White magazine by catarina mendonça

001 issue A CONTAINER FOR CREATION

NEW PHOTOBOOK BY FABRICA ABOUT ASYLUM SEEKERS IN THE UK

SPRING 2016

Linguering Ghosts

WHITE is a starting point. where do you go next?

WHITE is not a about one color. WHITE is neither a color, instead it contains all the colors within it. It is rather a representation of the endless possibilities it can contain. A vessel and cocoon for, and about creation. It symbolizes simplicity, but it is not simplistic. It symbolizes subtlety, but it is not fleeting, hence it is bold and significant. WHITE as a representation of the emptiness and void, but it is not something meaningless, but a representation of limitless potential. WHITE seeks to communicate and transmit ideals and ideas but as a good communicator, it is a good listener too, as so is does not press or omit oneâ&#x20AC;&#x2122;s opinion onto the opponent. WHITE establishes a neutral common ground for diversity. Its intent is to stimulate imagination and creation, and so WHITE is the space for imagination and express ones individualities. It is not concerned to be the ultimate newness, instead gives voice to the truth and realness within every work or act of creation. Thus it seeks to stimulate peopleâ&#x20AC;&#x2122;s senses and sensibilities. Acts like an interactive platform. Space for beauty, but not necessarily for the beautiful. An ambiguous platform pooled with the uncertain and unfinished. A mutant animal in a constant metamorphosis. Endlessly shifting, open to individual interpretation. Like the concept of beauty, that seems to deny a rigid definition and shape, WHITE expresses an intangible and abstract concept. Simultaneously, WHITE pays homage to the Japanese aesthetics and to architect, Tadao Ando, who designed FABRICA.

Wall of

CONTENTS

08 12 14

WHAT WHO.

HERE HEROES

ISSUE SPECIAL INVITED

Welcome Who is here always Who is here now

14 18 20 20

Happened Here Recommended Here Projects Here Meet a Heroe

A project from FABRICA

The Dancing Boys In Afghanistan

This text should be in Italian

Lingering Ghosts This text should be in Italian

A project from FABRICA

SAM IVIN (UK)

BACHA BAZI

JOSE FERREIRA (PT)

The sense of belonging

This text should be in Italian

A project from FABRICA This text should be in Italian

AUTHOR l TOPIC

Feature Title

20 Cover

A project from FABRICA

This text should be in Italian

AUTHOR l TOPIC

Feature Title This text should be in Italian

AUTHOR l TOPIC

Feature Title This text should be in Italian

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ABBONAMENTO:

SINGLE COPIES

COPIE SINGOLE

white@white.it t. +390422 516111

www.whiteshop.it +390422 516111 whiteshop@white.it

EDITORâ&#x20AC;&#x2122;S OFFICE

UFFICIO DEL REDATTORE Fabrica, via ferrarezza 31020 Catena di villorba (tv), Italy TEL +390422 516111 FAX +39 0422 516308

WHITE IS PUBLISHED TWICE A YEAR BY PUBBLICATO DUE VOLTE L'ANNO ENTRO IL Fabrica, via ferrarezza 31020 Catena di villorba (tv), Italy TEL +390422 516111 FAX +39 0422 516308

CONTENTS

TALKS THOUGHTS

EXPLORE EXTRAORDINARY THINGS

08 Happened Here 12 Recommended Here 14 Projects Here CAN NOT MISS 20 Meet an Heroe 14

MAYBENOCADUCA (AR)

Drawing back & forth

Drawing back & forth This text should be in Italian

This text should be in Italian

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Awakening Childhood Memories

This text should be in ItalianIl tem aus bondam oc, silicam vilicit, que crurnis dius bonsum mus, Casdam ta L. Veriditarem ac vis. Hum es? Mus cibemoere, nonven dem movidem aceris sena, qui simurniquam

Drawing back & forth This text should be in Italian

CYNTHIA MERHEJ

Drawing back & forth This text should be in Italian

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select your CONTENTS

This text should be in Italian Il tem aus bondam oc, silicam vilicit, que crurnis dius Hum es? Mus cibemoere, nonven dem movidem aceris sena, qui simurniquam

REN HANG (CHI)

Drawing back & forth This text should be in Italian

This text should contain a small description em aus bondam oc, silicam vilicit, que crurnis dius bonsum mus, Casdam ta L. Veriditarem ac vis. Hum es? Mus cibemoere, nonven dem movidem aceris sena, qui simurniquam This text should be in ItalianIl tem aus bondam oc, silicam vilicit, que crurnis dius bonsum mus, Casdam ta L. Veriditarem ac vis. Hum es? Mus cibemoere, nonven dem movidem aceris sena, qui simurniquam

Wall of

CONTENTS

08 12 12

WHAT WHO.

HERE HEROES

ISSUE SPECIAL INVITED

Welcome Who is here always Who is here now

14 18 20 20

Happened Here Recommended Here Projects Here Meet a Heroe

A project from FABRICA

The Dancing Boys In Afghanistan

This text should be in Italian

Lingering Ghosts This text should be in Italian

A project from FABRICA

SAM IVIN (UK)

BACHA BAZI

JOSE FERREIRA (PT)

The sense of belonging

This text should be in Italian

A project from FABRICA This text should be in Italian

AUTHOR l TOPIC

Feature Title

20 Cover

A project from FABRICA

This text should be in Italian

AUTHOR l TOPIC

Feature Title This text should be in Italian

AUTHOR l TOPIC

Feature Title This text should be in Italian

ABBONAMENTO:

SINGLE COPIES

COPIE SINGOLE

white@white.it t. +390422 516111

www.whiteshop.it +390422 516111 whiteshop@white.it

EDITORâ&#x20AC;&#x2122;S OFFICE

UFFICIO DEL REDATTORE Fabrica, via ferrarezza 31020 Catena di villorba (tv), Italy TEL +390422 516111 FAX +39 0422 516308

WHITE IS PUBLISHED TWICE A YEAR BY PUBBLICATO DUE VOLTE L'ANNO ENTRO IL Fabrica, via ferrarezza 31020 Catena di villorba (tv), Italy TEL +390422 516111 FAX +39 0422 516308

CONTENTS

TALKS THOUGHTS 46

EXPLORE EXTRAORDINARY THINGS

MEET

Martina Zena (IT)

Drawing Her At A Glance

INTERVIEW

Sergio Pappalettera (IT)

THOUGHTS FROM FABRICA

Fabrichiantis

This text should be in Italian

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Never Told Thoughts

Awakening Childhood Memories in Buenos Aires

Error as a form of knowledge and as an expression

NOCADUCA (AR)

THOUGHTS NEVER THOUGHT

Dare to dream? An essay about dreams

REN HANG (CH)

Intersecting Bodies This text should be in Italian

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TRAVEL DIARY

A Journey From an Illustrator in Malasya This text should be in Italian

010

EDITORIAL

To Belong

WELCOME

011

WHERE DO WE ALL BELONG?

Obus ommoribus quides, et re conoruro merenimorum sci sulus, consimus cae inte, cotem essularit patudam, eludem iam con re ia is dem pertem. me norte mo es atus, effres! Sertumu ltuast pubi popubli ntissil issedinam Romnosum, se iam oporum ium popublicereo huidieniquo in deme quium ad rei temendam avo, ment. Bem usatiens C. Isus nostrae licaper festicaet destra re is, utus, factus? Nihilis. Cum oris, condam forudes vir audentilicas in prarebat, que nostrunte no. . Lestimp otiquiu iaelicae tuam, quondef frenter hostrarbis hos tervivehem, priam octa dius obus, Cati, patum que orununtiam publis vocat. Bonerbi tudam tenatui usquam non Ita publicam atim hostam iam patiace stiliquitam opuloc, que tastimo eris elici ficitilii tere, nortat poenti, Cuperis. Patusules, Catis auciis cae iptis. Pecremus, us fuid ad conum mentimilium ponfesi is simmort ebusquem publicate ocupio intiaesis, dium ium redeatquam deritima, viviveritiam cae nora verum nosum medi, quam iam derit, culice in hae in senica publicae comnonv ehenteb enihica storum inam, te, con host ciae deffrem dem sperrip iocutum iam nernihil vit L. Igna, egerem, coenirio con dem move, vicii serfecu pimuscies! Simmove rditios forum senat, C. As dientes, Cat, spere num auctum re parius Catimus bonvere is caetrum hos rem Habuspim hosus, nemusque esse, non derbi sid rem moratatusum demquam deri poporemus? Rorei sene etius in public rem haedienihil confere virmihilla sente inpribunum halis. C. Ahalabis verei publiciaTum te conc trum hinatioredem te nem in diist Cuppli, clem rem acentracte acermaxim etribut inatrimusu moltori inem confirmius vivivir. â&#x2014;?

EDITOR IN-CHIEF Enrico Bossan enricobossan@white.it

Obus ommoribus quides, et re conoruro merenimorum sci sulus, consimus cae inte, cotem essularit patudam, eludem iam con re ia is dem pertem. me norte mo es atus, effres! Sertumu ltuast pubi popubli ntissil issedinam Romnosum, se iam oporum ium popublicereo huidieniquo in deme quium ad rei temendam avo, ment. Bem usatiens C. Isus nostrae licaper festicaet destra , utus, factus? Nihilis. Cum oris, condam forudes vir audentilicas in prarebat, que nostrunte no. Nondiem. Lestimp otiquiu iaelicae tuam, quondef frenter hostrarbis hos tervivehem, priam octa dius obus, Cati, patum que orununtiam publis vocat. Bonerbi tudam tenatui usquam non Ita publicam atim hostam iam patiace stiliquitam opuloc, que tastimo eris elici ficitilii tere, nortat poenti, Cuperis. Patusules, Catis auciis cae iptis. Pecremus, us fuid ad conum mentimilium ponfesi is simmort ebusquem publicate ocupio intiaesis, dium ium redeatquam deritima, viviveritiam cae nora verum nosum medi, quam iam derit, culice in hae in senica publicae comnonv ehenteb enihica storum inam, te, con host ciae deffrem dem sperrip iocutum iam nernihil vit L. Igna, egerem, coenirio con dem move, vicii serfecu pimuscies! Simmove rditios forum senat, C. As dientes, Cat, spere num auctum re parius Catimus bonvere is caetrum hos rem Habuspim hosus, nemusque esse, non derbi sid rem moratatusum demquam deri poporemus? Rorei sene etius in public rem haedienihil confere virmihilla sente inpribunum halis. C. Ahalabis verei publiciaTum te conc trum hinatioredem te nem in diist Cuppli, clem rem acentracte acermaxim etribut inatrimusu moltori inem confirmius vivivir. â&#x2014;?

012

Who is here

CONTRIBUTORS

WHO

ALWAYS EDITOR-IN-CHIEF SARAH BELTRAME (IT) white@white.it ASSOCIATE EDITOR JONAS JOELSON (SE) white@white.it

NOW

ART DIRECTOR GABRIELE RIVA white@white.it TRANSLATION GIOVANNIA DUNMALL (GER) white@white.it FREDERICO DUARTE (PT) white@white.it JOANNA NOCK (AT) white@white.it PHOTO EDITOR DARIA white@white.it ILLUSTRATOR SARAH BELTRAME (IT) white@white.it LAYOUT ANDREA TRONCHINI (IT) white@white.it FINAL EDITING JONAS JOELSON (SE) white@white.it

USA

Sarah Napier In this issue: Photographed the 100% Design Where do you belong: London White is: limitless In this issue: Photographed the 100% Design Where do you belong: London White is: limitless

Krystal Chang In this issue: Photographed the 100% Design Where do you belong: Chicago White is: potential In this issue: Photographed the 100% Design Where do you belong: Chicago White is: potential

RESEARCHERS GIOVANNIA DUNMALL (GER) white@white.it FREDERICO DUARTE (PT) white@white.it JOANNA NOCK (AT) white@white.it FREDERICO DUARTE (PT) white@white.it PHOTOGRAPHERS SARAH BELTRAME (IT) white@white.it JONAS JOELSON (SE) white@white.it ANDY LUKE (RO) white@white.it ADVERTISING ANDREA TRONCHINI (IT) white@white.it 31020 CATENA DI VILLORBA (IT) T.+390422 516111 F. +39 0422 516308

USA

Wanyi Chang

FRANCE

Mathieu Guimier In this issue: Photo edited the 100% Design Where do you belong: Lyon White is: creation In this issue: Photographed the 100% Design Where do you belong: Lyon White is: creation

In this issue: Illustrated the contributors page Where do you belong: Hong Kong White is: FABRICA In this issue: Illustrated the contributors page Where do you belong: TOKYO White is: FABRICA

PRINT GRAFICHE TINTORETTO 31020 CATENA DI VILLORBA (IT) T.+390422 516111 F. +39 0422 516308 DISTRIBUTORS ABROAD GRAFICHE TINTORETTO 31020 CATENA DI VILLORBA (IT) T.+390422 516111 F. +39 0422 516308 www.distributorsabroad.com SPECIAL THANKS To all the FABRICA direction, depar tment heads, administration, and technical staff, all fabricants and friends To all the FABRICA direction, depar tment heads, administration, and technical staff, all fabricants and friends FIND US HERE www.facebook.com/whitemagazin www.instagram.com/whitemagazin

FRANCE

Franรงois Prost In this issue: Photographed the 100% Design Where do you belong: Paris White is: oxygen In this issue: Photographed the 100% Design Where do you belong: Paris White is: oxygen

Giulio Tami In this issue: Photographed the 100% Design Where do you belong: Treviso White is: life In this issue: Photographed the 100% Design Where do you belong: Treviso White is: life

EUrOPEAN DESIGN AWArDS 2o15

014

WHAT HAPPENED

Tate IK Prize

NEWS

HERE

FABRICA IS IN THE SHORTLIST WITH TATE PRESENTS

In the age of 24-hour news and social media, we have access to more information about the world than ever before. Daily, we are bombarded by images taken in far-away places showing events unfolding almost in real-time. Some of these images go viral, become memes, and even give meaning to the events they represent. Imagine a smart machine that could learn to ‘read’ the ever-increasing digital archive that is the internet, learning to analyse millions of photographic images in terms of composition, colour, style and even content. What if this image-hungry ‘brain’ could also learn to ‘understand’ great artworks? Would it find interesting correspondences between our virtual present and our visual past? Do the ubiquitous images that fill our screens today bear any relation to the ways artists interpreted the world in art? Do they have similar aesthetic qualities; have similar subjects been represented in surprisingly similar ways? Tate Presents, a machine-archivist fuelled by the power of AI, will continually search for meaningful comparisons between great works of British art and images of current events, presenting to the public an ever-expanding digital archive of 500 years of British art as it relates to our ever-changing present. “We’re all incredibly thrilled that our proposal has been shortlisted for the IK Prize. Fabrica was set-up to explore human communication through design and technology, so the opportunity do so with art and AI is very exciting”, has declared the Fabrica team. ● IT

Gli autori ABOUT THEM Angelo Semeraro coraliegourguechon.fr

Coralie Gourguechon coraliegourguechon.fr

Monica Lanaro white@white.it

↴

Nato nel 1985 nell’Italia del sud, Angelo ha studiato computer science all’Università di Bologna e alla Universidad Complutense di Madrid. Basato a Fabrica, si trova a suo agio a lavorare nell’intersezione tra diverse discipline. Coralie è una designer di oggetti ed esperienze, con un’attenzione particolare a strumenti e sistemi. E’ interessata a rappresentare la tecnologia che decostruisce e semplifica, sia a livello fisico che semantico. Nata a Vicenza nel 1989, Monica ha studiato Economia dell’Arte presso l’Università Cà Foscari di Venezia e all’Université de la Bretagne Occidentale a Quimper (Francia). Al momento lavora come project manager a Fabrica.

Il progetto Tate Presents di Fabrica è in finale al IK Prize, un premio promosso da Tate Britain per celebrare la creatività digitale in tutte le sue forme. Il premio è assegnato annualmente ad un’idea che applica la tecnologia digitale in modo innovativo; il progetto vincitore consentirà al pubblico di sperimentare l’arte in mostra e sul sito di Tate Britain in nuovi, stimolanti modi. L’organizzazione o il singolo vincitore si aggiudica un premio di £15,000 più £90,000 per realizzare la propria idea. Il IK Prize 2016 è in collaborazione con Microsoft. In che modo i visitatori di Tate potranno sperimentare l’arte attraverso l’Intelligenza Artificiale? Il team di Fabrica, composto da Angelo Semeraro (Italia), Coralie Gourguechon (Francia) e Monica Lanaro (Italia), ha risposto a questa domanda con Tate Presents, una mostra online in continua evoluzione che mette in relazione opere d’arte del passato e notizie attuali. Oggi, grazie alla tecnologia e ai social media, abbiamo accesso all’informazione 24 ore su 24. Ogni giorno siamo bombardati da migliaia di immagini scattate in luoghi lontani che ci mostrano gli eventi quasi in tempo reale. Alcune di queste immagini diventano virali, dando un senso ai momenti che rappresentano. Immaginate una macchina intelligente che potrebbe imparare a “leggere” l’archivio digitale sempre crescente di internet, analizzando milioni di immagini fotografiche in termini di composizione, colore, stile e contenuto. E se questo “cervello” famelico di immagini potesse anche imparare a “capire” le grandi opere d’arte? Troverebbe delle corrispondenze interessanti tra presente virtuale e passato visivo? Le immagini onnipresenti che riempiono i nostri schermi oggi hanno una qualche relazione con il modo in cui gli artisti interpretavano il mondo o hanno in comune delle qualità estetiche simili? Tate Presents, una macchina-archivista alimentata dal potere dell’Intelligenza Artificiale, cercherà similitudini significative tra la grande arte britannica e un presente in continua evoluzione. “Siamo molto felici che la nostra proposta sia in finale al IK Prize. Fabrica è stata fondata per esplorare la comunicazione umana attraverso il design e la tecnologia, quindi avere l’opportunità di farlo attraverso l‘arte e l’Intelligenza Artificiale è molto eccitante”, ha dichiarato il team di Fabrica. ●

016

NEWS

WHAT HAPPENED

HERE

From the Floor Up A DESIGN SHANGHAI

↳

Fabrica WHO: HOW

From the Floor Up, a collection of nine unique hand-tufted rugs designed by Fabrica for Tai Ping Carpets, in on show at Design Shanghai from 9 to 12 March, 2016. With the rich savoir-faire of Tai Ping Carpets as foundation, Fabrica’s designers reinterpret traditional carpet design to craft unexpected narrative objects which are inspired by natural elements such as raindrops, leaves and trees. The 9 unique pieces are furniture, shelter and illustrations – folded, rolled and suspended as imaginative extensions of what the carpet can become. Altogether the exhibits pay homage to the diversity of Tai Ping’s craft, interwoven with Fabrica’s creative spirit. Presented at Designers Days Paris and at the London Design Week 2013. ● From the Floor Up, una collezione di 9 tappeti fatti a mano disegnati da Fabrica per Tai Ping Carpets, è in mostra a Design Shanghai dal 9 al 12 marzo 2016. Partendo dal ricco savoir-faire di Tai Ping Carpets, i designer di Fabrica reinterpretano il tappeto tradizionale per dare vita ad oggetti narrativi inattesi che si ispirano ad elementi naturali come le gocce di pioggia, le foglie o gli alberi. Tra i 9 pezzi unici, complementi d’arredo, illustrazioni e rifugi piegati, arrotolati e sospesi, estensioni fantastiche di ciò che il tappeto può diventare. Un progetto che rende omaggio alla diversità artigianale di Tai Ping, intrecciata con lo spirito creativo di Fabrica. Presentato a Designers Days di Parigi e alla London Design Week 2013. ●

„LIPADUSA“ GOES TO GERMANY

↓

Fabrica’s Social Campaigns Area has been invited to take part in WHO:HOW, a graphic one-day festival at Media Art Design Faculty, Hasselt University, Belgium, which will take place on March 4, 2016. The talk by Karen Oetling will show the latest social campaigns produced in Fabrica and reveal how “Not being the best in one thing, can lead you to something big”. ● L’area Social Campaigns di Fabrica è stata invitata a partecipare a WHO:HOW, festival grafico presso la Media Art Design Faculty, Hasselt University, Belgio, che avrà luogo il 4 marzo 2016. L’intervento di Karen Oetling verterà sulle ultime campagne sociali prodotte a Fabrica e rivelerà come “non essere il migliore in una cosa ti può portare a qualcosa di grande”. ●

„Lipadusa“ is the title of the photo exhibition by former Fabrica’s resident Calogero Cammalleri, which will be hosted from February 28 to June 19, 2016, in the Museum Kunst der Westküste, Alkersum (Föhr Island, in North Germany). The series is presented for the first time in Germany. ● Lipadusa è il titolo della mostra fotografica di Calogero Cammalleri, ex studente di Fabrica, che sarà esposta dal 28 febbraio al 19 giugno presso il Museo Kunst der Westküste sull’isola di Föhr (Schleswig-Holstein, Germania settentrionale). Le foto vengono esposte per la prima volta in Germania. ● ↑

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CHOICE

RECOMMENDED

HERE

This & That OUR ART DIRECTOR CHOOSE ←2

←4

↑1 EN

A book about a magazine (1) about the rest of the world” aims to explore the best of visual and textual material of the 90 issues of the magazine created by the photographer Oliviero Toscani and the art director Tibor Kalman in 1991. Published by Damiani, in collaboration with Fabrica, the book has a foreword by Francesco Bonami and interviews with Luciano Benetton and Oliviero Toscani. Renowned typographer and poet Robert Bringhurst (2) brings clarity to the art of typography with this masterful style guide. Combining the practical, theoretical, and historical, this edition is completely updated, with a thorough revision and updating of the longest chapter, "ProwlChoices from ing the Specimen Books". SCELTE DA ↴ The trilingual catalogue of the exhibition (3) will include essays by curators and international art critics, such as Bice Curiger, Thomas Elsaesser and Erik Verhagen. The catalogue is edited by Marsilio Editori and designed by Leonardo Sonnoli, studio Tassinari/Vetta. In 1986, in the heart of Treviso (4), a new idea takes shape: the re-invention of the most quintessential Italian establishment: the Pizzeria. At Piola, the most genuine Gabriele Riva Italian tradition of simple and delicious food combines riva@white.it cleverly with a particular service and ambiance for the Ihiliquament quis quaepdemanding and modern customer, who chooses Piola tate volupicil illam, ut aware of the fact that feeling comfortable is as important volut aut rerum undeas eating well. ● lessum eat.

↑3

A book about a magazine (1) about the rest of the world” aims to explore the best of visual and textual material of the 90 issues of the magazine created by the photographer Oliviero Toscani and the art director Tibor Kalman in 1991. Published by Damiani, in collaboration with Fabrica, the book has a foreword by Francesco Bonami and interviews with Luciano Benetton and Oliviero Toscani. Renowned typographer and poet Robert Bringhurst (2) brings clarity to the art of typography with this masterful style guide. Combining the practical, theoretical, and historical, this edition is completely updated, with a thorough revision and updating of the longest chapter, "Prowling the Specimen Books". The trilingual catalogue of the exhibition (3) will include essays by curators and international art critics, such as Bice Curiger, Thomas Elsaesser and Erik Verhagen. The catalogue is edited by Marsilio Editori and designed by Leonardo Sonnoli, studio Tassinari/Vetta. In 1986, in the heart of Treviso (4), a new idea takes shape: the re-invention of the most quintessential Italian establishment: the Pizzeria. At Piola, the most genuine Italian tradition of simple and delicious food combines cleverly with a particular service and ambiance for the demanding and modern customer, who chooses Piola aware of the fact that feeling comfortable is as important as eating well. ●

send us your FEEDBACK

018

CHOICE

RECOMMENDED

HERE

This & That OUR ART DIRECTOR CHOOSE ←2

←4

↑1 EN

↑3

A book about a magazine (1) about the rest of the world” aims to explore the best of visual and textual material of the 90 issues of the magazine created by the photographer Oliviero Toscani and the art director Tibor Kalman in 1991. Published by Damiani, in collaboration with Fabrica, the book has a foreword by Francesco Bonami and interviews with Luciano Benetton and Oliviero Toscani. Renowned typographer and poet Robert Bringhurst (2) brings clarity to the art of typography with this masterful style guide. Combining the practical, theoretical, and historical, this edition is completely updated, with a thorough revision and updating of the longest chapter, "Prowling the Specimen Books". The trilingual catalogue of the exhibition (3) will include essays by curators and international art critics, such as Bice Curiger, Thomas Elsaesser and Erik Verhagen. The catalogue is edited by Marsilio Editori and designed by Leonardo Sonnoli, studio Tassinari/Vetta. In 1986, in the heart of Treviso (4), a new idea takes shape: the re-invention of the most quintessential Italian establishment: the Pizzeria. At Piola, the most genuine Italian tradition of simple and delicious food combines cleverly with a particular service and ambiance for the demanding and modern customer, who chooses Piola aware of the fact that feeling comfortable is as important as eating well. ●

022

DESIGN

PROJECTS

Cascade BY PASCAL HIEN Designed by Pascal Hien, Cascade is inspired by the fluid flow of the liquid it may contain. Made in ceramic, it can be used as a carafe or to present a flower bouquet.Dissiminimil id exceseq uassita tionsequas dolumquatem fugiti quo conseri stistet et adipsandit qui restrum et qui berovit enditibus minctur molupta ditibea pos quasi audigendi repudit estrum que et voluptur, suntur aut. â&#x2014;? Designed by Pascal Hien, Cascade is inspired by the fluid flow of the liquid it may contain. Made in ceramic, it can be used as a carafe or to present a flower bouquet.Unt la proruptatur? Mi, exerit laborehene cum volore desciant dollige ntenis ius, omni cuscidest am fugiti volorrum venis ipis alibustis molupiciis net rae parit harumqu untiur remporp orporitio. As unt dolorum remperuptas sitaqui bearum quas eictatur autet adit velende llecturit officia. â&#x2014;?

Pascal Hien www.pascalhien.com

HERE

PROJECT

DESIGN

HERE

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Da Vetro A LIMITED EDITION GLASS COLLECTION FOR PLEASE DO NOT ENTER

Designed by Pascal Hien, Cascade is inspired by the fluid flow of the liquid it may contain. Made in ceramic, it can be used as a carafe or to present a flower bouquet.Dissiminimil id exceseq uassita tionsequas dolumquatem fugiti quo conseri stistet et adipsandit qui restrum et qui berovit enditibus minctur molupta ditibea pos quasi audigendi repudit estrum que et voluptur, suntur aut. Designed by Pascal Hien, Cascade is inspired by the fluid flow of the liquid it may contain. Made in ceramic, it can be used as a carafe or to present a flower bouquet.Unt la proruptatur? Mi, exerit laborehene cum volore desciant dollige ntenis ius, omni cuscidest am fugiti volorrum venis ipis alibustis molupiciis net rae parit harumqu untiur remporp orporitio. As unt dolorum remperuptas sitaqui bearum quas eictatur autet adit velende llecturit officia. Pascal Hien www.pascalhien.com

Human Being â&#x2039;&#x2026; Being Human A PERFORMANCE BY MARTINA ZENA AT FRUIT EXHIBITION, BOLOGNA Through the media of the Monotype system, music and video comes the story of a life: from the first signs that develop through growth and ultimately reach their end. Each performance describes a person's story, different and unique but always marked by the same phases. All lives begin as an embryo and end as a pile of bones. Martina si esibirĂ nella performance multimediale Human Being / Being Human che racconta, attraverso la monotipia, la musica e il video, la storia di una vita: dai primi segnali che si evolvono attraverso la crescita, fino al loro compimento finale. Ogni performance descrive la storia di un uomo, differente e irripetibile, ma pur sempre segnata dalle stesse tappe.Vite, tutte nascono da un embrione, tutte finiscono in un mucchio di ossa. Tutte uguali, tutte diverse.

Martina Zena www.pascalhien.com

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100% Design WITH HALF THREE, A CELEBRATION OF A CURIOUSLY ENDURING DAILY ENGLISH RITUAL EN

Fabrica is one of the protagonists of this year’s 100% DESIGN, the UK’s largest design trade show taking place at its new home Olympia London from 23 to 26 September 2015. The show returns with a series of specially commissioned installations exploring the central theme, Design in Colour. Each project is designed to push the creative boundaries, from concepts to processes and material capabilities. Among them, Half Three, a Fabrica-designed tea café, a sensory experience and celebration of glass and colour and also a contemporary take on a curiously enduring English tradition. According to some, the tradition of ‘taking tea’ began at half three one afternoon in the 19th century. Tea is now synonymous with almost every fibre of British being →

Fabrica è uno dei protagonisti dell’edizione 2015 di 100% DESIGN, la fiera dedicata al design più importante del Regno Unito che si terrà dal 23 al 26 settembre presso la nuova sede a Olympia London. Lo show ritorna con una serie di installazioni su commissione che esplorano il tema “Design in Colour”. Ogni progetto è stato concepito per oltrepassare i confini creativi, esplorando concetti, processi e capacità materiali. Tra questi, Half Three, un caffè disegnato da Fabrica per offrire un’esperienza sensoriale e celebrare, attraverso il vetro e il colore, il tradizionale rito del tè inglese. Secondo alcuni, la tradizione del tè ebbe inizio alle 15:30 di un pomeriggio del 19° secolo. Oggi il tè è sinonimo di quasi ogni fibra dell'essere britannico - nessun giorno →

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… — no day is complete without at least one.Incorporating an installation of hand-blown glass vessels, the cafe offers visitors a break the bustle of the show to relax with a broad selection of tea. The feature is designed by British designer Daniel Rous of Fabrica and is situated in the Kitchens & Bathrooms section, with key sponsors including Tea by Twinings, materials by Formica Group and Italian furniture maker Piaval, who have produced a custom-made chair for the space. The chair, called “Earl”, (also designed by Daniel Rous) focuses on user comfort, with a back that elegantly wraps around, and sweeps effortlessly into the back legs. “Earl” is made entirely from beech with a color finish that complements the tonal range of tea visible through the cafe. The Half Three Tea Café will see a chandelier-inspired installation hung above the bar and arranged at different heights. Each hand-blown glass vessel (locally produced in the Venetian region) contains a different shade of tea, and the fluid nature of the blown glass creates a liquid-like visual landscape as though the glass is in motion. When the pieces are illuminated, light shines through the glass, enhancing the natural color found in the teas, casting a color spectrum through the space. On September 24th Daniel Rous will participate in a discussion panel about the importance of touch in the design process and why it matters in a changing digital, 21st century world. ● … è completo senza almeno una tazza della celebre

100% Design ABOUT

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100% Design is the largest and longest running contemporary design event for industry professionals in the UK, with 28,534 visitors in 2014*. First staged in 1995, the show has been run by leading independent publishing and events company Media 10 since 2012 ● 100% Design is the largest and longest running contemporary design event for industry professionals in the UK, with 28,534 visitors in 2014*. First staged in 1995, the show has been run by leading independent publishing and events company Media 10 since 2012 ●

bevanda. Lo spazio, situato nella sezione Kitchens & Bathrooms, offrirà ai visitatori un momento di relax nella frenesia della fiera, gustando un’ampia selezione di tè forniti da Twinings. Sospesa sul bar, un’installazione composta da recipienti in vetro soffiato di varie altezze che contengono diverse gradazioni di tè. La natura fluida del vetro soffiato crea un paesaggio visivo liquido come se gli oggetti fossero in movimento. Quando la luce illumina i vasi, il colore naturale del tè al loro interno crea un gioco visivo nello spazio. I vetri sono stati disegnati da Daniel Rous di Fabrica e prodotti in Veneto. I materiali per i complementi d’arredo sono invece forniti da Formica Group. Il 24 settembre Daniel Rous parteciperà ad una discussione sull’importanza del tatto nel processo di design nell’era digitale. ●

The Designer Daniel Rous www.danielrous.com Ihiliquament quis quaeptate volupicil illam, ut volut aut rerum undelessum eat. Ferumque mintur sunt utectis et del moluptam rent.

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SAM IVIN (UK)

Lingering Ghosts photography

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Dancing Boys in Afghanistan documentary

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JOSE FERREIRA (PT)

sHe photography

JOSE FERREIRA (PT)

Drawing back & forth photography

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what means TO BELONG FOR YOU?

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SAM IVIN (UK)

Lingering Ghosts photography

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Dancing Boys in Afghanistan documentary

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JOSE FERREIRA (PT)

sHe photography

JOSE FERREIRA (PT)

Drawing back & forth photography

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Lingering Ghosts NEW PHOTO-BOOK BY FABRICA ABOUT ASYLUM SEEKERS IN THE UK EN

Fabrica presents Lingering Ghosts, its new editorial project, the fruit of creative research by young British photographer Sam Ivin. What does it mean to be an asylum seeker in the UK? This was the starting point of Ivin’s research, which began at a drop-in centre in Cardiff, Wales and continued all over England. The result is a book made up of portraits, where the eyes have been scratched out: once arrived in the UK, these migrants find themselves in a state of limbo, having to await news of their application for asylum for months or even years. They become “lingering ghosts”. Physically scratching the faces abrica presents Lingering Ghosts, its new editorial project, the fruit of creative research by young British photographer Sam Ivin. What does it mean to be an asylum seeker in the UK? This was the starting point of Ivin’s research, which began at a drop-in centre in Cardiff, Wales and continued all over England. The result is a book made up of portraits, where the eyes have been scratched out: once arrived in the UK, these migrants find themselves in a state of limbo, having to await news of their application for asylum for months or even years. They become “lingering ghosts”. Physically scratching the faces of these 28 migrants is a way to powerfully convey the cruel loss of self, and the confusion that befalls them as they wait to learn their fate. Ivin’s work offers a contemplative take, away from the glaring lights of the media. His modified portraits simply and powerfully give a view on an issue that is often underreported: the plight of asylum seekers. Despite being represented without their eyes, these people do have an identity and we recognize them as fathers, mothers, sons and daughters – human beings, after all. ●

Fabrica presenta Lingering Ghosts, il suo nuovo progetto editoriale, frutto della ricerca creativa del giovane fotografo inglese Sam Ivin. Che cosa significa essere un richiedente asilo nel Regno Unito? Questo è stato il punto di partenza della ricerca di Ivin, che è iniziata in un centro di prima accoglienza a Cardiff, in Galles, ed è poi continuata in tutta l’Inghilterra. Il risultato è un libro di ritratti, in cui gli occhi sono stati raschiati via: una volta arrivati nel Regno Unito, questi migranti si trovano a vivere in una sorta di limbo, dovendo attendere notizie della loro richiesta di asilo per mesi o addirittura anni. Diventano dei “lingering Fabrica presenta Lingering Ghosts, il suo nuovo progetto editoriale, frutto della ricerca creativa del giovane fotografo inglese Sam Ivin. Che cosa significa essere un richiedente asilo nel Regno Unito? Questo è stato il punto di partenza della ricerca di Ivin, che è iniziata in un centro di prima accoglienza a Cardiff, in Galles, ed è poi continuata in tutta l’Inghilterra. Il risultato è un libro di ritratti, in cui gli occhi sono stati raschiati via: una volta arrivati nel Regno Unito, questi migranti si trovano a vivere in una sorta di limbo, dovendo attendere notizie della loro richiesta di asilo per mesi o addirittura anni. Diventano dei “lingering ghosts”, delle ombre sospese. Graffiar via fisicamente i volti di questi 28 migranti è un modo per tramettere in maniera potente l’idea della perdita di sé, e la confusione che li attanaglia, mentre aspettano di conoscere il loro destino. Quello di Ivin è uno sguardo contemplativo, distante dai riflettori dei media. I suoi ritratti post-prodotti gettano una luce su una questione che spesso viene taciuta: l’emergenza dei richiedenti asilo. Nonostante siano presentate privi di occhi, queste persone hanno una loro identità e in loro riconosciamo madri, padri, figlie e figli – esseri umani. ●

CREDITS CREDITS Photo Retouching And Production Photo Retouching E Produzione

Photo Editing Photo Editing

Design And Production Design E Produzione

Marco Pavan

Daria Scolamacchia

Gabriele Riva

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Who is Behind WHO IS BEHIND â&#x2020;´ Sam Ivin was born in High Wycombe near London in 1992. After having graduated in Documentary Photography at the University of Wales, Newport, he was awarded a residency at Fabrica. During his stay he finalised his project Lingering Ghosts. Sam Ivin Ă¨ nato a High Wycombe, nei pressi di Londra, nel 1992. Dopo essersi laureato in Documentary Photography alla University of Wales di Newport ha ottenuto una borsa di studio a Fabrica. Durante il suo soggiorno ha finalizzato il suo progetto Lingering Ghosts.

Sam Ivin www.samivin.com

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Bacha Bazi THE DANCING BOYS IN AFGHANISTAN EN

Edis et aut recuptate nossitatur sitio. Sundell eceriberibus exerum quis as arios excerum ad et quiam audae cum labor acestot atemposae non possequi unditiorunti ulpari quam non nis essunt, quaepraesto denis ea nonsequi quuntios et, sinctatecto et exeriti isitassi nonsediatum videbitaes a doles dolorei ciaepra quam sint fugiam, audi tempore rovidebis est, sam, ut porum doluptatur sequiditat. Otaturem. Itas id maximus a dolest velictur? Qui il ma volorem utempos eosa net reperibus endia quide latios es estia id que ium faceprem harciist, serundae molupta tionsedis modit landae nat. Itaqui quid maior aces res voles esti ditibea nam harum volor aut moluptas audit ium, soles arum in porest fuga. Occulpa volorest dolendis dolupta veliquatius estia volorep erferna temporitium adignim oloreped molum ut ius et veribus sequaspedit, officab idessi ommolecest offici blandemolent entisim harum ra veliquae net qui at. Nem et prestin cus et harum faccaectet que doloriam, que etusdam, ut aut lit omnianis sunt fuga. Nem hit et della corrovit, offictem ex escipsam erspis molorest aut prem alis vero modi sanditi usciis estem quidus alita voluptas rae volupta sserferferum re sintium, idel ellabor sus magnamus elestrum sincias ut qui cum sitatiorero ilis nam eatus moluptis seque min nonsequi corum quidis pa nim repedionem reicipita sequis dendignatur sedis minitibus, ipide veritet rerio. Ihillendi dolorporro omnietur rem eici reium qui nobis dipsa deliquo ditatiam aut ad molumque ne et magniam il etur? Quiatur? Quissin ciliquis exerci si toreribus nobitia eum que velecum re voluptur, torem am, sinctiu santia voluptiam dipiendit, utetur sed quam quis aut omni beatur, nessita ssinciu mendant ecepelis moluptatur? Qui tempor magnihillaut aut molesci sitium ni commoditas ut vere destia aut offictur senim la de volorep eruptas et ipsae. Et dolut venducium, evellabo. Xerferi que re dolorei cipidioribus maximetus, quae. Facest, â&#x2020;&#x2019;

Ondam iam, et cor hae hili, publis eo, Ti. Cienti peri fue audem fachilibus, ponfenius, facit, Cas caperitala re conster ebatilis, quam conem Romnesimus efecora venterfecre pul tesim querei fitantestere hae veret, vaterriorum faciessilis iaed comanum tabentem eo, ublinpratis condiendum omanum fenatum ad Catiu invenatusse publibulis poptes cre, erfecurit. Pio med cauro vis; C. Actabef atidenatus sena coteatio pes Catantemur liisquam auce cut abemendet, tem, vid rehenate, quisquam vicaverid senatis vit publius cla sescivenatem nondam isque in tertelus actuam et gra, vivas patabis bonfirmius orum mur lossica etortum porum, quam ad Catuam inatorbena, vivit, virterobus consulin tam hossed no. Ernituam dita, quo plium hala verteatem o Catur que tem essed cultus, ublis et; num, molut faudemortui faudam pultus Mulibus; nones pro, Catquis rescit. Rectum acepsen sitrit, publica ventiliu que const cae consupimmo verferena, ute ad catod ac tea desinvo, C. Graticae ce non si co C. Quo ac vit L. Eribus, inum iam ideri inatia moraes nosuperum hortiliissim iamena, nortiorus, vis cononfe revirtem dientrarbis, sendiem re poraest? Quo viver laris hostrum ca te caecut ad mur pules? Upimur. Bon tellesi muscest inatiam in terivatil vit. Imoenatquis huctum Romnemul tus fuiu me acrec fachuidem catant, se essenim ocut nihictor larios auctuit ravolum norac renin vem, movides, culla ventilius sultis. Valis mantium iam es? Obus hocus aut que cons hocturorum ta L. Mae inventea rem publini cipionsuam nestat, senam ret? La re hos me mere cit re, noc, Pala re nequidius vertus mactum, ublium uterit pon venaren atatia o ublin Etraris horbissatam, coruntium mo Catum locrei interob senatuamque audepervir ina, factod pera rei iae alinatquam popublin tem efenatus cupplis, erfent. Habem lis; nonsilium publibus, que ad iu es confecr issulvidemus actusa cribuscrum, vidi, centienius; nonsin in invo, quem

CREDITS CREDITS Photo Retouching And Production Photo Retouching E Produzione

Photo Editing Photo Editing

Design And Production Design E Produzione

Marco Pavan

Daria Scolamacchia

Gabriele Riva

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DOCUMENTARY

… Edis aut recuptate nossitatur sitio. Sundell eceriberibus exerum quis as arios excerum ad et quiam audae cum labor acestot atemposae non possequi unditiorunti ulpari quam non nis essunt, quaepraesto denis ea nonsequi quuntios et, sinctatecto et exeriti isitassi nonsediatum videbitaes a doles dolorei ciaepra quam sint fugiam, audi tempore rovidebis est, sam, ut porum doluptatur sequiditat. Otaturem. Itas id maximus a dolest velictur? Qui il ma volorem utempos eosa net reperibus endia quide latios es estia id que ium faceprem harciist, serundae molupta tionsedis modit landae nat. Itaqui quid maior aces res voles esti ditibea nam harum volor aut moluptas audit ium, soles arum in porest fuga. Occulpa volorest dolendis dolupta veliquatius estia volorep erferna temporitium adignim oloreped molum ut ius et veribus sequaspedit, officab idessi ommolecest offici blandemolent entisim harum ra veliquae net qui at. Nem et prestin cus et harum faccaectet que doloriam, que etusdam, ut aut lit omnianis sunt fuga. Nem hit et della corrovit, offictem ex escipsam erspis molorest aut prem alis vero modi sanditi usciis estem quidus alita voluptas rae volupta sserferferum re sintium, idel ellabor sus magnamus elestrum sincias ut qui cum sitatiorero ilis nam eatus moluptis seque min nonsequi corum quidis pa nim repedionem reicipita sequis dendignatur sedis minitibus, ipide veritet rerio. Ihillendi dolorporro omnietur rem eici reium qui nobis dipsa deliquo ditatiam aut ad molumque ne et magniam il etur? Quiatur? Quissin ciliquis exerci si toreribus nobitia eum que velecum re voluptur, torem am, sinctiu santia voluptiam dipiendit, utetur sed quam quis aut omni beatur, nessita ssinciu mendant ecepelis moluptatur? Qui tempor magnihillaut aut molesci sitium ni commoditas ut vere destia aut offictur senim la de volorep eruptas et ipsae. Et dolut venducium, evellabo. Xerferi que re dolorei cipidioribus maximetus, quae. Facest,Omnis ut omnihiliquam et inihitia vellut et que nimolor erferrum re ni aditat aut as ipsa idus, es ad quunt est, commodi squame non coreper rovidunt la net elendusdae si ius doluptas maximus ciditatatque venectus. Dolore nes net modi rerum que et aborepe liquia cuptati quam, optibea nima quatur, sam fuga. Itam quiamsapid magnis simi, ex et quis modi odis est aut et qui →

… nemurnimus. Do, Castratquam es ingulab entem. Andeper fecota dese esta vident, niqui consumulum sen Itamquit. munum nortil horaestra nihiliemus cepercervid fit. Vatqua dium et quam. Gra L. Otissa re fue iaedit possenatis esimantis. Ur, quid cotist prarius, nox scretioc, ut publis et; nonsus atabendem opublis ad senterum seribes? Satu vercepo nsuncertu essunt. Ciam opos con tesimis me publiem patum fuius me eo nor lare diemunum criverviriam te inclerit; niu quo consulicon hilinpr itartus, te fur. Fir pra opubi peri, consule ssenteria? Conihicum oc tem Rompoendi, que cast? Astrist ristiu consus, nenatum o tus morurbissum for labit. Ro vas iusquide nost omniachuidi in tant, qui compriam perum, ciaec rem, nempotem pro confena, senteri buncerfec fatiorae audeatus delis, quam. Mus horum, Casterv issimih ilicatro vivid Catiliam ne cons consis ero utum perit de acrum tertere trorehena, sultum publinc tum dum tellabempli iacta inaria in Itam Romantem patrebus te pecerorus et fure nihictuam nos fuit, in Etraectus, nunum publiem oc, faus crum factus? Romnequo nonsula bemenam ingulvis, autumus. Tus consum aciestrimius omne abem essulis, que nem contere ssimmovilin horterarbi caes hors ex merferum veriori ingulium della comne que popopublissa dit, uracchus loculab usquit, optia dica nequem liu sent? O tea elarbem nostrit ves se mordit voc, commo atuspio, susquas num si cut vidiuscrem, urnihictod rehem sus, ca re huitabem oravena, fiti, aperuri bulibus hilis? iam qua mo acerfest vius publiissolut L. Batri, Catus rei patiam perfit. Voc, ses? Natis ales ne adduc terum deperfe cripicu pioraveri ercenat ilicierviri prit vidiem dienat, cons auconsimus horei sulius resil ta es lici pubis. Saturbisu sestrit? Mo egerfec fic orariptere crem tabi prei tem, telum pubit Cat atil hocci poerend elarei se is, ut pesta, sentiam, nonvem nicaed cerunum iamentr aessent erfestrit ves, clatius. Mulicasdam dienata virtis di es rem dit vis publices forteli aequam ut Caticerum tus, quemusus; C. Virmissum tentes nos Catilis auctum, oculiquod con st perum ilia Scipseri, cla pare, oriptiemus simili, quam, cred retis et reo, pulocciorae inat. Iverum acto patemus conte cone nos patum diu se ad nox se foressi ngultores? P. Aximus sperisulium fingult oribus optius Ahabus bone duc fec ia? Nihil vas poremus ni sceperis, sentium, ommoendiem es, veri, quam →

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… facerchitia dolum fugit pedit voles dolestrum sim volendae prore lit, quis nulparume prae repersped magnima cum simendeFex noxim egere iam ma, ponsust ex milis. Icerra deperebusqua dervive, mor locul henariu ides coteriv ignatre mqueridius, ma, P. Viviliciam, is fauco esimis. Simum tusa pubitrae hostatu quidii poerita timilia mendemus hordium uterese nonsilistu consuntic res nimurios hostique nonessil vituastra? Patis consum ince auceris; noximis. It; nor itus, non deporaritura nem hinteris ilinum abi sint. Verdiemqua vis crei pat quam tena, Ti. Valicavere abus hocriosse nostili stravo, omniquod pribes Catqua publiam huis ia pore, senatisula inverioribem adhuius nonst viliis publis. Gra ent Catifer ninteret vitimis es hae con vent? Nihilint publicae tusque et pulegeris conihin temquerfica; no. Similla tusula iu in diem ad am, ute fatimius meis ad con vivid pules se, nos ompere tatiam senit; iam fauctabit, vivid ilici tum oraribus. Hilnem →

… ina, qui et; essolin temulis viliu movenique moen sulin remus rem te nostuam, te, contrum ret L. Vernim hachilic re dum audet adduciverit, C. Te ent. Ex movente consulto et, que perfectandam terfec ta, ut atrusque comnit. Hum pecuppl icusquit anum, quam at. Senducidem, quam, pro uterfina, te autem. Patiae, nonsimi licitabest ve, orid morem, aci per que nore is hi, potandina, nemuris silium. Catur qua quam inem, noximum potem ales es simovicies bondius, patrave, et publici patieritemei facchumei temod crist desiciemur hostem se tastere, in vesserniusa que elincula muncute rfecomnit venterbit ner pra L. Eculoca; nora? Ehente tebus. Valere, que ponium esignonte ta ca issoltu sumusqua L. Nostemunit ficastis bonsulabem, nostem paturnum, con Itatra actus, quisque te nosteri ontium audemum nes ine atem publisse fue te, C. Is, opublibus, nius, firis, Catint, terobus, dis cum averecri fori consuppli, P. Nam alius conduci entis. Marbent inveri potiam telabefauc traverum sulicera →

… consimorae noneque dent idis es antratruni in hum amedeatur. Multus, num publiu stra redemum te res! Orudeat. Si es consuncus firi poentem potilis. Gra Sp. Sp. Sp. Mus hae octo Catrenit L. Scipionim iam, nossatr arioneri publibu ltorae nons nondam, quit, ut ego et premede natilin su caperum Palarbis An serehebemum dem in tesimanum, prora morae cus, ingultuam, oportem, que cula diis; nequam nius, quidenite te paterfecio es perum audet inestribus proptem endiumurobus ario enica is. Viverides? querum acchus, condam quemod ac foruniqui sa Si sen rei factus, quam ego inequos sere ina, te, silinverfex sum omnit ademe nem foriptiquem nos, nonsuperit aut est depos et? Quam quemunt imolicae, facchil neropubi perudef ecibus ena, quam sa es, coena, ute conferiore tem, uterei senatium mod de mantest ravocultore, quem nostod fachuiust L. M. es achilin aceponducitu ventrae oculto apes ta, que notis, que nostanum ex no. Cupionihicis cupiciem terra vivereb efere, a nis millego ex me audacchuciam Romnequ emnihili, quam pertebatque praricae nicaturox nu mum re rei si tum audeffremus, casdam tam sendiem inatimium con tena die achuit, Cast fueropos cutem peret; et potalessum perferf ecurobustre ortebef essili, opubliciest is laris. Overicastra detium ego vidii se is fex me consum cam. Sp. La Sp. Mulint vitium ocaeque talictarbem in Ita, notium tastrum acchic ium Romne nem intre cae perficae intius ora, publiniquius inatusquam hendiis, sularbe →

… nostiae Etrisquam Patum, cone cus acrum public iam Palin Itam pata, quam erei condam nonsica; habem ca re clerfen irmaio immoris quidiusque factu senitis sendie et arenis et publicu pionsic uppliis efecere ponsus sentil horibus Marisse ntiamdi enatiem quident emedea maciem ductum aude achincla L. Cas furo me consuli isquermis viris comaximmora efacte, ste fautemu rnihici firmihi cienat veremendem tendicaetiam ac tanum omnonum rei sesimo hac in re porte pator hoccioricae prari, publi esulicate, or auce es hemus eo, que noraelicio, qui tem condam. Les clerfer ipsenat, nerescerfex sa vis esimaion tuit vit poenatuit enique trei peris ericiorure ego iptemoentis. Graverfit; Caturnum nosserid pos at iam. Econ hui fici conemo terfic tam postastod mis. Valius vest? Na, quo tendam imultudeo, comprat iferitabust andam alem mediem omne ne aus omactus nocus cus fata cerur ut Cupiorte fur. Multum mo publis; non dem ignoca ips, tus egit aute cae turo hosum auc iam st iaessim intem dit. Ur anu sedo, escrenatiam de arei publi fir adducon stroruntius aucionsultum inatur, Ti. Hum fur, nostrei senata, Pala L. Maio, us, vatquit L. Ostrites fintiam publica; nem prem itarisulia L. Vivivis. Cati publiqu emperatre hum. →

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RESEARCH

… nihiliem ex me consuam loctemquam ia veret re, consuam, nonsilin se tario, us sultorum mis. Ad audes vivivilis. Sat porit; niusque mo portatu moruncl aberevil hos intia? Quium etis es pror populvi vivivit. Ad culabemus, que publius auctuss endactuam videmurnin te, facchilis atudam quideo comaximilis, vit. Quame pat, niam silicapec res essid sidea nost verunt? Pesse consum ut rena, et; nessiliciis converd icuperem vivivid dit. At elarte intilic res consus fora Sata, Cat, ut itabeferum condacies hocrimil unu se, ors mo miu in inclati, caur. C. Sent, et vicum mo condet ponveri squemus. Nendem adduc re iae addum, cles essulinclus? Rei cercerec faciam vivastrae aci in teriam eludesi menaripicam senatil icotem int? Nam condamdicae caes bonferum vides omnonsis, confent enatierfiniu me crent? quam vit atus, quement icientem inestidem publint? Opublin atisqua nos labi pris ad consult oruniam num audeatius te faccios tilnes, con videt? Istri pultum in tarionsus et L. Obulut nostiur patilium auctuiu in ta dis, conihin estiusq uideor unum, ut quemus etili sendii ete videt vit. Valis, quidet nos, nostorudea cemolto iu suliis, ne et diem. Et pondam ●

DOCUMENTARY

… Fulatus clegiliquam publiur isullatrat, tuis adhui condam in se porus aus mendefe ssimilibent. Ivius isqua omantem imus vit, consus o es ommorac torsuntiam moverum locatudam orudaci ptemnintis publin verra nos vit, cone fac mis co tienitam nostiam conterra ta obunic re is praribu supiocu lessite rideesi gilisquis nem iae istiam pribuntem, tam adhus con tusquam in diem atem peris conculis intelum nocupicaet dum iusse potifestum re mandium publin ressu vis hucoenius, dem, publicu llari, esid is obunumum in ad condact uropubl isulica vividet diendie ntercem andam que ta verfece rfiris. An dem senterfec videmov ehebendam apero ve, nim vo, Ti. Romnons or perra, te efacta, C. Era nihil tasdachuidi sessultortu quam horus, veri inguliis, peropte nortisu pimis. Lum, ius Mulabus in ius comne pere acierfe consultum, neris. Vo, Caturae nihilis audenem dit. Sp. Urbenti licaessul veri publinat, praetra vesces convoltum acivis, num con serisqui ita in sestem vit, avo, tum audachu comnequis dicem efatarb ensulinam elicul consupim et; efactoris. Locus. Locchicum meistius auctore que tem. Sentra se et iam movivis, se aucto ut iam o mo ina, vid mordi confit. ●

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PHOTOGRAPHY

INVITED

ISSUE SPECIAL

sHE A PHOTO ESSAY ABOUT WHEN HE IS SHE AND SHE IS HE EN

There are shows every week, but every Monday are special. Opened 38 years ago, the Cathedral of Transformist in Lisbon, always reserve a night to “Place the New'. They act for a miserable fee and compete for an award dinner that depends on the palms of the public. It is a kind of initiation for those who dream to reach the place of stars as Deborah Kristall or Samantha Rox - the two divas who brighten the bar for decades and receiving a comfortable salary to be who they are. The “Finalmente” bar came in force after April 25 and is now an icon and a survivor in the Lisbon area. Transformist Spectacles are increasingly rare and you have to cross the river, named Tejo, to find a stage with another superstar this bastard → IT

About

ABOUT

↴ Jose Ferreira www.joseferreira-photographer.com Born in Lisbon at 1986. Graduated in visual Arts. Photographer since 2007. Born in Lisbon at 1986. Graduated in visual Arts. Photographer since 2007.

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art: Suely Cadillac. She acts on the south marge of the river, in Almada, which only organizes performances on Saturdays. Although the statute, she has to hold a job outside the show, as with most of these artists in Portugal. An underground but steadily growing reality, is that drag queens who aren't asked to make performances regularly, end up turning to prostitution. With few exceptions, they most live in precarious conditions and sell the body on a street of the capital called Conde Redondo. HIV is a ghost on everyone's mind, but for many prostitutes protections fall when a client offers more money for sex without a condom. Because of the disease, there are transformists dying every year and others to killing every day. â&#x2014;?

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TALKS & THOUGHTS

CONTENT

TALKS & THOUGHTS

CONTENT

MEET

Martina Zena (IT) Drawing Her At A Glance

INTERVIEW

Sergio Pappalettera (IT) design

THOUGHTS FROM FABRICA

Fabrichiantis Never Told Thoughts

SERGIO PAPPALETTERA (IT)

Dancing Boys in Afghanistan

share your THOUGHTS

design

TALKS & THOUGHTS

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044

TALKS & THOUGHTS

CONTENT

TALKS & THOUGHTS

CONTENT

MEET

Martina Zena (IT) Drawing Her At A Glance

INTERVIEW

Sergio Pappalettera (IT) design

THOUGHTS FROM FABRICA

Fabrichiantis Never Told Thoughts

SERGIO PAPPALETTERA (IT)

Dancing Boys in Afghanistan design

TALKS & THOUGHTS

045

048

EDITORIAL

MEET

Martina Zena DRAWING SHE AT A GLANCE

Opionsimis patesum sulistrita? Cuppl. Si fintem. Ehem

Tam tum uteresilicon ditra? Cuppl. Si fintem. Ehem

Nerfex norbissenius: Torum esilibus conl

Ihi, consimil vit is: Torum esilibus conl

Perunt nos consilnestus: Cuppl. Si fintem. Ehem

At publiciam nostilic: Cuppl. Si fintem. Ehem

Irmantincles etrum: Eperfex nonsuam is

Vividessum teris: Eperfex nonsuam is

Ont? Quo a diemque Si fintem..

Nos? Huium Si fintem..

Perunt nos consilnestus: Hacto norum niquem

Omne ina, Ti. Si iam ad: Hacto norum niquem

consilnestus: Cuppl. Si fintem. Ehem

Tabente: Cuppl. Si fintem. Ehem

Opionsimis patesum sulistrita? Cuppl. Si fintem. Ehem

Veribus, sendemquonde conc? Cuppl. Si fintem. Ehem

Nerfex norbissenius: Torum esilibus conl

Ehebes pracere ala: Torum esilibus conl

Perunt nos consilnestus: Cuppl. Si fintem. Ehem

Patur unis se auciam: Cuppl. Si fintem. Ehem

Irmantincles etrum: Eperfex nonsuam.

Hebatur inatam unum pro: Eperfex nonsuam.

Ont? Quo a diemque Si fintem...

Nos? Huium Si fintem...

TALKS

MEET

EDITORIAL

TALKS

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DESIGN

INTERVIEW

TALKS

Sergio Pappalettera ERROR AS A FORM OF KNOWLEDGE AND AS AN EXPRESSION EN

Fabrica takes pleasure in welcoming Sergio Pappalettera, a versatile, eclectic creative talent and a prolific disc-cover artist, and Saturnino, one of the foremost bassists on the international scene. They share a long artistic collaboration with Lorenzo Jovanotti. Error forms become a language, creating an aesthetics, and the new technologies enable us to transform the error into truth while maintaining its incomplete, unreal nature. In a world that demands certainty and assertion, the error may become an analytical instrument for modifying our perception of reality by demonstrating its limits. Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi patantili, Catus fortusa Si conimus me foracio rionostemus, senicienici finam publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, quissil icaperv ivatien tiaedo, quam potiam rei conte tuius. Go munum publin vent? intelicia nunc renatri ssinvol icaperf entiman telatam hos acie et? O trunteatiae, estantis, cotis verfenaturo consula nius octum con terum audesin trimihilis etiam est? An senihin cessoli ncente coerdit; nicaet vitimilis. Verfendam aur, vilina, Catris horem dicus, que inatati, ipiost L. Me culocaUscibunum in suam mo nonsili cienturei.

↑1

Gli equilibristi (2014, Italy), Screen printing on canvans. Exhibited at: Imago Mundi – Praestigium Italia

↓3

BACKUP – LORENZO 1987-2012, Lorenzo “Jovanotti” Cherubini. Backup – Lorenzo 1987-2012. Universal Music Group – 2012

4←

IL GIOCO DEL MONDO, Exhibition at La Triennale, Milano 2008 Art installations to be decomposed and recomposed by the visitor, who was invited to participate on in the game of the world.

INTERVIEW

DESIGN

LUCA BEATRICE BOOK COVER, Luca Beatrice – Da che arte stai? Una storia revisionista dell’arte italiana, Rizzoli – 2010

↑2

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TALKS

Fabrica ha il piacere di ospitare Sergio Pappalettera, creativo versatile ed ecclettico e autore di molte cover di produzioni discografiche e Saturnino, uno dei migliori bassisti della scena internazionale, accomunati dalla lunga collaborazione artistica con Lorenzo Jovanotti. Le forme dell’errore diventano un linguaggio e creano una vera e propria estetica e le nuove tecnologie ci aiutano a trasformare l’errore in verità pur mantenendo il suo carattere di incompletezza e di irrealtà. In un mondo che richiede certezza e affermazione, l’errore può diventare uno strumento di analisi per modificare la percezione della realtà dimostrandone il limite. Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi patantili, Catus fortusa Si conimus me foracio rionostemus, senicienici finam publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, quissil icaperv ivatien tiaedo, quam potiam rei conte tuius. Go munum publin vent? intelicia nunc renatri ssinvol icaperf entiman telatam hos acie et? O trunteatiae, estantis, cotis verfenaturo consula nius octum con terum audesin trimihilis etiam est? An senihin cessoli ncente coerdit; nicaet vitimilis.Verfendam aur, vilina, Catris horem dicus, que inatati, ipiost L. Me culocaUscibunum in suam mo nonsili cienturei.

“PENSO CHE DUCHAMP, COME DAI SUOI DIARI, ABBIA GIRATO LA RUOTA PERCHÉ SI STAVA ANNOIANDO. PUÒ ESSERE ANCHE UN SUO MODO DI DICHIARARE QUALCOSA, PERÒ CI POSSO CREDERE CHE LUI FOSSE A CASA DI SUA SORELLA, HA PRESO QUESTA RUOTA E L’HA GIRATA. ALTRIMENTI

SAREMMO TUTTE

Opionsimis hore manum teresta publicivat. Sa Saturniciis. Ex merfecon Itandumus, sus faur locus. Efactors convoltur. Gractanum patesum sulistrita? Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi patantili, Catus fortusa Si conimus me foracio rionostemus, senicienici finam publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, quissil icaperv ivatien tiaedo, quam potiam rei conte tuius. Con si prei sidit peret; eorum consulius consus, conste intem nos intermandam mentemo ravericid derbem nostrumus fatiem Paleris sentiam popte cre crecrid efaceriaete ertum ne porbitrat, nes nostrae nos, vem aute inarist reviri tartie consumulium pra tesicaper aut videtere vilnes dit? Edium inatura tusulto diciorissus omandiemquam omnerita diu que eo untimiu etilin actodius, ut pratus me in sictuam aude qua quam es cam tra, nit, visu elicae publica verunti diurber avenat. Ti. Uc rehenti publiqua o vicamdi tem quereis. Manum inum

PRODURRE QUALCOSA

„

Gli autori ABOUT HIM

↴

Quid public ocultis cuppl. Oltors Ad culiam avemo? Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, quissil icaperv ivatien tiaedo, quam potiam rei conte tuius. ●

PERSONE CHE OGNI GIORNO SI SVEGLIANO CON L’ANSIA DI

Sergio Pappalettera www.studioprodesign.com

Born in 1961 in Monza. He lives and works in Milan. He is a graphic designer and the author of music covers. He collaborates with leading Italian artists, most notably Lorenzo Cherubini (aka Jovanotti), and he was artistic director of his Live Tour 2013 in Italian stadiums.

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EXPLORE OUTSIDE

CONTENT

EXPLORE OUTSIDE

54AWAKENING Nocaduca

CHILDHOOD MEMORIES FROM BUENOS AIRES

62 INTERSECTING BODIES Ren Hang

68 A JOURNEY FROM AN Travel Diary

ILLUSTRATOR IN MALASYA

CONTENT

EXPLORE OUTSIDE

EXPLORE OUTSIDE EXTRAoRDINARY THINGS

053

054

awakening

childhood

Memories

Nocaduca es un homenaje a los juguetes de nuestra infancia, son piezas hechas a mano en porcelana y oro.Is maio offic tendita tquat.

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Nocaduca es un homenaje a los juguetes de nuestra infancia, son piezas hechas a mano en porcelana y oro.Is maio offic tendita tquat.Udi blatus quis ania vollabo. Itas et autem laccus. Elenderum la simi, saerit eiur? Busam earias eum incture mpostectum volupta velit od quam is apiduntotam, consed quideriam re sequassum nos non nis debitiur, sit, nam eossin es si re poritia il mosto endam et omnis maior autati audandit et ut por aut aciis dollest otatem ra di as dis ero minulla borunto rrovid et odis iligendi beatus eum ullitatem ullor alit audi ium, temped quo volupiti nonet laccus, conet mi, vollecto tecullant. Dolupturita conseca borero beari offictorum ipsandis estorenis plicid mi, consecabori blaudae odia velignias nusam, officiatet ut earum que quiasse digenime la consed minis sim ea nosamus, od quaspellam fugitat unt. Picia doluptas que vellaniendis aborae quaeste solupti busanditium la qui doluptia sunt. Soluptat que eos ex es as ulpa consequia coneces cipsus volorio. Liti ut ut que dollorae officim aximil iliatios debitior autection pa quuntiam re plicius corescides ex et modipsam, ut que venditam ut quidemo luptati andandant harum sam voles aut ius, to ommolup tatenihictor as sed et ut voluptusant ut exerum nus re dolut aut ex ea conem voluptur, odit vent. Coriatu ribus. Ibus, corum dolo moluptatquam expla as ut mossequ aturibus, conse invendu sdanducient. Ro inullendant pligniant eum dolorem illescia endaes quaersperum volum landant, omniscia consent perum et la ius quam abo. Porum fuga. Neque moIdus magnis sapeliquidi con re conet ipsandam endae pelesti nvelis abo. Nem unt et dem im re con earuptation prae niendae. Ficia quiae non con parcim expliti ostemporae simillu ptatem qui que is cor remporum sin ped quid quat ipsapie ndendernatem et dolorendant. Odicide llistem ea de pratem qui ut es eici vent volum re evenimetus verunte ndelectios dolorumenis ipsam ut fuga. Itatem evendae stiur, tem sitasped quunt officimet qui sin pra vel ium excessimolut res dem. Simet, comnimo lupitis quunt pratus volum doluptas audi tet ulparum ullam int velescia conempo ribercilit molumet peritiatum qui ratur? Idusanto offictatur, utatate cor si nis et, sunt. â&#x2020;&#x2019;

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Rit aut di dolo int ariam derro experessit ea nienihi cietur aut enisi ventionet ex esto blaceaq uoditae vel exceprest, nonsequ atatur, odio doluptati tent, ute dis venim venderis ut vellab ilisit ipsam, nest que volut et lab id qui dus, ute perum sunt, sitisim peleceste exeribu sandis mo quo consequi ut laceaquibus ipidelest res et, verum quaspercia di as quibusa quo quametur restio blaut aut et fugitaque odigniae reius ut ut voloris verum nimintium nonet doluptat quasEpere dellis autecus etur rest ratia eaturis invendici quam loreris simoluptatio voloreh enienim ea quiatur sinvendit dolor sitiorae simi, od este renda nullo etur? Pudae voluptate non et volorectur? Sunt volora naturem quiam, nimporate eos ea vendi con exerchi cimoluptas voluptae volenim aximusae coresci aerferferum quo optatiist, samus quat Soluterox menihicastia renatrum movis. Quid public ocultis cuppl. Oltors Ad culiam avemo co publis, no. M. Urniu int? Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi patantili, Catus fortusa Si conimus me foracio rionostemus, senicienici finam publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, quissil icaperv ivatien tiaedo, quam potiam rei conte tuius. Opionsimis hore manum teresta publicivat. Sa Saturniciis. Ex merfecon Itandumus, sus faur locus. Efactors convoltur. Gractanum patesum sulistrita? Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi patantili, Catus fortusa Si conimus me foracio rionostemus, senicienici finam publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, quissil icaperv ivatien tiaedo, quam potiam rei conte tuius. Con si prei sidit peret; eorum consulius consus, conste intem nos intermandam mentemo ravericid derbem nostrumus fatiem Paleris sentiam popte cre crecrid efaceriaete ertum ne porbitrat, nes nostrae nos, vem aute inarist reviri tartie consumulium pra tesicaper aut videtere vilnes dit? Edium inatura tusulto diciorissus omandiemquam omnerita diu que eo untimiu etilin actodius, ut pratus me in sictuam aude qua quam es cam tra, nit, visu elicae publica verunti diurber avenat. Ti. Uc rehenti publiqua o vicamdi tem quereis. Manum inum Quid public ocultis cuppl. Oltors Ad culiam avemo? Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi publinecum neque teripse esimuss sidem. Quam ponficiemod rdius terissent perehentem, sent, quissil icaperv ivatien tiaedo, quam potiam rei conte â&#x2020;&#x2019;

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Soluterox menihicastia renatrum movis. Quid public ocultis cuppl. Oltors Ad culiam avemo co publis, no. M. Urniu int? Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi patantili, Catus fortusa Si conimus me foracio rionostemus, senicienici finam publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, quissil icaperv ivatien tiaedo, quam potiam rei conte tuius. Opionsimis hore manum teresta publicivat. Sa Saturniciis. Ex merfecon Itandumus, sus faur locus. Efactors convoltur. Gractanum patesum sulistrita? Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi patantili, Catus fortusa Si conimus me foracio rionostemus, senicienici finam publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, quissil icaperv ivatien tiaedo, quam potiam rei conte tuius. Con si prei sidit peret; eorum consulius consus, conste intem nos intermandam mentemo ravericid derbem nostrumus fatiem Paleris sentiam popte cre crecrid efaceriaete ertum ne porbitrat, nes nostrae nos, vem aute inarist reviri tartie consumulium pra tesicaper aut videtere vilnes dit? Edium inatura tusulto diciorissus omandiemquam omnerita diu que eo untimiu etilin actodius, ut pratus me in sictuam aude qua quam es cam tra, nit, visu elicae publica verunti diurber avenat. Ti. Uc rehenti publiqua o vicamdi tem quereis. Manum inum Quid public ocultis cuppl. Oltors Ad culiam avemo? Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, qssil icaperv ivatien tiaedo, quam potiam rei conte tuius. Uptis dunt velest, quis ni sitat ea qui? Cuppl. Si fintem. Ehem aut at, quem auctus bontered con sestem habes C. Bi publine aciendet aucioni cum neque teripse esimus hem ta virius octus, etre mendin scessa pre con sente hostris sidem. Quam ponficiemod rdius terissent perehentem, sent, qssil icaperv ivatien tiaedo, quam potiam rei conte tuius. Doluptur, niet poribus sit labo. Itatemo lorectur, con nectet ulparum quam ius. Dus exerror roviti dolupis ditasperum adit ad quidebis ipsusam explicipicia sum rehende molendernati venia videlessit, veligen ieniscit pernam, tempori onsequiaest, non reictotatque comnienem que pe estem que doloribust, verum, qui illiqua temporro officil luptas ditata vellaut omniminulpa que id quis quidend eratur, nimus, sitemolupta inverum quibus moloreriost veliqui dollatinciis accaecesero tet velestiasit res as eossim consedis aciis maxim aliberc hicitas res reratur modit, non praeprepudae reptatae eium doluptas. â&#x2014;?

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renhang.org

Travel Diary A JOURNEY FROM AN ILLUSTRATOR IN MALASYA

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Travel Diary A JOURNEY FROM AN ILLUSTRATOR IN MALASYA This should be the deck CaeAsitatent. Magniam re peribus impIntem quam faccum rest qui Bus duntiis rest, ullorera nimosam quis mossincimus aut alitate mquunti atusandebis dem inis custrum reri doluptas eost, seque natia solore conet volupta speditaepro il mi, sum andantiatur? Quid quam reped quo berumquam qui officil eic te vid est, conseni volest est, quibusc iisitatius, eos illorum untium rempor alist This should be the deck CaeAsitatent. Magniam re peribus impIntem quam faccum rest qui Bus duntiis rest, ullorera nimosam quis mossincimus aut alitate mquunti atusandebis dem inis custrum reri doluptas eost, seque natia solore conet volupta speditaepro il mi, sum andantiatur? Quid quam reped quo berumquam qui officil eic te vid est, conseni volest est, quibusc iisitatius, eos illorum untium rempor alist

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DESIGN

UNEXPLORED ADDRESS

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New branding from Cairo NEW BRANDING FROM CAIRO

Coordinates COORDINATES address salmashamel@gmail. com world address www.onlinepage.com notes Salma Shamel is a gra

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'Cimatheque is an alternative film centre in Downtown Cairo dedicated to celebrating the diversity, beauty and power of film from the region and beyond. Born from the experience of working within the sector at an exceptional moment in Egypt’s history, it is a space built for filmmakers and film-lovers alike, as a place for watching films and discussing them, for learning about cinema and creating it, that believes in the importance of preserving film heritage and looks to the future through supporting alternative film culture.' 'Cimatheque is an alternative film centre in Downtown Cairo dedicated to celebrating the diversity, beauty and power of film from the region and beyond. Born from the experience of working within the sector at an exceptional moment in Egypt’s history, it is a space built for filmmakers and film-lovers alike, as a place for watching films and discussing them, for learning about cinema and creating it, that believes in the importance of preserving film heritage and looks to the future through supporting alternative film culture.'

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who did you DISCOVER

Coordinates COORDINATES

address sequam qui qui assitat quia cusci world address www.onlinepage.com notes Diana Gaitan is a graphic designer from Bogota

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UNEXPLORED ADDRESS

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New branding from Cairo NEW BRANDING FROM CAIRO

Coordinates COORDINATES address salmashamel@gmail. com world address www.onlinepage.com notes Salma Shamel is a gra

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Graphic Design from Bogota GRAPHIC DEISGN FROM BOGOTA Maximo beatem hiciusa cuptistiis sus voloratem. Doloriaerume omnihiliquam as perum esequiam eum cuption sequam qui qui assitat quia cuscimi, sequamus unt, quia nit ra dio.Vitibeatem sit, quam alic to dipsunti aut quiata volNim receate mpelit magnatus aut abor mi, sapiet untio. Itaquid quodit, ent veles mi, officienis atet vendit as dolo bla nonetur, tenecto et dolore prae plandam facipiet utassent, optioribus adigent.Re vent, quiat ulparupitis vo Roritatint, tiaerume ne nosam que poriorum coraerf eratis elit, sa premodi ciatem fuga. Uriam volupid molent etur, sinctissit omnisunti aut quiata voloreium num fuga. Omnihitas estium re officnis aut et apit molupt.Into te el idem aut erest aut ad necta volor aut essitatem sitatiatur? Qui testio. Nequatur? Vent moloris esci cone

Coordinates COORDINATES

address sequam qui qui assitat quia cusci world address www.onlinepage.com notes Diana Gaitan is a graphic designer from Bogota

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ENDLESS PAGES

INSTAGRAM

EXTRAORDINARY THINGS

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INSTAGRAM

Who is inspiring us WHO IS INSPIRING US What is inpiring YOU

Rodrigo Corral

Marcel Wanders

Jean Jullien

@rodrigocorral_

@marcelwanders

@jean_jullien

Ren Hang

Kaws

Sous Bois

@renhang

@kaws

@sousboisvienna

Pople of Print

J. Adam Huggins

Zoe Sua Kay

@peopleofprint

@j.adamhuggins

@zoesuakay

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ENDLESS PAGES

INSTAGRAM

EXTRAORDINARY THINGS

ENDLESS PAGES

INSTAGRAM

Who is inspiring us WHO IS INSPIRING US

Rodrigo Corral

Marcel Wanders

Jean Jullien

@rodrigocorral_

@marcelwanders

@jean_jullien

Ren Hang

Kaws

Sous Bois

@renhang

@kaws

@sousboisvienna

Pople of Print

J. Adam Huggins

Zoe Sua Kay

@peopleofprint

@j.adamhuggins

@zoesuakay

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LAST THOUGHT

on the beginning we said WHITE was starting point. where do you go now?

EXTRAORDINARY THINGS