find myself

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Imants Tillers, ‘Namatjira’, acrylic, gouache on 64 canvas boards

St.Anthony - Salvador Dali

ART H ISTORY

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History shows that major changes occur after plagues, pandemics, wars, and famine – and that their consequences are revealed in artistic, philosophical, spiritual, and technological breakthroughs.

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stunned by the boldness of this spirit. I look around, and I am immediately allured by the iconic messy-butperfect hairs of the Parisian populace, along with their undying stench of cigarettes, and masterly drawn lips with their Parisian red lipsticks. I then stop to admire intensely the decadent timelessness of this opulent city.

I feel small being here as an artist. So, I cultivate a sense of humility when confronted by the grandness of it all – and it is with this same sense of humility that I feel compelled to write this article. This really is not about science (after all, this is an art magazine, and I am no scientist), but another attempt to caution my postmodernist peers of their preposterousness; to think that we know it all, that we have reached the apex of all human potential, and that no new chapters can be written on future human progress. How silly!

Longaberger Building Headquarters, Newark, Ohio

ART H ISTORY

Guggenheim Museum Bilbalo Spain

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At best, what I am offering here is myth via storytelling, which we metamodernists recognize as central for the imparting of lessons that can be adapted to any time and place. Myths are indeed often told in the form of ludicrous parables, folklore, and even as scientific theories – as the end goal is to capture the attention just long enough for one to stop and listen to an important message.

Irrevocably, the cosmic message is finally delivered: It is now time to listen to the thundering sound of another approaching universe – which is poised to collide against our very own in a fiery clash. So let us hope that this universe smashes our old perceptions of human capability, so that it forces us into becoming authors of a new and wondrous future History!

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Images Squid Game courtesy of Netflix

POP C ULTURE

Squid

Game

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From Pa ra s it e to BT S to Squid G a m e : A s ia n m e d ia , and more sp e c if ica lly t h o se of Korea n n at io n a lit y , a r e takin g t h e e nt e r t a in m e nt in d u st r y b y s to r m .

by Igor Sampaio

Like every modern popular TV series, Squid Game has its narrative premise adorned by visual appeal and marked by exaggeration and absurdity. We could end this article using just this opening sentence… If we were talking about so many other television series from the last 20 years. And even Squid Game can come across as shallow in this way to more inattentive viewers. It’s not uncommon to hear that people gave up watching the series right in the first chapter, or didn’t like it after watching it all the way through.

But for everyone else in the world who’s been loving Hwang Dong-hyuk’s work, Squid Game is a fun adventure loaded with emotion. Hwang is the writer and director of the series, managing a very well-tuned recipe that mixes terror, emotion, mystery and drama, seasoned with a strong dose of violence. And as biased as it may be at first glance, the impression that this is a cheap and cliché work, like an Eastern version of Saw, dissolves as we begin to understand the small nuances that reveal themselves behind the violence. Merit in this case, not only to the script, but also to Hwang’s direction.

Also noteworthy is the group of talented actors and actresses who manage to carry the story efficiently. Except for small and rare exceptions in the group, the entire cast works wonderfully. In general, the actors build their characters with density, but at the same time leave room for an easy viewing experience for the audience.

The most unexpected highlight is precisely the protagonist played by actor Lee Jung-jae. Throughout the series’ journey, he seems to be a stereotypical characterization of the Asian actor, with theatrical expressions and crude remarks. But with the plot-twist of the last part, it is understood that the actor (or the director) just wanted to create a strong division and section of the character’s evolution, revealing in the last moments of the series (the last 2 chapters of the first season) a careful and delicate work.

The actor swells and the character gains valuable weight.

I don’t know if it’ s worth sacrificing the actor’s work for a twist in order to enhance the ending, but either way, the formula works very well.

Conceptually, the show addresses some popular themes that are already common in the visual entertain-

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ment industry, though they generally end up being overshadowed by the series’ main approach: How far would you go for money? What follows this question is a plausible and well-orchestrated narrative construction, bringing the series and characters closer to the audience. But for more attentive viewers, the subplots can be extremely interesting. They range from the challenge of migration from dictatorial countries, to the difficulty of being a good parent, and even to child abuse. These are Important themes, which honestly should even be explored more deeply. But maybe, for a series that didn’t even intend to release a second season or to be a global contestation tool from the beginning, this deeper exploration was far from the creator’s first considerations.

Returning to the work itself, I must say that Squid Game’s greatest asset is taking the spectator out of their comfort zone, and presenting them with a new perspective, almost as if inside the game. And this tour results in a pleasurable and emotional filmic experience, especially as it is accompanied by a drama with multiple layers that are simple and not too dense, and manages to lead the viewer to engage with each one of them. The show works without exaggerating its main characteristics, and even violence is not used cheaply, but as a regulating element of the whole experience. Violence rises and falls with the expectations of the viewer and marks the pacing and evolution of the plot. Maybe that’s why we feel so attracted to Squid Game. We can see a very real reflection of this multi-drama when observing how the actors of the series have achieved popularity on social networks.

Each one of them has their presence as a very well defined character and idolized by the audience.

This pop phenomenon has conquered space and makes its presence felt in each country where the series is released. Perhaps we could say that, more significant than a well-made dramaturgical project with singularities, the fruit of an intelligent and sensitive alchemy, the series has been requalifying the public’s perception of the drama genre – especifically, the K-Drama. Taking it a step further, I anticipate that the series is curiously helping to create, or at least strengthen, yet another concept: making Korean actors sexy simbols in the western world.

Of course, everything is still very recent, and with globalization, the eastern and western sides of the

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Images Squid Game courtesy of Netflix

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world have been communicating for a long time. But we can already see how the Squid Game actors are revered stars on social media today and desired by the most important media outlets around the world. And returning to the basic principles of audio-visual and art in its most primitive form, we see that the premise and justification of both is to bring questions and new social parameters. Which is exactly what Netflix can do: to create an appreciation and breaking of prejudice around Asian works.

For the future, I venture to say that Squid Game will play an important transformative role in entertainment, and will make the West more flexible in their choices when faced with a catalog of movies on stream. The visual market, which was already moving in a more participatory direction with minority or excluded

groups, should accelerate this process from now on. The world in 2021 is not restricted only to the bubble algorithm that some platform requires you to stay. A daily commitment to the pursuit of smarter and more collaborative relationships between communities and groups is required, and any media agent from Jackie Chan to BTS (Korean boy band) should be highly valued.

Squid Game rockets into the popular art bubble that is born regionally, but communicates globally through human dramas and fears. It breaks barriers and impacts us all beyond prejudice and xenophobia. Squid Game changed the game not only within its fictional universe, but of the actors in the series and the minds of the viewers. Now that’s a master move worth taking the top prize.

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Jaider Esbell Maldita e desejada, 2012

Acrílica sobre lona, 400 x 400 cm

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Images Courtesy A4&Holofote

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Contemporary Indigenous Art

by Jade Matarazzo

The r e c e nt ly d evel o p e d p ro j e c t of in c lu sivit y in a ll a r ti s ti c m e d i um s of te n fa i l s to a c k n ow le d ge t he i nd i g e no us co m m uni ty.

In t h is ey e - o p e n ing i nte r v i e w , a r ti s t Ja i d e r Es b e ll ex p la in s w h at i t m e a ns to p ro d uc e ar t a s a n in d ige n ous p e r s o n, a nd how the wo r ld b ro a d ly int e ra c ts w i th i t.

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COLECTA- Many people do not know indigenous art, or simply ignore its existence - do you think people tend not to see what they don’t understand? Or do you believe there is an ostracism about it?

Jaider Esbell- I’m sure, but it’s complex, for example; I prefer to believe that, in a way, people end up being victims of the colonial effect as well. That is, the way in which European ideology spreads throughout the world, caused and causes severe erasures of the cultures of original peoples, not only in Brazil, but worldwide.

I believe we are trying to talk about strategic violence. First, armed and imperial violence that is articulated with the forces and modes of an attempt at annihilation, looting and a declared will to definitively break an idea of primitivism.

What do I mean?

That Europe, as an embodiment of an idea of civility status, disputes even today among its nations a bloody race to “other places” in the world, in an attempt to establish themselves in supremacy there. And for that, they need to have free ground. And for that, they carry out genocides and ecocides with their own hands.

Not succeeding with this first attack, a second strategy is taken, that of reaffirming its idea of superiority, dictating its most efficient values such as monotheism, monoculture and the maintenance of original peoples as useless beings, but serviceable at the level of subservience, from slavery because they intentionally believe that. Without being able to maintain our cosmologies, we would not have the chance to appear in the world as civilizations capable of manifesting nature as sublime as art.

Thus, following violence, including epistemological ones, the idea is printed that original or indigenous peoples are no longer alive and active in the world, being eternally placed in a distant past where it makes no sense to access.

Hence the ethnographic museums and the art museums to reinforce this separation, still. But the fact is that the original or indigenous peoples resisted, even invisible, and not by chance.

In this context of accelerating global collapse, or end of the world, it seems to me that there is a sense of nostalgia where colonizers inevitably have to revisit your bloody steps to search

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Elisclésio Makuxi sem título, da série Anna Senkamanto, anna komanto - nosso trabalho, nossa vida, 2020 Posca sobre papel, 29,7 X 42 cm

Jaider Esbell sem título, da subsérie Transformação / Ressurgência de Makunaima / série Transmakunaimî, 2018 Posca sobre acrílica em tela, 100 x 100 cm

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Elisclésio Makuxi sem título, da série Anna Senkamanto, anna komanto - nosso trabalho, nossa vida, 2020 Posca sobre papel, 29,7 X 42 cm

for remnants of places you once saw as wildlands, looking for a reconnection with what is ours. See that in this dynamic, there is still no way to conceive of indigenous art, but we are making many other efforts, including and especially with our own arts, trying to overcome all these violences and present our best cosmic navigation technologies and leave them at the service of common good. If we do not consider these flows, and we ourselves do not go to all the places now unduly occupied, we will not be able to make people see indigenous art.

So, first we have to remove ourselves, layers and layers of colonial rubbish over our bodies, and then we get up and show ourselves our art, and we will see that it is actually another one. It

is a primary issue of counter-colonial education that no one but us can do. After all, is there art without artists? And as we have already tried to say by other means – we original peoples have our own art system, each one of us is an artist and that we seek to get closer to the European art system in order to expand it to the point of making ours fit. Don’t do anything at all until it gets through on television, on social media, in movies, on the curriculum of every child in the world; it takes a long time. We can’t even demand that they see our art yet, we know it’s asking too much for such sick minds. Will it work? Will there be enough time? I think so, for me it’s done. I try to read you to me, it’s happening, as the Portuguese would say!

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Paulino Joaquim Marubo A maloca de Kana Voã, 2005

Caneta hidrográfica, lápis de cor e giz pastel sobre papel, 30 x 22 cm

COLECTA- What was your first experience with art?

Jaider Esbell- I have been considering the biological age of 5 or 6 years old, when I saw and felt the colonial violence in the gardens of my house, the mountains. During this period, I was put into war with a conscience. To do so, they pulled me out of contact with my community and I was thrown into the colonizer’s world, when I was placed in formal school as a strategic part of an ongoing war. At the same time, one of my grandparents reinforced the cosmic connection by giving me fragments of our cosmology.

There I had the chance to reconnect with our cosmovision, so at that time I saw art and art saw me, there was a fusion.

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Paulino Joaquim Marubo Demiurgos Kanã Mari, 2005

Caneta hidrográfica, lápis de cor e giz pastel sobre papel, 30 x 22 cm

COLECTA- At your exhibition, I could see the first contact of some adult indigenous people with pencil and paper. Can you tell us a little bit about this experience of translating feelings and images to the screen, coming from people who have never done this before?

Jaider Esbell- It is a supreme will, an extreme attempt to try to translate our worlds for the agents and operators of the colonial world, the foreign one. When an indigenous sage tries in every way to simplify our cosmos and he realizes that he is still not succeeding, he asks the “white man”: my son, bring me your tools, let me touch them to see what happens. Thus, the native adopts paper, pencil and draws. But is this adoption for you, for the other, or for both?

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Charles Gabriel 2016

Acrílica sobre tela, 56 x 56 cm

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COLECTA- What makes indigenous art different from other arts? Or is nothing different?

Jaider Esbell- The artist subject; in our system, we are all artists. European art forges artists by saying that only a few are. In our own systems, we are all born artists. But it was still not possible to talk about it properly because there is still perplexity among so many other annoyances. The European system is still propagating that we have come to take their place, and that is not what this is about. We are signaling that we are going to move past them, and they will not disappear. On the contrary, they will become more alive, but it depends more on them than on us!

COLECTA- What are the first signs of indigenous art in Brazil and where is it most commonly found?

Jaider Esbell- Indigenous art has been around since the territory that is now called Brazil existed. If I fall into the trap of answering your question, the way it is put to me, I eliminate myself and eliminate a whole complex set of civilizations prior to any colonial time frame. Am I not trying to say that the idea | 2021

Photos Karina Bacci

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Armando Marubo Os mestres dos animais, 2005

Caneta hidrográfica, lápis de cor e giz pastel sobre papel, 60 x 22 cm

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Antonio Brasil Marubo Patamares terrestres, 2004

Caneta hidrográfica, lápis de cor e giz pastel sobre papel, 30 x 220cm

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Antonio Brasil Marubo Patamares celestes, 2004

Caneta hidrográfica, lápis de cor e giz pastel sobre papel, 30 x 220cm

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Sueli Maxakali Tartaruga, série Yãmiy/homem-espírito, 2009 Fotografia sobre papel algodão, 26,7 x 40 cm

of European art does not contemplate us? Why would I let it deceive me now and continue deceiving you?

COLECTA- How do we go about preserving indigenous art, since it is difficult to preserve even the most basic rights such as the territories themselves?

Jaider Esbell- Indigenous art has been trying to play its educational role around the world since forever. Matter wears out naturally, it changes. The compound or “spiritual” component is eternal, reinvents itself and settles where it feels it should be. In fact, no one is safe and when we put ourselves in the place of the “preservation of art”, we are being victims of Eurocentric ethnocentrism, which has come to happen in the anthropocene, even when we limit the cosmos by defining concepts as territory. It’s all pretty crazy, isn’t it?

COLECTA- What would you like to say to the international community about contemporary indigenous art?

Jaider Esbell- That it’s not a trend, fashion or novelty. That it is not a mere commodity, object or objectification. They are signs that could lead us to cross all colonial barriers as time frames. They are complex technologies to counter the alien, that which comes from outside. They are invisible platforms that still need a material body like an arrow, a stone hatchet or a canvas painted with oil paint. That contemporary indigenous art, or AIC (from the portuguese, Arte Indigena Contemporanea), is a positive clue, path or trap for us to raise the level of our attempt at dialogue to another AIC, cosmopolitical indigenous art, if I understood the masters correctly.

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Experience

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Life Ste p o u t into t h e wo r l d ! I m m e r s e you r se lf in u n iq u e exp e r i e nc e s that s p a r k wand e r lu st , e m p at h y a nd c r e ati v i ty.

Travel and exploration are fuels to creativity. Whether you’re touring a new city, country, or continent, or just scouting your own backyard, the process of discovery is a welcome change to routine. Breathe new life into your creativity and connect with your artistic impulses. A world of new and old paintings, sculptures, drawings, interventions and more awaits you!

SIlk Road Works by AZRA AKSAMIJA. | 2021

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Alive by The Living - David Benjamin(USA)

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Another Point of View La B ie n n a le d i V e ne z i a 1 7 t h Int e r n at io na l A r c hi te c tur e E xhi b i ti o n

by Simone Piva Photographer: Pablo Coy

Open to the public from May 22nd through November 21st 2021 at the Giardini, the Arsenale, and Forte Marghera, the 17th International Architecture Exhibition titled “How will we live together?” is the first major architecture event of the space, curated by the Lebanese architect Hashim Sarkis, organized by La Biennale di Venezia.

The curatorial brief asked participants to imagine spaces where people around the world can come together to share their solutions to global problems, despite increasing political and economic divisions.

The International Exhibition includes 112 competing participants from 46 countries, with a growing delegation from Africa, Latin America and Asia, and a wide female representation, which signals the arrival of a new era. The Exhibition is organized into five scales, of which three are exhibited in the Arsenale (Among Diverse Beings, As New Households, As Emerging Communities) and two in the Central Pavilion ( Across Borders and As One Planet). This edition also includes a series of participations out of competition with their own creative proposals.

Peju Alatise Installation (Nigeria)

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Material Culture - Achim Menges & Jan Knippers (Germany)

Silk Road Works detail Pavilion of Italy - Resilient Communities

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Flocking Tejas by BASE Studio Chile

Certainly, the emotion of stepping into a big event like this again after such a long time brings us a new perspective and a new perception of everything we observe.

After the long period that we spent behind closed doors, isolated, reinventing ourselves, and creating countless virtual exhibitions, we felt how important and transformative art is for humanity.

It was our breathing space. The Venice Biennale showcased once again how much the human being uses his creativity in the face of tragedies and through resilience produces unexpected results that, instigated by the theme cleverly proposed by the curator, compels us to explore the possibilities of a better future.

Space Suit by Modem (USA)

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Pavilion of Italy

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Groove by Philip Beesley & Living Architecture Systems Group - Canada

Luffa plywood detail

The vision of the artist and photographer, Pablo Coy, who covered the Biennale for Colecta, shows us a peculiar point of view, capturing through his lenses the details of how the theme of the event affected not only the innovative architectural creations. It especially showed how art is intrinsic in all the exhibited installations, which gave us another perspective of the theme.

Holistically, it is a journey through cultures, ways of life, and reflections so different that they broaden our sense of beauty. It centers how we relate to everything around us, and a true evocation of the art contained in the results.

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The MET Museum

by Bruna Amorim

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The MET is perhaps most famous for one of the most important fashion events in America today: the MET Gala. On the outside, the event is essentially a huge red carpet where different famous personalities dress up according to a theme set by the museum’s management. But that’s not the whole event – the Gala is exactly what its name implies: a sort of ball accompanied by a dinner, featuring musical guests and a phenomenal afterparty, most of which is hidden from the public. All of this is done to the benefit of the MET Museum as a fundraiser for its archives.

Simply known as “The MET,” the Metropolitan Museum of Art is one of the most important museums in New York. Located between two iconic sites – The MET Fifth Avenue and The Met Cloisters – the museum features over 5,000 years of international art. The MET is known for being more than a host of beautiful objects; it is a stage, rather, where art comes alive through events and exhibitions, connecting ideas across cultures and time.

In its mission statement penned upon its funding in 1870, The MET’s purpose is “to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction.” The museum has followed these ideals ever since its inception.

Visiting the museum is quite simple, but should be planned ahead. Since the implementation of COVID restrictions, The MET offers timed reservations for any visitors, both New York residents and non-residents. If

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Courtesy of Getty Images

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The Met | Courtesy of The Met

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Rihanna Met Gala | Courtesy Of Getty Images

MET Museum | Courtesy of the MET Museum

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you’re already a New York resident, you’re in luck – your ticket is set on a donation basis.

If you live elsewhere, though, make sure you book your time reservation before arriving at the museum.

Remember The MET Gala? Whatever theme the museum has set for it that year is actually an exhibition! In 2021, the theme was ‘In America: A Lexicon of Fashion’; thus, there is a special exhibition with the same name until next year’s Gala comes around.

Aside from this featured exhibition, the MET offers several other attractions. Some of the ongoing exhibitions include The Facade Commission: Carol Bove, The séances aren’t helping and In Praise of Painting: Dutch Masterpieces at The Met, both of which are featured at The MET on Fifth Avenue. In addition to In America, you’ll also catch A New Look at Old Masters through Spring of 2022. The MET is also hosting an array of new exhibitions after the month of October, including Surrealism Beyond Borders and Inspiring Walt Disney: The Animation of French Decorative Arts, as well as Before Yesterday We Could Fly: An Afrofuturist Period Room, which is poised to become an ongoing exhibition at the museum.

If you cannot reach New York to visit The MET any time soon, fret not: the museum has a fantastic array of online resources about art, including some of the pieces they currently or have previously hosted. Their “Art at Home” tab on their website allows you to see, read, watch and listen to content related to art anywhere you are. There’s no excuse not to dive into the artistic world curated by The Metropolitan Museum of Art!

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Courtesy of G. Meguerditchian

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Centre Pompidou

by Bruna Amorim Bringing together the best of different forms of self-expression, Centre Pompidou is a multicultural space merging art, literature, design, and much more into a single attraction. The design of the complex is eye-catching: it is a sort of “inside-out” building, designed by the architectural team of Richard Rogers, Su Rogers, Renzo Piano, along with Gianfranco Franchini, to convey a high-tech feel.

For lovers of art, Centre Pompidou houses the Musée National d’Art Moderne, which is the largest museum of modern and contemporary art in Europe. The Museum’s collections include Masterpieces, visual arts, drawings, photography, design and industrial prospective, architecture, film and new media, and much more. Some of the highlights of the Masterpiece collections include “Fontaine” by Marcel Duchamp, “The Frame” by Frida Kahlo, “New York City” by Piet Mondrian, the “Triptyque Bleu” series by Joan Miro, and much more.

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Vassily Kandinsky Avec l’arc noir

Marcel Duchamp Fontaine

Piet Mondrian New York City

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Frida Khalo The Frame Photo by Vivian Lobenwein

Joan Miro Bleu II

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Photo by Vivian Lobenwein

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Courtesy of Steve Shupe

Henri Matisse The Romanian Blouse

Raoul Hausmann Mechanical head, The spirit of our time

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Courtesy of G. Meguerditchian

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These works, along a few others, are constantly touring the world, but have been brought back to the Centre for the #PompidouVIP collection.

Find this selection during your next visit via a stroll round the collection on levels 4 and 5 of the Museum!

Additionally, two special exhibitions are definitely worth the trip: The Kandinsky Library and Brancusi’s studio. The first is a heritage collection of over 18,000 printed works, featuring prints of artistic practices such as books of prints, artists’ books, photo albums, artist’s reviews, book-objects, leaflets, and posters. The second is a reconstruction of the Atelier Brancusi by Renzo Piano.

Centre Pompidou also hosts the Bibliothèque publique d’information, which is a huge public library placed in the complex following its founding goal of decentralizing art and culture. The library is open during museum hours.

A third major feature of Centre Pompidou

is the IRCAM, the institut de recherche et coordination acoustique/musique (or, in English, Institute for Research and Coordination in Acoustics/Music). The institute is devoted to the study of music and sound, with specializations in the fields of avant garde and electro-acoustical art music. Interestingly, most of the building is actually underground, and it was designed by Renzo Piano and Richard Rogers. The institute is a cultural center for musical modernism, being the birthplace of several concepts for electronic music and audio processing, all of which fits well with its relationship to the Centre.

If you find yourself in Paris, note that Centre Pompidou is situated in the Beaubourg area of the 4th arrondissement of Paris. It is open every day except for Tuesdays, from 11am to 10pm. Be sure to carefully check the time slot of your ticket, following new COVID restrictions to the entrance.

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Uffizi Gallery

by Bruna Amorim

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If you ever find yourself in the region of Tuscany when visiting Italy, make sure you take some time to visit the Uffizi Gallery in the historic city of Florence. There is surely no shortage of sights so beautiful that they rival paintings or architecture that seems like a work of art in the region, but the priceless collection of Renaissance pieces are a must-see.

A historic site in and of itself, the Uffizi is adjacent to the Piazza della Signoria, and it was once a building designated to host the offices of the city’s magistrate established in 1581. After years of slowly adding art pieces into the building, hosting even the collections of the House of Medici, the Ufizzi was opened to the public as a gallery in 1786, and officially gained

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Far left: Room 41 of the Uffizi Gallery. Courtesy of The New York Times. Middle: Uffizi Gallery entrance.

Courtesy of Conde Nast.

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the status of a museum in 1865, though it was treated as such for centuries.

Today, the Uffizi is one of the most visited museums in Italy and the world. The museum hosts collections of paintings, architecture, sculptures, prints and drawings, and even books and archives, which have become so huge overtime that other Florentian museums had to shoulder parts of the archive. Lovers of the Renaissance, this is the museum you must visit! The painting collection of the Uffizi features artworks such as the “Birth of Venus”

by Botticelli, “Judith Beheading Holofernes”

by Gentileschi, “Angel Playing the Lute” by Fiorentino, and many more. The sculpture collection is equally impressive, with a sizable mix of ancient Roman art and Renaissance pieces.

There is much to explore in the main Uffizi,

Above, Uffizi Gallery, Pitti Palace. Courtesy of Mario Quatrone.

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The Tribuna of the Uffizi Gallery. Courtesy of Uffizi.

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Courtyard of Palazzo Pitti. Courtesy of News Italy.

Boboli Garden at the Uffizi Gallery. Courtesy of Victoria Sgarro.

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but make sure you set aside time to visit the other galleries as well as the garden. The museum’s grounds also include the Corridoio Vasariano, the Palazzo Pitti, and the Giardino di Boboli. While the Corridoio is currently closed for reformations until 2022, the latter attractions are open for visitors! The Palazzo is particularly interesting for history lovers, as it was actually the residence of Cosimo I de’ Medici and his wife Eleanor of Toledo. A symbol of the Medici’s power at the time, today it hosts a total of four museums: the Treasury of the Grand Dukes on the ground floor, the Palatine Gallery and the Imperial and Royal Apartments on the first floor, the Gallery of Modern Art and the Museum of Costume and Fashion on the second floor. These eclectic collections are a mixture of art and history, as well as the intersections between the two, such as architecture, fashion, and other handcrafts.

Finally, the Giardino is a garden where nature, art and science meet, built right behind the Palazzo Pitti. The layout of this exuberant garden was a creation of the Medici family, and it would later become the model aesthetics for several courts across Europe. To the casual observer, it almost serves as an extension of the museum, as the gardens are peppered with different sculptures dated from ancient times to the Renaissance. Aside from these art pieces, the Giardino is also adorned by different grottos, including one designed by Bernardo Buontalenti, and many fountains, with the most well-known ones being the Fountain of Neptune and the Fountain of the Ocean. In the Giardino, visitors can enjoy three different main collections: the Architecture and Landscape, Botany, and Sculptures and Fountains, all of which receive stamps of approval from cultural counsels around europe.

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Images UNSPLASH

arCHiteCture

THE

Art OF BALANCING

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ENVIRONMENT

by Flavia Griesi

We LIve In a SocIetY that is overscheduled and constantly under pressure.

Our senses, emotions, actions and thoughts are connected to the air we breathe, and can change depending on our daily experiences.

Think about the possibility of reaching a spiritual and physical balance as you walk into your home or office only by adding a few powerful techniques that can improve your life.

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arCHiteCture

According to UW (what is UW) Health psychologist, Shilagh Mirgain, “Your home and work environments are an important influence on your sense of well-being, but they are often overlooked. These are the environments we spend the most time in, so it’s only natural they would have an impact on us.”

As an interior designer, while studying cognitive therapy, techniques of Feng Shui, Aromatherapy and Reiki healing, I realized how much people could benefit from these wellness techniques to balance their home/office environments and transform their lives.

Here is a brief summary these techniques:

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cogniTiVe TherApY It is a behavioral study of how each person sees, feels and thinks when in a situation that causes discomfort, pain, or any other negative feeling.

The therapy helps interior designers understand their client and their needs in order to achieve personalized results.

Feng shui Feng shui is an ancient Chinese practice that charts the balance and invites energy into your home/office. This technique is considered a comprehensive view of the universe.

To balance the environment, Feng Shui is based on five elements: fire, water, metal, wood and earth. The correct alignment of those elements have a positive impact in areas like career, health, relationships and family.

Feng Shui uses a map called “Baguá”. Baguá is a Feng Shui energy map that contains eight life areas around a center. “Ba” translates to eight, and “gua” means area, so “bagua” means eight areas in Chinese. Each bagua area has unique attributes associated with it.

You can activate a gua by bringing in the color, element or shape that strategically influences the interactions to achieve life improvement. This harmony is based on principles of natural energy flow. | 2021

AroMATherApY Aromatherapy is a pseudoscience based on the usage of aromatic compounds, including essential oils, and other aroma elements, with claims for improving psychological or physical well-being. reiKi heAling Reiki is an energy healing technique that helps balance a person’s energy. It treats the body, emotions, mind and spirit, and creates many beneficial effects that include relaxation and peacefulness.

In addition to the techniques mentioned above, there are countless other techniques with great benefits that affect the well-being of the environment.

It is important to say that, before embarking on wellness techniques, it is essential, regardless of religion, to believe that they can change your life and achieve primordial power: THE PERSONAL INTENTION.

ABout me Flavia Griesi was born in Brazil, now living in South Florida. She is an interior designer consultant based on cognitive therapy and Feng Shui techniques.

Find more at flowhomedesign.com

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Photographer Alex Korolkovas @korolkovas Styling Suliya Gisele @suliyagisele Hair Jason Linkow @jasonlinkow

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Makeup Maria Ailen @ailenoviedo Cinematographer Thereza Helena @thereza.helena Photo Assistant Ben Salesse @benyoyo Catering Mariana Tamiozzy @marianatamiozzy Fashion Flying Solo @flyingsolo

Jamemme @jamemme KÂfemme @kafemme TealHouse @tealhouse.shoes MIKAGE SHIN @mikageshin_official ELENA RUDENKO @elenarudenko_official Elmadawy New York @elmadawynewyork Riina Mettas Jewelry @riinamettasjewelry SOLOMEINA @solomeinajewelry Harry Lou @harrylouofficial Vinnpatararin @ vinnpatararin IZA BY SILVIA D’AVILA @izabysilviadavila HONG HOA @wear_honghoa Amy Page DeBlasio @apdpvd

Shot in Long Island, NY Polaroids by Thereza Helena

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Wearable Art

Dressing for

the Part

by Bruna Amorim

You are staring at the silver screen and a woman strolls into frame. A black dress and matching elbow-length gloves, an oversized pearl necklace, a pair of wide-set sunglasses, an up-do, a cup of coffee and, later on, a cigarette holder.

What movie are you watching?

People interested in cinema or fashion should guess it right away:Audrey Hepburn, Breakfast at Tiffany’s. The opening scene wordlessly introduces the character of Holly Golightly outside Tiffany’s New York flagship store, and unwittingly solidifies Hepburn’s quintessential look. Some have never seen the movie, or know very little about the actress, but stroll through a costume store and there will be at least three different iterations of the iconic ensemble. | 2021

Breakfast at Tiffany’s | Courtesy of Paramount Pictures 3

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Ever y p ie c e of a r t is a puzz le of lit t le p a r t s , fit toget h e r to co nvey som et h in g t h at o n c e on ly ex is t e d in t h e artis t ’s m in d . Co st u m e De si gn is b ot h a p ie c e an d a p u z z le .

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The Great Gatsby Courtesy Of Warner Bros Pictures

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Effective costume design is, more often than not, the foundation of film and character longevity. This often overlooked piece of the greater puzzle of filmmaking is essential to the most important aspect of the viewer experience: immersion. Though careful creations sometimes go unnoticed, careless costume design is glaring. Anyone who’s ever seen a teen movie where high schoolers dress like the 30-year-old actors they are played by knows how jarring the viewing experience becomes.

Take that in contrast to Clueless (1995) with Cher’s iconic sequences of playfully preppy outfits – the most notorious being the plaid yellow skirt and blazer set in which she huffs “ugh, as if!”, to be repeated by teenage girls everywhere in years to come. The costume design here is not only effective in the way it translates 1990’s teen fashion into the screen, but also in how it further characterizes Cher. She is a popular, wealthy Valley Girl who is equally invested in her studies and her social life. Her wardrobe choices reflect her social standing and personality, and round up the character overall.

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ie became references to the style of the time is simply a statement to the incredible work done by costume designer Mona May, who is also responsible for the looks in Never Been Kissed (1999), The Wedding Singer (1998), Enchanted (2007), and more.

While the creation of iconography for a movie, character or actor is not necessarily the goal of costume, it certainly happens fairly often. Marilyn Monroe’s billowing white halter dress is a costume by William Travilla from Seven Year Itch (1955), though Monroe later wore it during promotions for the movie. Uma Thurman’s crisp white shirt and cropped black trousers paired with a bold red lip and a blunt bob gave life to Mia Wallace in Pulp Fiction (1994) thanks to the design of Betsy Heimann.

Though the Joker’s look was pulled from the Batman comics, costume design for different iterations of the character have served to solidify each actor’s performance in their respective movies. Heath Ledger’s purple suit, green hair, and grimey face makeup in The Dark Knight (2008), put together by Lindy Hemming, is incredibly grungy in contrast to Joaquin Phoe-

The Dark Knight Courtesy Of Warner Bros Pictures 5

Lord Of The Rings Courtesy Of New Line Cinema

Wearable Art

nix’s red suit and sharper clown makeup in The Joker (2019), designed by Mark Bridges.

Still, each character is instantly recognizable and placed within their own movies through the synergy between costume design, script and performance.

And though the full rounding and establishment of a character is one of the main focuses of costume design, another important aspect of immersion is setting. Reflecting the world the character inhabits is as essential as reflecting their personality. Effective costume design may sometimes be overlooked when the ensembles blend almost too well with the set design. This is common to period pieces where clothing often becomes a signifier of the setting and time just for the sake of it. Still, if award nominations serve as any proof of praise, period films are often where costume design can really shine. It is very difficult to watch Sofia Coppola’s Marie Antoinette (2006) and not become entranced by the outfits throughout the movie. Each piece of fabric, accessory, hairstyle and makeup choice is clearly carefully curated

by Milena Canonero, who won both an Oscar and a BAFTA award for the movie’s costume design. Not only do the costumes help round out the opulence and extravagance of the story, setting and characters, but they are also works of art in and of themselves. They are pieces of something larger, but also puzzles coming alive on screen.

Another remarkable instance of effective period piece design is Baz Luhrmann’s The Great Gatsby (2013), which awarded Catherine Martin and Miuccia Prada an Oscar for costume design. Though the wardrobe for the film was criticized by historians as somewhat inaccurate

The Joker courtesy of Warner Bros Pictures

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Clueless Courtesy Of Paramount Pictures 2

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for the time period, the luxuriousness of the costumes and their complimenting effect to the actors’ characterizations surpassed the need for strict accuracy. Martin and Prada curated costumes so opulently fitting to the setting within the film that the wardrobe’s general aesthetic became iconic enough to influence mainstream fashion for a few seasons following the release of the movie.

Still, the silent magic of costume design perhaps comes through most effectively in sci-fi and fantasy movies, where the film’s immersion is almost dependent on costume and visual cues. Here, costume designers often pair up with special effects teams to create the looks of monsters, aliens, goblins, fairies, and any other creatures a director or writer may conceive.

What would the Lord of the Rings trilogy be without its larger-than-life special effects and costume design by Ngila Dickson and Richard Taylor? In this instance, costume design has to fully transport the viewer into a whole

Edward Scissorhands Courtesy Of 20Th Century Fox

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Black Panther Courtesy Of Walt Disney Studios

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Pulp Fiction courtesy of Miramax Films 2

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different reality in a fantastic and yet believable way. Costume designers are tasked with creating unreal wardrobes that are also practical, so as to allow different peculiarities of the director’s storytelling such as actor mobility in props, post-production effects, and much more.

All the while, it is important that the costumes act as a compliment to the story rather than becoming a funny or unfortunate distraction.

Ultimately, filmmaking is an amalgamation of different art mediums. From photography, to theatre, writing, costume and set design, music and more – all of these pieces, each extremely complex in their own right, come together to create a larger artistic puzzle that is greater than each single part. Costume design is one of the most important parts of breathing life into stories and characters, communicating things that cannot be said. It is the process of creating art so dynamic and vivid one cannot help but to picture others, and even themselves, living in it.

www.avessabazaar.com

Natural materials and responsible manufacturing meet a strong, classic and modern identity.

www.avessabazaar.com

pisla.co

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Collab Tiago Magro x Messi Schneider

Th is co lla b c e leb rate s the g r e at e nco unte r of t h e fa s h io n wo r l d a nd o ur s tro ng e s t, m o s t p ow e r f ul f e e l i ng : l ov e .

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In this exclusive series, photographer Messi Schneider is reunited with his great friend, artist Tiago Magro. Together, they revisit the photographer’s exclusive works and add a special touch of love (AMOR), Magro’s art identity.

The unique pieces of this series feature portraits of well known names of the fashion world, such as Gisele Bündchen, Valentina Ferrer and Karolina Kurkova, among others.

All images are 60x90cm / 24x36 inches.

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meet tHe team

Our Contributors giu Brandao

Jade Matarazzo

e d i to r-i n - c h i ef Giulia Lima is a renowned expert in strategic brand management and market research. During her journey through communications and fashion marketing, the Art World was always an important aspect of her 20+ years of experience in the industry, as well as her personal life.

Lima believes in the power of connecting people with a purpose, acting locally to make a difference globally.

ar t curator & director As an artist, curator and cultural entrepreneur, Jade Matarazzo felt the need for cultural exchange in broader and more creative platforms.

For the last 15 years, Jade has developed many international projects and partnerships in the USA, Asia, Europe, as well as South America, always transcending barriers using art as a universal language and common denominator.

ronaldo Fraga

Bruna aMoriM

Brazilian born Ronaldo Fraga is considered one of the most important names in the history of fashion in Brazil. He stays true to himself instead of being a slave to trends. He appreciates comfort and subtle sensuality instead of more obvious and clichéd eroticism. And above all, he has a unique way of telling moving and unusual stories through each collection.

vivian loBenwein Gra p h i c ar t d i r r ec to r Vivian is a graphic designer with a passion for editorial design. She has been in the publishing industry for more than 15 years, and has directed more than 50 publications, including magazines, books, catalogs and newspapers. Art is present in all aspects of her work, and she believes that art has the power of arising unique feelings in each person. | 2021

Wr iter and translator Bruna Amorim is a young writer and translator, currently pursuing a B.A. in Anthropology and Sociology with honors. Throughout her life, her passion has been the exploration of different languages, countries, and cultures, with particular attention to individual people and their own stories as well as larger social dynamics and struggles.

alex KorolKovas Alex Korolkovas is an awarded Brazilian photographer currently residing in the US. He has held numerous solo exhibitions all across America and abroad. Alex is a resident photographer at New York’s SOHO, Flying Solo. He also collaborates with magazines such as Dreamingless, Ellements, GMARO, Huf, iMirage, iMute, Maximo, StyleCruze to name a few.

FlÁvio iryoda

Flávio is the founder of AVESSA Media Group, a global digital publishing company focused on contemporary fashion, beauty and art. Coming from a Big4 audit, tax and consulting firm, Flávio brings over 15 years of strategy and operations experience and industry-leading practices from the management and technology consulting space.

igor saMpaio Cultural producer trained in cinema, with experience in several areas within the audiovisual field. As a screenwriter, director, designer and film producer, as well as a photographer, his passion for images and stories is the basis of his work. Without discriminating choices, every form of art attracts his attention and stimulates his imagination, allowing him to constantly experiment with new artistic expression.

rodrigo Faustino Rodrigo Faustino is a designer and founder of the award-winning international Commgroup Branding, with a specialty in brands’ design, curator on topics related to innovation, sustainability, and technology. Faustino is also a judge at the WOLDA + Worldwide Logo Design Award, ICMA + International Creative Media Awards, Award, and Best Brand Awards.

siMone piva

Her multidisciplinary education gave the grants to create her curatorial and art dealer company IT MONDO, which in partnership with galleries, artists and curators, promotes art exhibitions and events in Europe and America, striving to bring together artists all over the world.

Messi scHneider It was in his teens that photographer and scene director Messi Schneider embraced the opportunity to work in the fashion industry. Through travel and living with distinguish cultures, he developed a passion for photography. In 2020, he received “The Visual Arts Awards” trophy as best Brazilian fashion photographer in the United States.

During Art Basel 2018, he exhibited the #FACES series at Miami’s renowned Rubell Family Museum.

Flavia griesi Flavia Griesi was born in Brazil, now living in South Florida. She is an interior designer consultant based on cognitive therapy and Feng Shui techniques.

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