Eternityeng by Simonetta Orsini

Eternity S/O EQUILIBRIO

Posadas 1101 - Buenos Aires, Argentina +54 11 4811-1409 / 1353- www.simonettaorsini.com

S/O ARMONÍA

Staff

Summary

FOUNDER Mimi Kohen DIRECTOR Mercedes Quintana GENERAL COORDINATOR Lucía Barro Quintana EDITOR IN CHIEF Mariana Riveiro ART DIRECTOR Enrique de Azcuénaga PROOFREADING Adriana Kogan TRANSLATOR Laura Doctorovich & Linda Neilson DIGITAL PHOTO RETOUCHING Sebastián Cúneo PRINTER Latingráfica

20. Male Style Icons. Watches and accessories to complete an outfit. 24. Martín Fierro 2017. On the most important red carpet: a review of the celebrities who wore Simonetta Orsini creations. 30. Japan. The Land of the Rising Sun shows its ancient side. 36. Liliana Porter. Interview with the Argentine artist based in New York. 42. Digital Tattoos. What are the indelible traces that we leave on the Web? By Joan Ciwalk, expert in new technologies. 48. Between Borges and Nietzsche. Notes on Eternity by Carlos Álvarez Insúa. 52. Juan Martín Hernández. Volvo ambassador in Argentina, the rugby player talks about fatherhood, his injury and retirement. 58. Urban Travelers. A couple tours Buenos Aires and the result is reflected in a fashion story with the best watches, jewellery and other accessories.

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72. Nicolás Márquez. The creator of the exclusive La Restinga store explains the secret of his success: the shopping experience. 76. Universal Journey. Eternity and style in a selection of Lunar Phase watches. 84. Six O’clock Tea. In the Museum of Decorative Art: Simonetta Orsini was part of a very special encounter with elegance. 92. Interview with Darío Sztajnszrajber. Reflections on the great existential questions. 96. Contemporary Muralism. Who are the most recognised artists of the eternal? 102. Aged Flavours. From meat cellars to cheese, coffee and wine: aromas that improve over time. 108. Vintage Fleet. The collectors’ market, an expanding business.

CONTRIBUTORS Carlos Álvarez Insúa, Andrea Cukier, Florencia Zielinski, Gabriel Silveira, Daniela Rossi, María Paula Bandera PHOTOGRAPHY Eugenio Mazzinghi, Hernán Cristiano, Javier Picerno ILLUSTRATION Carlus Rodríguez, Ariel Escalante STYLING Mariana Schurink PHOTOGRAPHY ASSISTANT Lucas Vázquez STYLE ASSISTANT Laura Pace MAKEUP Marianela Fidalgo for JC Agency with Maybelline NY products HAIR Leandro Moreno with Alfaparf Milano products MANICURES Laqueada for JC Agency with Maybelline NY products MODELS Luciana Marolla and Andrés Risso for Civiles Management S /O is a publication of Simonetta Orsini S.R.L. The total or partial reproduction of the contents even mentioning the source is prohibited. The editors are not responsible for the opinions expressed by the employees, those interviewed or advertising messages. Intellectual Property Registration pending.

COVER WATCH Montblanc TimeWalker Date Automatic With all the impact of a collectible car, this is a piece inspired by the simplicity of vintage car speedometers. The dial is centered on the hour indicator through the contrast between the silver-white and black tones. It has large Arabic numerals, hour and minute handles with Super-LumiNova® coating. The movement is automatic, caliber MB 24.17. The shiny black ceramic bezel can be rotated unidirectionally in order to indicate a second time zone. It features a knurled finish on the side, similar to the that of the fuel tank cap on race cars. Its 41mm satin-steel case is water resistant to 100 metres and has been tested by the Montblanc Laboratory Test 500. Available with black leather or rubber strap, or with a new steel three-link bracelet.

Editorial the eternal and the ephemeral. that duo is put in play every time that we think of a watch. A design piece created to last, which seeks to measure that thing that escapes: time. It is in that dichotomy that this edition of S/O finds itself. While we explore Japan and its thousand years of tradition, we review one of the greats of contemporary art: muralism. The expert Joan Cwaik tells us how every interaction that we make on the web is an indelible digital tattoo, installed forever. Our columnist Carlos Álvarez Insúa, in his notes on eternity, presents an imagined dialogue between Borges and Nietzsche. And - because nothing lasts forever - the Jaguars player, Juan Martín Hernández, talks about his retirement. Our article on watches is based on one of the most fascinating of ‘complications’: the pieces with the mystery of the Moon Phase. In the Six O´clock Tea event, we return to classic elegance to portray Simonetta Orsini’s latest jewellery collection. Meanwhile, in the former townhouse that today is La Restinga’s store, we take a journey through modern urban style hand in hand with Montblanc. God, death and other eternal themes are discussed with the philosopher Darío Sztajnszrajber. We look at flavours that modify and improve over time: not just wines, but also red meat, cheese and coffee. Finally, we review that most profitable of businesses, the collectible car market. ¶ MARTÍN DE LEEUW President of Simonetta Orsini

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THE PICKS Andy Clar, manager of Chicas en New York - one of the most successful tourism ventures - plus the directors of Volvo and Assist-Card answer questions on a captivating theme: eternity.

What objects does your family pass from generation to generation?

What moment in your personal or professional life will you treasure forever?

Which album, film or book would you listen, watch or read over and over again?

What quality inherited from your parents do you most value, or what quality would you like your children to inherit from you?

If you could be immortal, would you choose to be? If so, why?

What city could you pass a lifetime in?

What sort of small act makes you consider the world a better place, and why?

What object or device offers solutions for your everyday life?

How do you handle the transience or ephemerality of the social networks?

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What is time for you?

THE PICKS | Andy Clar, CEO of Chicas en New York

1. A music box in the form of a violin, almost true to scale. 2. The day that, after having an accident that left me unable to walk for a year and being told I would never walk again, I said: “Yes, I’m going to walk again, and I’m going to do it in different corners of the world”. It was a natural decision that I took, 20 years before creating ‘Chicas en NY’ and making a living from travel. 3. I could listen to Cerati’s records a thousand times a day – I always find a lyric appropriate to that specific moment. 4. I inherited creativity applied to all things in life. I want my son to inherit the same, and also to know that with patience, work, perseverance and love, you can achieve anything you want. 5. I don’t know if I would choose that. I don’t know if I could bear that the people that I love weren’t also [immortal] and that they would leave me. I prefer to dedicate myself to living fully the years that I’m alive. 6. Buenos Aires, without a doubt. I live in the city that I love. 7. Put yourself in other people’s shoes. If we could all do it with honesty and without looking to get something in return, everything would be very different. 8. My mobile phone. At this point, it’s part of my body [laughs]. 9. I adapt them, but that’s not my life. My life is real. Social media is loaded with a lot of fiction and fantasy. I try to communicate from my reality and not follow the usual rules or stipulated times. Sometimes I post every two days or so to my community and in general the tips aren’t tshort-lived. If you’re looking for a restaurant in NY you can search for #ChicasEnNYfoodies in the @chicasEnNewyork Instagram account and put together a complete restaurant guide that endures over time. 10. Uff! At this moment in my life? What I most lack. Time is relative, we all have a different perception. For me, a day can pass in 10 minutes or 30 hours.

THE PICKS | Alexia Keglevich, CEO Global of Assist Card.

1. The photos of my parents, of their story. It’s so interesting! Amongst these photos are images of my grandparents, of their life. Through them, my daughters travel in time, and what we do is keep the essence of my family alive. 2. The birth of my daughters, having them with me, being able to hug them. It’s incomparable! Professionally, one on hand, the sale to an international holding in 2011 and the certainty that it was the change the company needed after many years of development. Also, when we built, together with the Assist Card partners, housing for economically disadvantaged sectors of the region. Life is full of unique moments and experiences that I would keep forever. 3. Any one of Richard Branson’s books. I would read them again and again. Everything I’ve read by him has taught me something and, if I re-read one of them today, it would possibly teach me a new lesson. I recommend Screw It, Let’s Do It: Lessons in Life. 4. Passion - that force that arise from our innermost self in the continuous search to achieve our goals - is a quality I inherited from my parents. And added to this quality, which I try to instil in my daughters day by day, I would add tenacity and commitment. 5. No, there’s only one life, and knowing that we’re only ‘passing through’ makes me get up every day with a desire to make my mark, to teach, to add a grain of sand to good causes. Life is for living to the full, giving everything, every day. 6. I’ve been lucky enough to visit many cities, but I think the answer is Buenos Aires. I live in this city and I choose to remain here. I also love the south and if I had to choose a place to ‘pass a lifetime’ … it would be San Carlos de Bariloche. It’s my special place in the world. 7. Helping, without looking at who you’re helping. If we all took this as a motto for life, the whole world would be a better place to live in. The most valuable thing is time, and offering time to good causes is a significant contribution. 8. The mobile phone. I have everything in the palm of my hand, and every day more apps are added to continue solving dayto-day issues. 9. Social networks were born with that rhythm of permanence and, if you don’t adapt, you’re not part of them. 10. The most valuable thing that each person has, that which never comes back and why, for that reason, it’s so important to take care of.

QP à Équation White gold case - Millésimé

THE PICKS | Ignacio Pierrez Llambi, Manager Volvo Cars Argentina.

1. An overcoat used by my grandfather, which had been passed onto him by my great-grandfather. I take it to every meeting, and every time I use it, I know that a huge part of my family history emerges. That makes me happy. I’ll pass it on to my own son, of course. 2. The birth of my children Azul and Nicolás. It was a turning point in my life that I’ll never forget. On a professional level, it would be when I was paid my first salary. Receiving payment for the effort of work is a dignifying sensation. 3. Music is one of the most important pillars in my life. I choose The White Album by The Beatles, because it’s one of those eternal albums. In the category of films, I choose A Beautiful Mind. My favourite book is, without a doubt, A Brave New World, by Aldous Huxley. Written in 1932, it’s a complete account of a future not to different from what we see today, but with the detail that it was produced almost one hundred years ago. 4. The continuous effort to improve day by day. If we try every day to be a little better, we see results. 5. I wouldn’t choose to be immortal. I believe God gave us life for it to last a certain length of time and for us to leave, in that brief interval, the best legacy and an unforgettable imprint. 6. Buenos Aires. We often don’t have time to enjoy it, but I assure you that a weekend in the city centre, paying attention to the architecture, design etcetera, would change the perspective of more than one person. 7. All of us, with very little, can be humanitarian with the people who have least: our old people. Sometimes the day-to-day rhythm makes us forget that it takes no more than 5 minutes to help someone who needs it. 8. The mobile phone has become a necessary object for daily life. 9. In general I manage the social networks well, although I’m not the type to be downloading that latest thing all the time. 10. Time is a gift given to us by God. It doesn’t seem like it, but it passes very quickly. Now that I’m a father I realize that we should value it and not concern ourselves with things that time doesn’t change. Our children’s education, nurturing love in marriage and building a family are things that, if left undone, time won’t return to us.

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STYLE ICONS Three styles: three men that can wear the same for a day at work or an urban weekend. A great plan in the best company: accessories with personality and style.

Acetate glasses. Prada.

Tie bar. Montblanc. Da Vinci Automatic.Â IWC.

Calfskin laceup shoes. Salvatore Ferragamo.

Suit and slim tie, an example of Italian style. Dolce&Gabbana.

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Leather belt. Montblanc.

MeisterstĂźck Soft Grain bag. Montblanc.

Clubmaster sunglasses, with tortoise colour frame. Ray-Ban.

Tourbillon 24 SecVision watch. GreubelÂ Forsey.

Classic calfskin loafers. Gucci.

Belt. Montblanc.

A fashion staple, the camel overcoat, as part of an informal outfit. Ermenegildo Zegna.

Calfskin gloves with the brand’s iconic Damier pattern. Louis Vuitton. Glasses with grilamid frame. Ray-Ban.

Luminor Submersible 1950 3 Day Automatic Titanium. Panerai.

Cashmere scarf in neutral tones. Louis Vuitton.

Double-breasted military jacket, ideal for the urban traveller. Bottega Veneta.

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Small Meisterstück Soft Grain “Duffle” bag. Montblanc.

Hugh Jackman and the new TimeWalker Chronograph El nuevo cronógrafo TimeWalker está inspirado en el rendimiento y en el espíritu del automovilismo. montblanc.com/timewalker Crafted for New Heights.

Av. Alvear 1920 · (C1115AAJ) Buenos Aires · Argentina Tel.: (5411) 4804-7924/6781

A Tour of the Red Carpet Sophisticated couture dresses and the most note-worthy watches and pieces of jewellery come out every year to walk the red carpet of the Martín Fierro awards, Argentine television’s most important gala. This year, Simonetta Orsini embellished some of the most outstanding looks.

White gold and diamond earrings.

White gold ring with baguette and pave-set diamonds.

PHOTOS: ADHRIAN SCHMIDT.

White gold ring with pave-set diamonds in illusion setting.

Mariana Fabbiani

The hostess of Argentine television’s most important awards wore two dresses created by the Argentine designer Gabriel Lage, with Simonetta Orsini jewellery. At the start of the evening, she wore an Art-deco style fishtail sheath evening gown, with boat neckline and capped sleeves, all in mink toned transparent layers and fully hand-embroidered with geometrical figures and floral filigrees in tones of grape, steel and platinum. This piece was created specially for the gala presenter. The look was completed with:

White gold pendant earrings with pave-set diamonds.

White gold ring with pave-set diamonds.

White gold ring with baguette and pave-set diamonds.

The presenterâ&#x20AC;&#x2122;s second change - mid-way through the night - was to a romantic rose quartz toned evening gown with asymmetrical neckline and layered tulle circle skirt, with hand-sewn silk thread appliques lit up by lurex. The gown was trimmed with Czech and Swarovski crystals, sequins and crystal beads. This delicate dress looked stunning with the addition of:

White gold, diamond and blue sapphire earrings.

White gold and pave-set diamond infinity ring.

White gold, diamond and blue sapphire ring.

White gold and diamond infinity ring.

Pamela David

The presenter of Pamela a la tarde (Pamela in the afternoon) chose a midnight blue evening gown with outstanding embroidery on the hem, a creation by Claudio Cosano, who combined diamond, sapphire and 18 carat gold pieces.

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Montblanc Heritage cufflinks.

Watch: Montblanc Heritage Spirit Moonphase.

Luis Novaresio

The prestigious journalist, who won the Martín Fierro Award in the category Best Male Journalist for his work on Desayuno Americano (American Breakfast), complemented his tuxedo with Montblanc accessories.

Pendant earrings in rose gold, with diamonds and emeralds.

Rose gold ring with a central emerald and diamond and green topaz surround.

White gold infinity ring with pave-set diamonds.

LucĂa Pedraza

The Argentine model, cover-girl for S/O and girlfriend to Nacho Viale, also chose Simonetta Orsini jewellery to complement her deep red high-split slip dress, designed by Evangelina Bomparola. The model combined diamonds, emeralds and white and rose gold, always in 18 carats.

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UNICEF no respalda a ninguna marca o producto. Parte de los beneﬁcios de la Colección Montblanc para UNICEF se donarán a UNICEF y a sus proyectos de alfabetización. Montblanc garantiza un importe mínimo de 1,5 millones de dólares.

Hugh Jackman and the Montblanc for UNICEF Collection Montblanc apoya a

Con la colección Montblanc para UNICEF, celebramos el don de la escritura y, en colaboración con UNICEF, esperamos mejorar las condiciones de aprendizaje de más de 5 millones de niños aportándoles material escolar de calidad y una mejor enseñanza. Más información en montblanc.com/unicef Crafted for New Heights.

Av. Alvear 1920 · (C1115AAJ) Buenos Aires · Argentina Tel.: (5411) 4804-7924/6781

M Y S T I C A L

J A P A N Generous, overwhelming and unique, Japan is a symbol of millennial tradition but also of modernity. Here, our suggested tour of the main cities of the land of the rising sun.

TXT Lola del Valle

t is easy to get lost in translation in japan, like bill murray and scarlett johansson, because getting lost in Tokyo feels like getting lost on another planet. It is exploring a dimension where different planes of reality coexist. It is approaching and receding from beauty, the strange and the unusual at the speed of a bullet train. It is training the eye to appreciate the smallest details and accept cultural differences without making the futile attempt to overcome them. Japan is generous and offers the visitor the overwhelming beauty of its fairy-tale landscapes, its millennial history and - of course all the neon and shine of the newest of the new, the eccentricity of the different and a universe of common sense that reaches us through its popular culture - including the animations we consumed as children, its writers, artists and technology. For a westerner, it is inevitable to feel part of a movie and to experience The Land of the Rising Sun with the fascination and distance of an onlooker. In exchange for the thousands upon thousands of images that it offers us every minute, Japan asks only for respect and an open mind to receive its customs and traditions and to experience its very particular frequency.

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THE BREATHTAKING LANDSCAPE OF TOKYO

TOKYO

Here you can visit the Fuji TV Building, a replica of the The frenzied Japanese capital, full of skyscrapers, glass Statue of Liberty and many other attractions, in addition and colour is scattered with Shinto and Buddhist tem- to the first of two beaches in the country, where you can ples and shrines. Of the Shinto temples, the best known see the illuminated Rainbow Bridge that links Odaiba to is probably Meiji-jingu, where the visitor can run into Tokyo. the celebration of a traditional wedding and for a while In the heart of the financial district is Shinjuku, a collecplay at being a National Geographic photographer. The tion of all that is emblematic in Tokyo, like the famous shrine, reached by train and located in an immense green Tokyo Metropolitan Government building, designed by space, deserves a leisurely visit, with time to enjoy its de- the architect Tange Kenzo, and the beautiful Shinjutails and the curiosities offered in the shops that line the ku-Gyoen national park, which is one of the sites recompedestrian street of Takeshita Dori. For postcard-pretty mended for ‘hanami’, the Japanese tradition of contemBuddhist temples there is Sensō-ji, dedicated to Kannon, plating the beauty of the cherry blossoms. Here you can goddess of mercy, and located in Asakusa, the neighbour- also find Kabukichō, the bustling red-light district that hood that Yasunari Kawabata portrayed in his novel The offers another side of the city. However, for extravagance, Scarlet Gang of Akasusa. It is recommendable to arrive luxury and fashion a visit to Haraku is a must. This is at dusk, when the pace is quieter and the crossing of the the cool hub of the city, where prestigious labels share the imposing Thunder Gate (Kaminarimon) can be enjoyed without so many selfie sticks in the NIKKÔ, THE PERFECT BALANCE BETWEEN ARCHITECTURE AND NATURE. way. Close by, on the other side of the Sumida river, is the Tokyo Skytree, the tallest tower in Japan, which at 634 metres high, offers a spectacular view. Another magnet for the panorama hunters is the artificial island Odaiba in Tokyo Bay, ideal to view the sunset and appreciate the sci-fi side of Japan, starting with your arrival on one of the most futuristic trains in the city, the driverless Yurikamome.

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HAKONE, THE CITY THAT OVERLOOKS MOUNT FUJI.

streets with the most eccentric and picturesque of the urban tribes. If karaoke is one of Tokyo’s typical amusements, then Shibuya is the perfect place to go for beers and music. In addition to being famous for having the liveliest bars in the city, the neighbourhood is famous for the Shibuya Crossing, the busiest street crossing in the world: quite an experience.

NIKKŌ Two hours by train from Tokyo, Nikkō combines natural beauty with masterpieces of Japanese architecture, starting with ShinKyo, or the sacred bridge, which welcomes visitors with its imposing red. Full of well-preserved temples and shrines, as well as a fairytale like wood, Nikkō offers postcard views at every step. There is the Rinnō-ji temple, celebrated for its three giant Buddhas, and the spectacular shrine of Tōshō-gū, one of the most solemn sites, full of history. In 1616, it was chosen to house the mausoleum of the great Tokugawa shogun. Every inch of the building is covered with guardians, birds and mythological creatures that watch over the carved doors and columns. Here you will find the famous sculpture of the three wise monkeys (see no evil, hear no evil, speak no evil), which were the symbol of Nikkō long before they became emoji. All this is framed by a mountain landscape, with lakes, waterfalls, gardens and hot springs.

of green, with the distant star of Mount Fuji, the volcano which can only be seen on clear days. The views of Lake Ashi, surrounded by mountains, can be enjoyed by boat, funicular or on some of the hiking trails on the mainland. One if these trails connects the funicular with the top of Mount Kamiya and from there to Mount Komagatake, the return station for the funicular. Here you can also visit the old checkpoint on the Tōkaidō road, one of the five routes that departed from the ancient city of Edo (now Tokyo) and which connected it with Kyoto. You can even stroll along the old road that maintains part of its original paving. In Hakone, the tradition is to eat a black egg, boiled in the sulphurous waters of the geothermal Owakudani zone, where the ground constantly bubbles from volcanic activity. According to the Japanese, this will extend your life by seven years.

HAKONE

KYOTO

Usually offered as a day trip from Tokyo, this destination merits spending at least a night. Its fame as a place to get away from it all is due to its enormous complex of onsens, or hot volcanic springs, and its location in a sea

For more than a thousand years, this was the capital of Japan and its legacy of traditions, art, culture, religion and ideas are revisited with every step. You can travel from Tokyo to Kyoto in a little under three hours using the high-speed Shinkansen train. However, arriving in this beautiful city invites you to relax the pace and get in contact with its serene landscapes full of colour, perfect gardens, dreamlike temples and winding streets. Everything in Kyoto takes us back to its noble past and the architecture retains the ancient charm of a place of relaxation. One of its prettiest neighbourhoods is Higashiyama, named after the mountain on which it rests. Since the 14th Century, many temples, shrines and vil-

KYOTO, DISTINGUISHED BY ITS SERENITY.

SERENE NARA, SURROUNDED BY WOODS.

las have been built here, such as Shishendo, which has a beautiful garden with a waterfall, white sand and azaleas. It is worthwhile walking up the slopes of Sannenzaka and Ninenzaka to experience a journey in time back to medieval Japan, discover the quiet rhythm and browse in the shops full of crafts and tradition. The list of temples and shrines is never ending, but there are two you cannot miss. The first is Kinkaku-ji, or The Temple of the Golden Pavilion, the symmetrical beauty of which inspired Yukio Mishima’s novel of the same name that tells of the life of a Buddhist monk who is obsessed by the magnificent monument. The second is the Shinto shrine Fushimi Inari, the famous ‘torii” or red doors of which were brought to the movie screen in the cinematic adaptation of Memoirs of a Geisha. This shrine is dedicated to Inari, deity of fertility, venerated by those who seek business success. It is full of statues and figures of foxes, the messengers of the desires and requests of the faithful.

NARA Silent woods, spirituality and deer (everywhere) are the principal notes of this city, which was the first capital of Japan and still maintains its traditional heritage in the alleyways of Naramachi, an old commercial neighbourhood that makes the visitor feel like they are in a ninja movie. One essential visit is Nara Park, where highlights are the Todaiji temple - housing an immense 16 metre Buddha, cast from 437 tons of bronze and 130 kilos of gold - and the Kasuga-taisha shrine. In Kasuga-taisha, located at the foot of the sacred mountains of Kasugayama and Mikasayama, the visitor’s eye is drawn to the

BETWEEN GEISHAS AND SAMURAIS: KANAZAWA.

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almost 2000 lanterns that guide the ascent to the shrine, which in turn has 1000 bronze lanterns lit during the Mantōrō festival, one day in February and two in August. In both places, the deer wander at will and ask for food without a trace of timidity, so it is recommendable to buy some sembei rice biscuits in the posts around the park to feed them. Considered messengers of the gods, deer are famously well-treated in the city. Horyuji, the world’s oldest wooden temple, with its incredible 33-metre, 5-floor pagoda, is another of Nara’s unforgettable emblems.

KANAZAWA This city retains many traces and vestiges of its glorious past, making it a magnet for those who enjoy stories of geisha and samurai. Indeed, one of the attractions is the geisha district of Higashi Chaya-Gai, a cluster of pedestrian streets with wooden houses and a traditional air of the Edo period, where you can visit old teahouses such as Shima. Nagamachi, meanwhile, offers a stroll around narrow streets and old samurai houses, with their characteristic sandy walls and typical roofs. However, the visit to Kenroku-en garden alone is reason enough to include Kanazawa in your itinerary. Amongst its attractions are the Kotojitoro lantern, said to be the first fountain in the country. Canals, gardens and trees set the pace of this walk, which also includes ancient buildings converted into museums. To end the journey with a typical town, from Kanazawa we recommend a visit to Shirakawa-gō, celebrated for its gasshō-zukuri, wooden buildings with very steep thatched roofs, ideal for avoiding the build-up of snow. ¶

BIG BANG UNICO MAGIC SAPPHIRE

â&#x20AC;&#x2DC;Time is a fragile and changeable conventionâ&#x20AC;&#x2122; Since 1964, Liliana Porter has lived in New York, where she produces artwork in different formats - including installation, photography, drawing, video and theatre - with the aim of playing with the real and generating a disruption in time. We present a conversation with this lively artist, who exhibits in the Reina Sofia (Spain), the Met (USA) and in the Tate Modern (UK).

TXT Florencia Zielinski

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PHOTOS courtesy of Liliana Porter

‘THE INTRUDER’, DURAFLEX PHOTOGRAPH, 2011.

or a week, our conversation unfolds over two space-time lines: one in Argentina and the other in Spain, where Liliana Porter has just presented her first retrospective in the Basque country’s Artium Museum. However, the subjective space (as real as my desk and wherever she is) is unique: we are sitting on a white leather sofa in the centre of an enormous room, drinking tea from tiny porcelain cups that Liliana will later use in one of her installations. The light of the garden, full of greenery, shines through a picture window. Or rather, that is how I imagine it. In the perpetual present that installs itself every time I see the words ‘Liliana Porter’ in my inbox, I hear her smooth voice and, before my eyes, I see her artworks with their brief and intimate scenes that converse with the viewer in their own language, so recognisable and direct. Perhaps because her creations connect with the echo of an intention that all of us pursue in our infancy: that of subverting the order of reality through play. It is a solitary game, with a flavour of nap time, sneaking around, sleight of hand. The account she tells of her life also awakens the imagination. Liliana Porter has lived in New York since 1964, when she arrived as a 22-year-old with the plan to stay for one week. She only had to visit the Met to realise that, if she were to get to know and learn everything she wanted, it would take her much longer. She was stunned, not only by the originals of Rembrandt and Picasso, but also by the aura of the city. She had landed in time to experience the hippie bohemia, the Bob Dylan concerts, the arrival of The Beatles, the first pop art exhibitions and the transformation of New York into the world centre of visual art, with Greenwich Village at its heart. There, together with her Uruguayan husband, Luis Camnitzer, and the Venezuelan artist Guillermo Castillo, she formed the New York Graphic Workshop, a school and workshop that was very influential at the time. “From there we worked and analysed our artistic practices and our attitudes to art and life with rigorous self-criticism”, she relates. When she decided to settle there, she immediately enrolled in Pratt Graphic Art Center, a printmaking workshop in Manhattan. She quickly made a name for herself and this brought many opportunities for her to learn and exhibit. Before long, she was already a key figure in contemporary art. Recipient of the Guggenheim Fellowship and many other distinctions, her artwork has been exhibited in the most important museums in the world. Printmaking, painting, drawing, photography, video, installations and – more recently – theatre productions, all form part of Liliana Porter’s expressive universe, which until November, will be present

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SCENE FROM THE ARTWORK BETWEEN ACTS: BRIEF SITUATIONS, PRESENTED IN TEATRO SARMIENTO (BUENOS AIRES). PHOTO BY CARLOS FURMAN.

‘DRAWING A TRIANGLE’, ACRYLIC AND FIGURE ON PAPER, 2015.

PORTRAIT. PHOTO BY ANA TISCORNIA.

at the Venice Biennale with an installation related to time. It is a new version of her installation Man with Axe, which was first exhibited in 2011 in New York’s Museum of Arts and Design, as part of a collective exhibition entitled Otherworldly. In 2013, she exhibited the same piece in her first solo exhibition in MALBA, Buenos’ Aires Museum of Latin American art. Why do you think that time is a recurrent theme in your artwork? It’s difficult to say. It could be a consequence of having lived in different contexts, in Mexico from 1958 to 1961, then in New York since 1964. Those experiences showed me that reality can be read in different ways, that language and context change the perception of things, that time is a fragile and changeable convention. The concept is present, for example, in the series Dialogues, where I play off characters from different times and realities that for a moment inhabit a space in which that simultaneity is possible. Another example is the series entitled 40 Years, where a photo from 1973, showing my hand, is re-photographed beside my hand forty years later. A line is drawn through both hands, entering and leaving the virtual space, and continues along the wall where the framed work is exhibited. That line passes over different times and surfaces yet, visually, it is a coherent single line, as if the dislo-

cation of time and surface - that lapse of 40 years or more between one hand, the other and the stroke on the wall - just didn’t exist. What other themes remain with you in your work? Trying to understand the meaning of everything. Or rather, I could say, accepting that I don’t understand and so trying to somehow create meaning. In a way, I think that we are all looking for meaning. It would relieve me if, as an artist, I could feel that I am contributing to something a little more hopeful. What form does your quest or intent to restructure the order of things through your artwork take? Through trying to structure the order of things, I feel somehow responsible. I would like, then, for that tentative exercise to contain some truth that would serve to ‘negotiate reality’. The series The Gardener comes to mind. It concerns a small metal figure, a gardener, who is holding a watering can and watering flowers, only the flowers are printed on fragments of broken plates. A few years ago, you ventured into the theatre world… I think that the word ‘theatre’ is a little grandiose for my proposals, but the experience is something that makes me tremendously happy. The act of working with people and using some of the conventions of

LILIANA PORTER ON THE SET OF THE WORK ‘FORTY YEARS’, WHERE IN 2013 SHE USES A PHOTO FROM 1973.

the theatre discipline opens a whole new spectrum of possibilities to approach my subjects. The connection with the viewer is also a very dynamic and direct experience, it’s quite emotional. You have a work being staged at the moment. Yes, I worked really enthusiastically on my third performance, which took place as part of the Second Biennale of Performance in Buenos Aires and opened on 1st June in Parque de la Memoria. A special location, at the entrance to the park, was built for the event. The work is called Taming the Lion and other doubts and I work with the same team as in my two previous performances: Ana Tiscornia as co-director, music by Sylvia Meyer, lighting by Eli Sirlin, choreography by Ana Stekelman and wardrobe by Mini Zucheri.

DETAIL OF THE INSTALLATION ‘MAN WITH AXE’, 2013.

This is your third theatrical experience. What do you feel that you have gained from this new territory? I’ve gained another way of thinking about my themes. I think that my reflections and considerations become clearer through this medium. After working in video and theatre, I find it amazing and almost magical when I see a painting, a drawing or a photo. To think that you can say so many thigs with just a still image!

‘UNTITLED – TRIANGLE’, PHOTOGRAPH AND GRAPHITE ON WALL,1973-2014. PHOTO TAKEN IN 2014 OF A WORK PRODUCED IN 1973.

You’ve lived in New York for more than 50 years. As a Latin American artist, how do you see the current political climate with the new administration? Obviously, we’re going through a kind of catastrophe, a total regression in the social, ethical, ecological, artistic, moral and human sense. The good thing is that people react at different levels, as do many institutions. Those are hopeful signs. But personally, I feel it’s depressing to live in such a toxic environment. I think that artists can fight that toxicity if we have clear values, if we fight as much as each of us is able to against the unjust and the sinister.

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What do you most enjoy about the place where you live? I live in a lovely little town called Rhinebeck, in New York State, two hours from Manhattan. There, I enjoy nature, the house and the workshop. I’m still amazed when a ‘Bambi’ appears in the garden. It’s a place where time seems to move slower and the quality of life is better. Life is healthier. I really enjoy getting up and crossing the garden to get to the studio and sharing ideas and moments with the people I love – outside of my art activity is what I like the most. Where are you today on a personal and work level? In a happy place. ¶

DIGITAL TATTOOS Our interactions on the Web generate permanent and indelible prints that â&#x20AC;&#x201C; through technology â&#x20AC;&#x201C; make us immortal. The technological innovator Joan Cwaik analyses the impact on our everyday lives and tells us how we will be affected in the coming decades.

TXT Andrea Cukier

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“L

ike it or not, 99 percent of people are exposed on the Internet, and this is due to many factors, both internal and external”. So begins my conversation with Joan Cwaik. A graduate in Media and Entertainment Management from the Argentine university of commerce UADE, he realized his postgraduate studies in Multimedia Convergence in the University of Buenos Aires. He is a conference presenter, lecturer and head of the Centre for Technological Dissemination in the UADE. He works on topics related to digital paradigms, innovation, new media and disruptive technologies such as virtual reality, artificial intelligence and 3D printing, amongst others. In 2016, he was Master of Ceremony at events such as the global Campus Party event and Red Innova, a gathering of Latin American entrepreneurs. “Every time that we put a like on a social network, write a status on Facebook, add or block someone, are tagged in a photo or appear in any mention on a search engine, that becomes a new digital tattoo, that remains engraved indef-

if they don’t have social network accounts! I’m in a café just now. What happens if I take a photo, share it on the Internet and there are some people in the background? Someone could recognise a person, see if they are with a friend etc. Or if the café is geolocated, we already have the exact coordinates to pinpoint the day and time that person was there… Even if a person lives on the street and doesn’t have access to technology, they could appear online because they’re photographed when Google’s satellite passes through the area. We have no way of escaping from this situation, but we can be conscientious about the check-ins we make and what we write on the Internet, because everything we put online remains there. The highest level of security to prevent something leaking is not to upload it. For example, if we write something on Facebook and delete it without publishing it, there is still a record of that. If we have to be so cautious, doesn’t this infringe on our personal expression? It undoubtedly restricts us a lot. It’s very difficult to erase the record because it endures on different supports. I don’t think it threatens freedom of ex-

The revolution could be that humanity begins to receive something in return for everything it generates on the Web”. initely. Technologically speaking, that makes us eternal”, says Cwaik. It is this on-line immortality that is the subject of this article. What is the real impact of these accumulated interactions? Depending on our level of exposure on the Internet, we can have hundreds of thousands of these tattoos. This mainly impacts on our social and work life. Depending on the content that is circulating, it can be damaging to our personal or professional reputation: complaints about company service or – in more extreme cases – the leaking of compromising photos or audios. What’s more, the first thing a company does when hiring a member of staff is to review the applicant’s social networks to determine the image, integrity and online behaviour of their potential future employee. Is there any way of avoiding or controlling our online presence then? [Cwaik laughs] The whole world is tattooed. Even

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pression; the problem is the big companies. Facebook today is an empire and it knows everything about us. It has 3.5 billion active users, more than half of all humanity! We nurture huge social networks without being paid to do so. The next revolution could be that humanity begins to receive something in return for everything it generates on the Web. Facebook, Instagram, Twitter, Google or YouTube are nothing without their content; they depend on us. Some companies are already starting to give financial rewards or upgrade the reputation or position of users who generate quality content on their networks. One forecast indicates that within ten years we will be spending 80 per cent of our lives in virtual reality. It sounds like the trailer for a sci-fi movie. Are we each going to be stuck in our helmets? If we think about it, we’re already doing it. The difference is that virtual reality is a larger screen, fixed to the eyes. Today we spend most of the day on our smartphones, which is a form of virtual reality. So the prediction isn’t so far

Facebook today is an empire and it knows everything about us. It has 3.5 billion active users, more than half of all humanity!”. fetched, it simply about a switch of support. At the beginning of the year, you mentioned Argentina as one of the most advanced markets in the purchase of the bitcoin virtual currency. Is that trend still continuing? We’re the country with the highest level of bitcoin ownership in Latin America. Not at transactional level in shops or businesses, but as a means of saving in foreign currency. What is needed to stimulate the use of bitcoin on a commercial level? A very large validator for a technology to be accepted is legislation and there are still no laws applying to bitcoin. Expanding technology needs to be supported by policy and, when that occurs, it will enable an evolutionary leap forward for the bitcoin. It’s true that this tech-

nology in general impinges on very conservative economic models and businesses, wand this is even more the case in Argentina. Do you think bitcoin could become the currency of the future? The disappearance of paper money is already a reality. In other countries it’s unusual for people to use cash and in Denmark paper money is going to disappear entirely in two years. So I’m sure that the blockchain, the technology behind bitcoin, is setting trends and guiding the shape the economy will take in the coming years. What is blockchain and what other applications does it have? It’s a technology that works as a line of blocks. Any transaction that moves from point A to point B is registered from one block to another. It works like an enormous accounting ledger that’s open to the public. All the operations that are made in bitcoin are in there, registered. It is unchangeable, unmodifiable. If one computer fails, the others remain. The most interesting uses appear when registering an identity, your assets, money, a document, voting registration etc. For example, a baby is born and at present this is registered on a single system. If that system fails, the record is lost. With the blockchain, the system is decentralised, so that wouldn’t happen. Which of these new technologies will best survive the next few decades? What we’re talking about will influence many of the technological foundations of the future, as well as additive manufacturing techniques (everything that surrounds 3D printing). When it becomes commercially accessible, quantum computing and its capacity to maximise computer performance will also mark a before and after. The main hurdle we have to overcome is for the Internet to start to be considered as fundamental as electricity, so sufficient Wi-Fi and connectivity points are guaranteed to enable access. Then we will experience a major transition on both a social and technological level.¶

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Eternity and its Enemy, Time Just as the watch is a mechanism that documents the schedule of agreed time, Plato affirmed: “Time is a moving image of eternity”.

TXT Carlos Álvarez Insúa ILLUSTRATION Carlus Rodríguez

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the word ‘eternity’ creates – through its immensity – a frozen territory where time does not exist and watches have no purpose. Before visiting philosophical notions, I note that there are understandings of eternity invented by the heart of the lover or the sadness of the migrant, that establish beings or countries as permanent. It was emotion that allowed Borges to suggest the beautiful and memorable phrase: “It’s hard to believe Buenos Aires had any beginning. I feel it to be as eternal as air and water”. Eternity is an immeasurable and quiet space, described with humour in a phrase by Michel Foucault: “The limitless reign of the Limit”. The French philosopher, evading the restrictions of discourse, also affirmed: “Do not ask who I am and do not ask me to remain the same (…) All modern thought is permeated by the idea of thinking the unthinkable. I don’t feel that it’s necessary to know exactly what I am (…) Man is an invention of recent date. And one perhaps nearing its end.”

The Scope and Essence of Affection Thus, these lines on eternity – written at the suggestion of S/O – are, in a way, a journey through the contradictory ideas found in the impossibility to define that which we are not. Nevertheless – being finite beings – we have conceived the notion of something outside of time, something infinite. Another Frenchman, Gilles Deleuze, on considering Baruch de Spinoza’s curious description of eternity, surmised: “When I don’t know how to swim (…) I am at the mercy of the encounters with the wave (…) when I know how to swim I have a sense of rhythm, in the sense that I know how to directly compose my movements with the movements of the wave (…) I know the right moment to dive in, the right moment to surface (…) an art of the composition of relationships (…). Here and now I experience being eternal, that’s to say that that I am an intense part, a degree of unyielding power to the extent of parts that I possess”. He then clarifies: “But, again, on one condition: that of being raised to a level of ideas and affections that give a present relevance to this intense part”. We infer that Deleuze suspects the eternal – that instant when the intensity of idea and

affection are conjugated on an external (or worldly) plane, and when ‘eternal becoming’ occurs – is contemporary to all actuality.

From Greece and Eternity If, on the journey, we direct ourselves to the invention of the West, so many centuries before, Plato declares time – and our dear perpetual calendars – a degradation of eternity. It is an immobile template: a perfect and complete reality. So then, existence and essence create chronos (time) and aion (eternity). The immobility of eternity is linked to the state of rest of the Intelligent Essence. Indeed, for the Greek philosopher Plotinus, it is the very definition of eternity, in such a way that the impossibility of movement occurring in a state of rest demands that eternity remain immobile. “Eternity must be conceived not only in rest, but also in unity (…), it dwells in unity and thus participates in rest without identifying with it”.

Eternal Recurrence Another eternity was imagined: that of recurrence, of the cycle that repeats itself once and again. In The Joyful Wisdom, Nietzsche suggests that not only do events repeat themselves, but that thoughts, sentiments and ideas also occur in an infinite and tireless repetition. The German philosopher fiercely revisits this concept in Thus Spoke Zarathustra, where the prophet discovers the vision of circular time and immediately faints from the disturbance. After remaining unconscious for seven days, he finally awakens. The eagle and the serpent together are his new being revealed. They flatter him, declaring him the master of eternal recurrence of the same. Finally, Zarathustra envisages a new moral and warns that eternal recurrence includes as many failures as successes. He indicates that although Man will return time and again to being an ape, he (Zarathustra) will return to make the Übermensch (superhumans) known, and that he will once again faint for seven days, glimpse the eternal return, and reawaken. Here, Nietzsche observes eternal recurrence as a cosmological truth, a new form of affirmation of life: the moral that requires amor fati – love of fate – to

both desire and endure the eternal repetition of our actions: reliving all the pain and the joy, the uncomfortable and the glorious and to accept what we do, to be responsible. “This world is will to power and nothing more”. Nietzsche’s eternal recurrence is, I suspect, an artifice that situates multiplicity versus unity, heterogeneity and distribution versus homogenization and definition. Thus, the eternal recurrence is active and affirmative: the union of Dionysus and Ariadne. The labyrinth is the eternal recurrence, the dynamic and affirmative. It is not the labyrinth of knowledge and morality any more, but rather that with life and being as the current subject. Borges did not much like the idea of Eternal Recurrence, which is paradoxical, as the library of his production is neighbour to the labyrinth of repetition and his morality always appears subject to amor fati (love of fate).

Borges’ Refutation The article to which I refer is The Doctrine of Cycles in A History of Eternity, in which Borges cites Nietzsche’s “eternal recurrence of the same” to discuss successive cycles. Borges imagines a “frugal universe” of ten atoms: these give rise to a series of combinations. Since the number is limited, the combinations will also be limited. If these particles randomly produce the figure 3.628.800, we have a supposed recurrence of the universe. In the text, Borges imagines Nietzsche could answer that he never denied “the vicissitudes of the matter were substantial” and that the only thing he had declared was that they were not infinite. To refute this idea, he turns to Cantor’s theory of sets. This, for him, destroys Nietzsche’s thesis as it affirms the infinity of the points of the universe, to a metre of the universe or a fraction of a metre. “If the universe consists of an infinite number of terms, it is rigorously capable of an infinite number of combinations – and the need for recurrence is defeated. There remains its mere possibility, calculable to zero”. Although Borges cleverly argues the possibility of eternal recurrence from the theory of sets, it appears that its nucleus, for Nietzsche, was not this question of mathematical science, but rather moral questioning in relation to nihilist philosophy, which Borges does not take into account. The idea that an act repeats itself once and again, ETERNIDAD 50 S/O ETERNITY

appears to Borges the most horrible of all ideas. Yet, from a position of passive nihilism, Nietzsche also notes the horror contained in the cycles: that of one who simply has a reactive, diminished life; one who suffers life. Only one who dares to love fatality can accept the eternal repetition of things. Only an active and creative relation, from the ‘will to power’ in a free subject can stand the recurrence of things and acts. Eternal recurrence requires a superhuman. I believe that Nietzsche is interested in building an artefact of this doctrine as it permits the selection of human ‘types’. The most horrific idea can be the most transformative and promising in the ebb and flow of the cycles. The serpent’s fine sharpness and the eagle’s gaze and courage come together in a human without God, a human who has become more than human. Although we note Nietzsche’s intentions, Borges is only interested in refuting the physical hypothesis of eternal recurrence. He shows, for example, that the second law of thermodynamics says that there are energy processes that are irreversible: a light, projected on a black surface, is converted in heat, which then cannot return to light. There is no point, when Borges decides to refute, he does so. Perhaps because he rejects any idea of eternity, Borges does not accept becoming Borges again. In his essay A New Refutation of Time, he writes: “Time is the substance of which I am made” and in Fragments from an Apocryphal Gospel, he adds: “The acts of Man are worthy of neither fire nor heaven”.

Game Over So far I have reviewed writers who have marked my experience and woven into my heart as much as any joys, losses and loves. They inhabit a planet that appears eccentric and universal: even those who have never read them know their names and suspect their importance. They differ from each other in their description of eternity, in denying it or accepting it as conjecture, encounter or repetition. What is certain is that, ever since a man stuck a reed in the sand and invented a sundial, Man has measured time with clocks of all types, and has a need to do this. It also appears irrefutable that something elapses and is multiple and mobile. One grows old while another is born… Eternity, however - whether it exists or not - observes, unanimous and immobile. ¶

ROARS OF TALENT He plays in the Jaguars, the Argentine Super Rugby team, and is father to Beltrán, Joaquín and Tomás. After a complex operation and a slow recovery, Juan Martín Hernández prepares himself for the 2019 World Cup, while imagining his retirement. Because nothing is eternal, except glory. TXT María Paula Bandera PHOTOS Javier Picerno

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few minutes talk with Juan Martín Hernández is enough to change the popular image of the tough rugby player. Juani, as he is known, talks slowly, reflecting before giving each answer, and conveys calm to the listener. Perhaps this is why he is considered ‘the brain’ of his teams: he’s an intelligent player, one of those who play the game in his head and on the field at the same time. Today, together with María Emilia Brochard, he is the parent of three children: Beltrán (8), Joaquín (3) and Tomás (1). And a bit of recent news: from June 2017, he is an ambassador for the Swedish luxury car company, Volvo. Your career has made you into a man of the world. How was it to go and live in France at the age of 21? At first it was difficult, because I’d never lived on my own. I forgot to pay the bills, so my electricity was cut off and things like that. I didn’t have a good grasp of French. I’d learned the phonetics at school - I already had that - but I didn’t understand it or knew how to express

Obviously it’s always good for the ego, but I know that my main activity is rugby, so I am never full of myself. The first time that I had to pose naked for that calendar I was 21 and it was very difficult, but if the stars of the team did it, I couldn’t say no. The second time I did it in boxers and for the last one I decided not to participate - but not for embarrassment, it’s that in 2008 my wife was pregnant and it didn’t seem right. And how do you take on the role of model in advertising campaigns? Now I’m much at ease, more relaxed. For example, I’ve worked with Nike since I was 19 and at first it was really difficult doing the photos. I was very shy about posing and also about talking in interviews. I imagine I made the first photographers and journalists who approached me suffer. Do you take care of your image? I take care of myself through sport and I like elegance. It’s nice to be well turned out: to use a good watch, good shoes, and a suit. But, because of what

It’s nice to be well turned out: to use a good watch, good shoes, and a suit. But, because of what I do, I only dress like that on special occasions”. myself. Luckily, in the team (N. de R. el Stade Français) there were various Argentines, like Agustín Pichot, Rodrigo Roncero, Lucas Borges and Pedro Ledesma, and I also had Uruguayan teammates, so we didn’t feel so alone. What’s more, they were older than me, so they helped me if I had doubts. And it coincided with an excellent moment professionally, so that must surely have helped… Sure, we won two titles and we also got bronze medal with the Pumas in the 2007 World Cup. Also, at that time, the president of Stade Français introduced some changes that made us very popular: we wore a pink T-shirt that clung to the body, we made a calendar where we had to pose naked or with little clothing… That brings us to another area, the ‘sex symbol’. How do you feel being labelled in that way?

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I do, I only dress like that on special occasions. All the same, I do also try to dress well from day to day, just obviously with another type of clothing. But Hernández’s path was not all roses; the Magician, as he was nicknamed in the sport, had to overcome various challenges that made his story a true epic of the sporting hero. One day, his body, all-powerful on the field, said enough is enough. He suffered intense pain and couldn’t even lift his two-month-old baby in his arms. Hernández had been born with spondylolisthesis, a congenital spinal injury that produces the forward displacement of a vertebra. He wasn’t aware of this until 2006, when he suffered a rib injury and had to have a MRI scan. On seeing the images, the doctor made the discovery. Hernández thought that perhaps it was never going to affect him, but three years afterwards his body manifested what had been, until then, only

visible with a resonator. Some doctors recommended operating, other not; and amongst those who suggested the operating room there was also disagreement on the technique to follow. How did you make the decision to operate? It was all a gamble. At the time I was playing in Durban, South Africa, and the doctors there wanted to a do a kind of intervention that would allow me to go back and play in two months. But later, on investigating, I realized that it was a type of surgery that would remove the pain, but that wouldn’t correct the origin of the injury. So that - in three, four or five years - it could affect me again. In the end, in January 2010, I was operated on in Argentina using another method that required a much longer recovery time, but that was definitive. I spent seven days hospitalized. I left the hospital with a rigid corset that I was not to re-

don’t know how long I’m going to continue. Together with the doctors and trainers we’re carrying out a training plan that has a little less load, or less time on the field. That affects me because you always want to do the same as the rest of the team, but without these modifications I couldn’t play, or I’d last much less time than I imagine. Does that mean to say that you imagine how much time is left before you retire… (He thinks for a few minutes). I’d like to reach the 2019 World Cup, that’s the strongest desire that I have, but if it doesn’t happen I know that I wouldn’t take it as a defeat. I think I’ve already had a fairly long career and I know that I would only do it if I consider myself at the same level as my team-mates, because otherwise I’d be taking advantage of my name and it’s not right to sacrifice a team for an individual dream. They wouldn’t even need to tell me, I’d be the first to stand down if the conditions weren’t right.

I’d like to reach the 2019 World Cup, that’s the strongest desire that I have (...), but I would only do it if I consider myself at the same level as my team-mates.” move. I spent the first month without leaving my room and the second without leaving my house. It was only in the third month that I could walk for one hour a day. After four months, Hernández returned to France to play for Racing Metro, a club that he had signed a contract with prior to the operation. But shortly afterwards, another injury left him off the map: he tore the ligaments in his knee. And the recovery did not allow enough time for him to join the Pumas and contest the 2011 World Cup. In September 2015, he returned to his homeland and signed a contract with Argentine Rugby Union to spend two years in the Super Rugby national team. How do you see your sporting future? Do you think about retirement? Yes… but I think my body will decide that. In August I turn 35, I’ve had various operations, so I

Do you have plans for the time when you decide to retire? Yes, at the moment, together with a partner, I have a marketing agency that works with BTL, social media management and the development of audio-visual material, amongst other things. It’s called Be My Guest, BMG for the acronym. My partner had been involved with that for various years and offered me a partnership to take on the handling of public relations, everything that is PR. Today, with three children, do you foresee being able to maintain a connection to rugby through them in the future? The oldest already plays football and rugby, the others are still young. I’d love them to like sport, regardless if it’s rugby or something else, but, like any father, the only thing that I want is for them to be happy. ¶ Acknowledgments: Volvo, Etiqueta Negra, Montblanc.

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Urban Travellers In an iconic townhouse in the porteño neighbourhood of Palermo, Montblanc’s collection of watches, accessories and leather items stars in a magical tour of the city. Postcards from a couple’s stroll. PHOTOS Eugenio Mazzinghi STYLING Mariana Schurink

Devoré dress in natural silk. All jewellery by Simonetta Orsini. Watches, leather pieces and accessories by Montblanc. Watch: A. Lange & Söhne, Lange 1. All men’s clothing by La Restinga. Yellow gold earrings with South Sea golden pearls and yellow gold ring, golden South Sea pearls and S/O ETERNIDAD diamonds by Jewelmer.

Her: White jumpsuit, Sette. White gold and diamond choker. White gold, diamond and emerald earrings. White gold and diamond rings. Watch: Montblanc TimeWalker Automatic. Â Him:Â Italian two-piece blue suit. Pure (100%) cashmere sweater. Watch: Montblanc TimeWalker Twinfly Titanium.

Italian grey blazer. Egyptian cotton white shirt and slim pants. Watch:Â MontblancS/O ETERNIDAD Timewalker Twinfly Steel.

Belt,Â Montblanc. Watch:Â Montblanc TimeWalker Twinfly Titanium.

Her: Print art blouse, Clara Ibarguren. Leather skirt, Sette. Long pink gold and diamond earrings. Rose gold and diamond ring. Rose gold and diamond ring with spiral design. Watch: Montblanc Heritage Spirit Moonphase. Â Him: Blue jacket. Pure (100%) cashmere sweater. Cotton Sea Island shirt Steel bracelet, Montblanc. S/O ETERNIDAD Watch: Montblanc 1858 Automatic.

Italian wool and silk suit. Cashmere sweater. Cotton Sea Island shirt. Solitaire Platinum Unicef ballpoint pen. Meisterstück Soft Grain card holder. Meisterstück Soft Grain phone cover, all Montblanc. ETERNIDAD Watch: MontblancS/O Heritage Spirit Orbis Terrarum.

Him: Italian suit in pure (100%) wool. White cotton Sea Island shirt with mother-of-pearl buttons. Heritage cufflinks, Montblanc. Watch: Montblanc TimeWalker Date Automatic. Her: Velvet dress, Sette. White gold, diamond and emerald drop earrings. White gold and diamond rings. White gold and diamond bracelets. S/O ETERNIDAD Watch: Montblanc Tradition.

Vestido largo de seda natural magenta, con amplia falda y tajos. Reloj: IWC, Portugieser CronĂłgrafo. Anillo estilo Lady Di de oro blanco, esmeralda y brillantes. Aros de oro blanco y brillantes con diseĂąo de cascada.

Wool coat. Suit in pure (100%) wool. Blue cotton Sea Island shirt with mother-of-pearl buttons. Shoes, Terán. Sartorial Trolley On-Board and Soft Leather card holder, Montblanc. ETERNIDAD Watch: MontblancS/O TimeWalker Chronograph Automatic.

Her: Yellow crepe suit, Sette. Wool overcoat, Zito. Trinity rings in white gold, diamond, emerald, sapphire and ruby. Meisterstück Soft Grain briefcase. Watch: Montblanc Tradition. Him: Blue cotton Sea Island shirt with mother-of-pearl buttons. Montblanc Extreme backpack. Watch: Montblanc TimeWalker Chronograph Automatic. S/O ETERNIDAD

BEHIND CLOSED DOORS He says that he doesn’t sell clothes, but rather happiness; that buying his label is a 360º experience and that he admires people who know how to enjoy life. An interview with Nicolás Márquez, the creator of the concept behind the clothing label La Restinga. TXT Mariana Riveiro PHOTO Eugenio Mazzinghi

ehind an old door in palermo, another world is hiding. A private space based on a shopping experience, a clothing label, almost a gentlemen’s club. This was what Nicolás thought of when he created La Restinga, a business that began in the spirit of selling clothes to friends and ended up as a project that is today setting its sights on international expansion. Nicolás Márquez was born in Necochea. He has an undergraduate degree in Labour Relations, a Postgraduate in Business and a Masters in Agricultural Economics. He had always worked in the agricultural industry; he traded in grains for very important export companies. During a business trip to Europe he came across a closed-door business model that he liked. “I wanted to replicate that in Argentina: to have the best clothes I could find, made with the best fabrics on a worldwide level, and sell these to my friends”. With that simple but ambitious premise, La Restinga was launched, the townhouse in which this fashion editorial was shot. Tell me about those first moments. I would leave my office in Puerto Madero, and I had set up an apartment that I called a showroom - it was a studio apartment - and I began to make clothes. The idea was, after work, to go and drink a whisky or smoke a cigar and enjoy a moment with my friends. In passing, I would sell them clothes. The objective was to sell to a connoisseur, a bon vivant who understood quality and the details of clothing. How did you achieve an international standard in your product? The idea was to import the best fabrics in the world and make one hundred per cent of the production in Argentina. So I set up a luxury Argentine label, and then went looking for suppliers.

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Do you deal with third-party suppliers? Yes, there are 12 production methods, 12 factories that produce for us: two for shoes, two for sweaters…generally two per product. The other labels, those with shops on the street, are obliged to mark-up the clothes for questions of marketing. In our case, having low overheads and a small structure, we don´t have to markup so much. That allows us to produce an extremely high quality product, far above that of the market, but at a competitive price. When did you take the plunge? I saw this townhouse and I fell in love. I made an enormous investment and bet everything on it. I’d just proposed to my wife and suddenly I was saying to her: “Honey, I don’t just want to leave my job”, which gave us a lot of economic security, “I also want to go all-in on this project and put all of my savings into it.” Were you surprised by the sudden success? When we were in the apartment, just two months later, politics and diplomats began to arrive and the label exploded. It was unbelievable. We had to shut off the street with security guards. I just wanted to sell clothes to my friends and I went beyond all the limits. At that time I thought: what am I going to talk to these people about? With my friends I talked about football, family, women…and then I realised it was the same. People take off their investiture and become just another man. We would drink a few whiskies, smoke a cigar and we were all equals. After eight or nine months I decided to leave my job and take the risk. How did you go about adding clients? When I closed down the two showrooms, one in Recoleta and one in Puerto Madero, we had 116 clients. We ended last year with excellent sales and

They pamper you… Of course. We have a butler who receives you, and remembers the tastes of each person. We wait for them with Serrano ham, or a fine wine. We’ve made partnerships with Rutini, Nespresso… all the luxury brands. So that the client can find here the same things that he consumes at home. We also have an agreement and they always have valet parking in the car park opposite. That means that they can forget about the car and the time and just relax. Tell me more about the concierge service. That was an important step. Man, who is generally coarse, and whose most scarce resource is time, found a solution. The clients say things to me like: “I have a jacket that’s short of a button and I haven’t used it for a year. I don’t have time, I don’t know who can sew it, and I have to get a matching button…” And we’ve even fixed clothes by other labels. That was like saying to them: “We’re really with you, with my label or with someone else’s.” We have a slogan, which is that we don’t sell clothes; we sell happiness. It’s a 360º experience. What we want is a happy client, who come back. around a thousand clients. It was an exponential growth. The word of mouth was really good. We had a lot of private events and we also had a lot of coverage in the media, which positioned us. Today, twenty-five per cent of our clients are foreigners, because the best hotels recommend us. I think we can keep adding clients; my objective is to have 10,000. Are you still as involved in the business? All the time. What’s more, I’m in the factories a lot, I go and I share five thousand litres of mate with the shoemaker, the shirt-maker, with everyone… Much of the success has to do with the shopping experience. Tell me about that. It’s different. We already had a superior product, what was missing was accompanying it with a European level shopping experience. The first thing was to offer a concierge service, for you to make an appointment and ask for what was needed and we would take it to your home. It’s someone who’s available 24 hours a day, 365 days a year. In addition, there are two fashion consultants who are not salespeople. They tell the story of the product, how it was made and help you to choose and to combine colours or to know what to wear for a specific event.

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Where is your growth directed? The goal is international expansion. We’re working on replicating the concept and experience towards the end of the year in Madrid and the immediate plan is to open in Mexico City in March. What item are you most proud of? Of all the tailoring. Seventy per cent of our sales are suits. That’s the battle horse. There isn’t a customer without a Restinga suit. What is luxury for you? For me, luxury doesn’t have to be aspirational, nor is it concerned with the economic but rather it’s about being a bon vivant. It has to do with the tastes and pleasures that one can fulfil in life. There are guys who are millionaires and who don’t live well, that only think about having more money and more power. They’re monothematic, and they live to work. And then there’s another who has less, but lives much better as he knows how to separate things. If you think that your life has just one aim, you’re wrong. The best thing is to know how to share. One client, who I always say is my role model, travels with his family, with his friends, he enjoys experiencing new things, eating, and drinking. I admire how he lives. He is a connoisseur of everything. That, for me, is luxury. ¶

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7 Journeys to the Moon

Presenting seven new astronomical – or moon phase – watches that I have encountered during this year’s fairs and that, I suspect, will arouse emotion and desire. TXT Carlos Álvarez Insúa

hen S/O suggested in our April planning meeting that I write about the new moon phase watches, I felt it was great timing, as the 2017 fairs had been presenting some memorable astronomical models. Before taking a look at those that particularly stayed in my mind, I will try to go over some of the history of the relationship between the moon and timepieces.

The Sun and the Moon Horologic or selenitic timepieces are a variant of the solar clock. They operate on the principle of a sundial, but in this case it is the indirect light of the moon that illuminates the dial and its gnomon reflects the shadow of the moonlight upon it. The most basic model is identical to a solar timepiece, which only matches the solar hours on the day of a full moon. The full moon appears around 48 minutes later each night, with the result that, after a week of a full moon, moonlight has a delay of 5 hours and 36 minutes in relation to solar time. This is why corrective tables accompany this type of timepiece. In contrast, an astronomical timepiece informs us of the relative positions of the sun, moon, zodiacal constellations and major planets with a mobile representation of the solar system. It tells us the duration of the day and night, as well as the time of sunrise and sunset. Astro-

nomical clocks are emblems of monumental clock making and are usually inscribed with religious, cultural, artistic or scientific symbols: their existence reaffirming the grandeur of the cities in which they are erected. Perhaps the most iconic of all was erected in Prague, in 1410. I will leave the past now, to travel to Geneva and Basel in 2017, but first I must add that the monumental clocks of the fifteenth and sixteenth centuries were very imprecise and only gained hourly and sidereal accuracy with the incorporation of the pendulum in the eighteenth century. So then, we arrive in Switzerland, in a Europe shaken by unexpected political events, acts of terrorism and the surprise win of Donald Trump, with his policy of closing the door to cross-border trade. The sensation of a disturbing and unpredictable present was palpable in the aisles of the fairs… but our concern here is to look at watches that, apart from marking time, also capture the slow movement of the universe, indifferent as it is to the issues of today. The inventory selected by my emotional memory, the watches that appear before me when I close my eyes and recollect are: the Lange 1 Moon Phase, the Audemars Piguet Royal Oak Perpetual Calendar, the Jaeger-LeCoultre Rendezvous Night and Day, the Hublot Big Bang Moonphase, the IWC Da Vinci Perpetual Calendar Chronograph and the Zenith Elite Lady Moonphase.

A. Lange & Söhne

the new, updated version of the lange 1 Moon Phase has a new movement base and the moon phase complication indicator now has a day/night indicator. In December 2016, when I heard that the Lange launch would be an update of its Lange 1 Moon Phase I was not too impressed: a moon phase is a major complication, but the update does not seem a great deal. I have to admit that my hasty conclusion was wrong, for when I later got my hands on the Lange 1 Moon Phase I fell in love with it. It is interesting, powerful and unbeatably elegant. The new working of the day/night disc combined with the lunar phase indicator is fun despite its German sobriety. In truth there are two discs: one for the moon – with a time slippage of one day every 122.6 years – and the other, behind, rotating once every 24 hours. However, it was when I put the watch on that I felt the real emotion. The 38.5mm is incredibly comfortable and a great size for any wrist. Why are other manufacturers no longer using the 38-39mm model? It has an admirable harmony. If the Lange 1 is a touch small for your taste, this watch could add enough to the equation to change your mind. The white gold model with the black dial is my favourite, but I also love the platinum edition. The form of the moon is curved, ending in a sharp edge, full of character. There are two moons, although never visible at the same time. The sky disc draws various vibrant blues and the golden stars twinkle without outshining the moon, which is the true star in this mise-en-scène. The moon phase indicator is composed of seventy pieces, cleverly integrated in the L121.3 movement, just slightly larger than the L121.1 movement of the Lange 1.

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Vacheron Constantin

the new patrimony with lunar phase and retrograde date is a magnificent watch. Vacheron Constantin has combined the retrograde date with the lunar phase in a watch at various points in its long history. Patrimony, however, is the cleanest and most beautiful model that I have ever seen. Only the screen and the date of the lunar phase are displayed along with time (not the centre or milliseconds). The Patrimony Moon Phase is driven by the 2460 R31L, a derivation of the 2460 R31R7 movement that is behind the Retrograde Date. Both movements have the same dimensions – 27.2mm x 5.4mm – and both offer a power reserve of 40 hours, so the 32 hundredths of a millimetre height difference is not born of modifications in the dimensions of the movement. The diameter is 42.5mm, identical to the Retrograde Date, only slightly thinner. The Moon Phase is 9.7mm high, while that of the Retrograde Date was 10.02mm. The Moon Phase loses one day every 122 years, the standard loss in the top new moon phase watches.

Cartier

in 2017, following the surprise generated by the extreme singularity of the 2016 Cartier Drive, we have been moved once again by a new presentation of this model that has appeared classic and permanent since its introduction. The new Cartier Drive, with a refined, masculine design, comes with an ultra-thin 7mm movement and, in this version, a moonphase complication. Equipped with a new 1904-LU MC calibre movement, it is distinguished by the presentation of the lunar phases at 6 o’clock. This complication reproduces the cycle of the night star to the rhythm of the new moon, the first quarter moon, the full moon and the third quarter moon. A precise watch, which receives the title of ‘astronomical’ as it requires a correction of only one day every 125 years. In keeping with the aesthetic of the collection and its identifying features: comfort of use, the profile of the case, the domed glass and the purity of the sphere with white guilloché , the new Drive Moon Phases comes in two versions: one in rose gold and the other in steel.

IWC

the da vinci perpetual calendar chronograph unveils a new movement: the 89630. The silver or gold disc contains the complete representation of the full moon, so that by turning the rounded dark blue part of the disc â&#x20AC;&#x201C; that is to say, the shadow of the Earth â&#x20AC;&#x201C;the optical effect of a waxing or waning moon is created. The particles of white gold on the dark blue background give the interior of the dial the appearance of a starry sky. In the latest showrooms, IWC has proposed refreshing its main collections and turning a certain family classic piece into the expression of its design efforts for each SIHH. Last year, as you will remember, this was the collection of pilot watches. This year I saw the charming rebirth of Da Vinci. Before looking at the new pieces, let us have a quick look at the original series of Da Vinci watches, from 1985. The first generation IWC Da Vinci Perpetual Chronograph Calendar reached 39mm. The early Da Vincis represented a pretty radical change for IWC. The unique lug and stepped round casing established their powerful and daring elegance. There was also a high level of complexity, with another innovation for IWC: the perpetual calendar. This was the first perpetual calendar in which each indicator could be fixed by the crown: the day, date, month, year and also the moon phase. These innovative changes all in perfect synchrony make Da Vinci the glorious ancestor of all modern perpetual calendars with synchronised mechanism. Da Vinci is also the world that extends fertile territory for master watchmaker and inventor Kurt Klaus. For the 89630 movement, the IWC watchmakers continued reviewing the papers of previous models. However, there was a challenge: the 52610 movement, normally used for the perpetual calendar, triggered the lunar phase at 12 noon. If the chronograph hands were located there, they would pass through the centre, through the moon disc, because no space had been planned for a moon phase. So the engineers designed a new movement, the 89630, combining the double hand of the chronograph with the lunar phase system and placing both on an interior dial. The Da Vinci 2017 has a 43mm diameter with a 15.5mm high casing. The crown and the two pushbuttons have a cylindrical form, no longer as round as the 1985 Perpetual Calendar. Together with the robust movable lugs on the wristband, it offers a more contemporary look without losing the DNA of the icon.

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Audemars Piguet

black - completely black- beautiful and mysterious, were the words that rang around the aisles of the showroom. Journalists met each other after holding it in their hands and compared notes: “Did you see it?” They said. “Just, it’s so impressive!” They replied. The Perpetual Calendar and the Royal Oak have a symmetry rooted in the heart of Audemars Piguet. The Le Brassus watchmakers love that both the time measurements derived from astronomy and the cycles of nature can be beautifully documented in mysterious wristwatches. In 1955, Audemars Piguet created a wristwatch with perpetual calendar that offered the indication of the leap years. It was an edition of only 9, all in 18 carat yellow gold. Since then, Audemars Piguet has produced many wristwatches with perpetual calendar, amongst them the recent Royal Oak Perpetual Calendar 2016, which combines yellow gold, the iconic design by Gérald Genta and this classic complication of the watchmaking world. Now, Audemars Piguet presents the Royal Oak Perpetual Calendar in a completely black version, made with hand finished black ceramic. The day, month and astronomical moon indicators, as well as the essential leap year indicator, with the week of the year located on the external embossment of the dial, inhabit the “Grande Tapisserie” dial. The larger movement on this hand wound watch, housed in a solid 41mm casing, is visible – the only transparency of the black magician – through the sapphire crystal background. The black ceramic, difficult to master but practically impossible to scratch, is resistant to high temperatures and thermal shocks and is extremely durable. Only patience and extreme skills allow the achievement of a uniform, compact and ultra-rigid material that can later be worked mechanically and hand finished. “Wow, what a fortune!” someone says, referring to the value of the new black AP. Nevertheless, I will note that on rare occasions in this industry a high price is justified by the effort involved in producing a piece like the New Royal Oak. Audemars Piguet specialists spent more than 600 hours of research to develop this new wristwatch. It takes six hours to mechanically manufacture, polish, hand finish, assemble and check a Royal Oak stainless steel wristband; with a black ceramic wristband the same procedures take thirty hours. “Five times as long!” I find myself thinking. The dial, with the ‘Grande Tapisserie’ pattern, is slate grey with black counters and shows the image of a photographically realistic astronomical moon, which contrasts with all the black elements of the piece. Gerald Genta would certainly have celebrated the new Royal Oak!

Hublot

hublot has combined light summer colours, capturing the intensity of the moon in curious empathy with reflections that are brilliantly coloured, but ambiguous, strange and electric… Lunar hues: the indigo blue, adored by denim lovers, purple for an ultraviolet look, vibrant orange and 70s pop pink. The Big Bang Moonphase is a radical piece where everything is thought out from a design point of view. One difference with the analogue Spirit of Big Bang is that the 2017 version comes in four different colours. Its 42mm casing is framed by a chamfered edge decorated with 48 sapphires. With a 50-hour power reserve, the mechanism of this uncommon object functions with an automatic skeleton – citing the HUB1770 – and is intervened with a surface of silicon dioxide and aluminium oxide fused at high temperature. The dial is a sandblasted disc of the lunar phase that depicts a lunar cycle in a wide round window. It completes a revolution in two lunar cycles. The quartz abandons its historical colour in a panchromatic delirium, but preserves its hardness of 7 as measured on the Mohs scale, and the dial requires extreme technology. The semi-transparent dial reveals two alternative moons, also in matching tones. It is a game of contrasts and colours that focuses the eye on the complications at precisely 6 o’clock. A lunar cycle is reproduced in a large round window that completes a revolution every two lunar months. Hublot’s obsession with colour invades the Spirit of Big Bang Moonphase with four new models in tones of blue, violet, orange and pink. Wristband, quartz dial, sandblasted lunar phase dial, hands, indices and embedded chamfer set the tone for a bright monochrome collection.

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Zenith

in 2017, the elite collection welcomed a new model with a reduced size casing: the Elite Lady Moonphase 33 mm, a combination of technical excellence and timeless distinction. Available in rose gold or steel, this slim and very feminine watch will captivate women who love refined mechanisms but do not wish to sacrifice delicate and understated elegance. The Elite Lady Moonphase passes with finesse through five variations in 18 carat rose gold or stainless steel. The ultrathin 33mm case houses the automatic movement Elite 692, with a power reserve of more than 50 hours. The extremely thin movement, only 3.97mm height, set in motion the hour, minute, millisecond and lunar phase indicators.

Jaeger-LeCoultre

subtle and innovative, with an attention to the delicacy of detail, Jaeger-LeCoultre Rendez-Vouz Night & Day is in tone with fashion –now it is also available in yellow gold. This option is available for the first time in the 34mm Rendez-Vouz Night & Day. This feminine piece is now available in three sizes, in a choice of materials and with a new function. There is a day/night indicator in the opening located precisely at six o’clock, with a rotating disc featuring the sun and moon. The watch is powered by the JLC 898D/1 movement, which is automatic and has a 40-hour power reserve. The larger version is the 38.3mm, available in steel and yellow gold with diamonds – this is the first yellow gold Rendez-Vous and it is great to see more proposals adding yellow gold to the hegemonic rose of the last decade. However, it is the steel that really catches my eye. While this watch is not revolutionary, it is an example of how brands are beginning to offer steel ladies watches with complications and in larger sizes.

DevorĂŠ dress in natural silk. Watch: A. Lange & SĂśhne, Lange 1. Yellow gold earrings with South Sea golden pearls and yellow gold ring, golden South SeaETERNITY pearls and S/O diamonds by Jewelmer.

An Afternoon in the Museum Simonetta Orsini’s stunning jewellery collection was exhibited in the Museum of Decorative Art as part of Six O’clock Tea, the classic day of prêt-à-porter fashion shows. Between the salons and garden of the Errázuriz Alver Palace, we share some scenes of an afternoon full of sophistication. PHOTOS Hernán Cristiano Dresses by Claudia Arce. Acknowledgments: Josefina Laurent.

EUGENIA Watch: Saxonia, A. Lange & Söhne. White gold and diamond bracelet. Hoop earrings with baguette and pavecut diamonds. White gold and diamond collection rings

Devoré dress in natural silk. Watch: A. Lange & Söhne, Lange 1. Yellow gold earrings with South Sea golden pearls and yellow gold ring, golden South Sea pearls and S/O ETERNITY diamonds by Jewelmer.

PIA Watch: ClĂŠ 40mm, Cartier. Diamond and rose gold diamond-shaped pendant earrings. Three gold Trinity rings (white, yellow and rose gold with diamonds). Flower ring with pave-cut diamonds.

JULIANA Watch: Rendez Vous, Jaeger-LeCoultre. White gold pendant earrings with pave-set diamonds. White gold and diamond stretch infinity ring. Rose gold spiral ring with pave-set diamonds. Rose gold and diamond vintage ring.

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Marbled jacket, shirt and gabardine pants, Giesso. Sartorial backpack, Montblanc. Watch: Montblanc, Heritage Spirit Moonphase.

SOFIA Watch: Radiomir 1940 3 Day Automatic Acciaio, Panerai. Â Cultivated pearl necklace with white gold and diamond closure. White gold ring, with cultivated pearl and diamonds.

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THE EXISTENTIAL QUESTION He is a philosopher, but his life is far from that image of the silent thinker distanced from the world. Darío Sztajnszrajber - TV and radio presenter, columnist, writer lecturer and speaker - reflects on the big themes that, even today, move Man. TXT Florencia Zielinski PHOTOS Javier Picerno

e meet at 9 in the morning, in a bar in the Colegiales neighbourhood of Buenos Aires. He arrives right on the dot, wearing a red T-shirt, dark raincoat and a wide smile. This little café is one of his many regular stopping-off points dotted around the city, one more place in which to take a break between activities. For Darío Sztajnszrajber’s schedule is completely the opposite of the cliché of the philosopher retired from the mundane noise. Like his consonant-filled surname, it’s enough to make you dizzy. At the time of our meeting, he’s fresh back from a tour with Desencajados [Twisted], the theatrical project that for the last five years has brought philosophy and music together on the stage. He is also on the radio: with his own show Demasiado humano (on the Futuröck station), and as a contributor on Metro y medio (on Radio Metro). He teaches at the university and there are always requests to give lectures or talks. What’s more, there are always the newspapers, programmes and magazines that frequently require his opinion. However, the strategic reason for today’s choice is that this bar in particular is near his children’s school. Here, he has his table at the back, a waiter who knows just what to bring: a white coffee without croissants; all part of the traditional ritual of reading the newspaper.

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“I think that Encuentro (the channel that screened his show Mentira la verdad [Truth Is a Lie] for three seasons) opened a door for philosophy. It showed us that a philosophy programme wasn’t necessary two guys sitting down with a plant between them talking about Heidegger and Nazism”, he says, in explanation of the appeal that his projects generate nowadays, often selling out like a rock concert. What existential issues keep us awake the most? The subjects are the same as always, there’s not much mystery in philosophy. In ranking, number one is Death, followed by God and Love. Is God still a theme? Yes, to the extent that you run from the traditional religious institutions’ idea of God. It’s asking if there is something else, questioning our origin. The interrogation accompanies the increasingly solid development of science. The more science discovers about our origins, the more the question arises in philosophy – this idea that something came out of nothing, which is incomprehensible to our reasoning. No science can explain it. It still gives me a headache when I think about it. Is technology distancing us from the urge to seek meaning?

I don’t think that contemporary technology has made a difference, when compared with other moments in history. According to Heidegger, the human being has always sought refuge in the everyday, because that’s where we can shut out the existential questions. They’re existential because they have no answer and that makes us anxious. We run away from anxiety. What that mobile phone, those fast images (also marriage, work, watching the TV or being with friends) achieve is that, for a time, they manage to anaesthetise our awareness that we are finite. But, in reality, it’s the other way around: the magnitude of control that’s exercised in the everyday is such, that anxiety is a little bit liberating. Remembering that you’re going to die generates a more distant relation with the everyday. What new questions are appearing? Today, philosophy is working a lot on the material transformations generated by technology, where old binary categories - such as truth versus appearance or form versus content - begin to fall apart. In the world of the image it’s increasingly difficult to distinguish things that, in other times,

machinating what we believe we are generating autonomously. This hypothesis is first found 2500 years ago in Plato and his allegory of the cavern. So then, what do we do with this? I think that sometimes the hypothesis of the Matrix must be put in parenthesis. Not that it can be resolved, but what we can do is deconstruct some concepts that we consider given and certain. Denature the suppositions… Yes. The philosophical question permits making the ‘obvious’ strange again. Etymologically, ‘obvious’ means ‘the path you have before your eyes’. Here the obvious is something that you have so before your eyes that you don’t see that everything has other possible paths. That, for me, is the maxim of philosophy: everything, even that which functions well - and that above all - can be otherwise. But you buy the perspective that works, and you block off the rest. What does philosophy do? It reminds you. To philosophise when everything falls apart is easy. What is difficult, and provocative, is philosophising when everything is working well, because that’s when the instinct to question becomes lazy. You can say: why bother, if I’m fine?

What that mobile phone, those fast images achieve is that, for a time, they manage to anaesthetise our awareness that we are finite.” seemed easier. Is an image not something real too? But it breaks with the idea that the ‘real’ shouldn’t be intermediated. There’s a tendency in certain philosophy to become anti-technology, and I think it’s a mistake: technology transforms us and so it enables us to ask new questions. In general, institutions normalise us, when, in reality, at the same time as needing a little peace, we are little animals desperate to find meaning in that which doesn’t possess it. For that reason, I defend that duality to the death, that ambiguity of the human being that enters and exits all the time.

That’s what it proposes: philosophy doesn’t solve problems, it creates them. You problematize reality because you start to see that what presents itself as stable, is really concealing something. There’s a metaphor by Rorty that says ‘philosophizing is scratching where it doesn’t itch’. Socrates said of himself that he was an annoying fly, with his questions that society considered senseless. To scratch where it doesn’t itch doesn’t make sense, until you realise that really everything itches, and that parts of your body are anaesthetised. Why would the body not itch, if it’s born to die?

And isn’t philosophising, by definition, leaving the Matrix to re-enter it, time and again? Yes. And I would raise the stakes: isn’t the philosophical question disciplined from the Matrix? Because sometimes you have the sensation that even that which you consider a spontaneous question, is somehow scripted. The hypothesis of the Matrix presents the lack of exit, that any decision to be outside becomes impossible, because there is no outside. And that someone can always be

How do you relate this questioning to everyday life? It’s not desirable to take philosophy into everyday life on a permanent basis because then you can’t even lift your foot to move forward. What this type of reflection does, in practice, is help to run from certain dogmatic or discriminatory places. Denaturalisation necessarily breaks all hierarchy of power. In gender philosophy, for example, denaturalisation is fundamental in trying to reverse cen-

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turies of patriarchy. There, the power of philosophy has a concrete political implication in everyday life. What happens if love is denaturalised, for example? If you can philosophically question the suppositions that dwell in every relationship (understanding a ‘bond’ as an underlying power relation) then you realise where there is an exercise of power that would be good to interrupt or dissolve within your own relationships. We have relationships that involve a lot of appropriation of the other. ‘My woman’, ‘my husband’, that possessive with the other can be dispossessed. Philosophy is relevant there. Then, in everyday life, you have those two legs, because on the one side you live in a monogamous world, where the idea of relationship as a possession is installed. But, then, you can spend all your time dodging it. This is the interesting thing. Philosophy doesn’t propose another world: it proposes deconstruction, weakening. There is a thinker called Vattimo, who created the concept of the ‘weak thought’ and proposes weakening all that is presented as solid and absolute. What philosophy does is let loose, it shows that there’s always something that doesn’t work. Is monogamy one of the suppositions that is most uncomfortable to denaturalise? Yes, because monogamy goes beyond affection, it’s a political structure, a construction of social order. You and your partner can leave the monogamous structure, but society will still remain monogamous. And that has to do with the idea of appropriation of the other. We live in a society in which property is the axis of our relationship with things, which generates an objectification of the other. It’s five years since you debuted with Desencajados. What does theatrical staging add to your proposal? I think that it’s a very effective way to generate a transferal of philosophical language. Above all, for someone who hasn’t studied philosophy, yet something about philosophical language turns him on, it gets to him. I think that music and theatre are

key channels for that to reach us. I also think that a class in a lecture theatre is a staging, because in the same way you have the objective of reaching the other’s rationality, emotion and sensibility. Why do you think that what you do has such a pull at the moment? Contrary to what many say, we live in an era plagued by meaning. What technology does is process it and offer it for direct consumption; times like this are when the existential question arises most. In the world of business, there is a style of management that seeks lateral or creative thinking. The TED project has shaken things up. Since it’s birth in the United States, things that were historically seen as a waste of time are now somehow proper. I think it’s a mix of everything; I wouldn’t like to generate a hypothesis of the era, nor say, “today people like to think philosophically”. What places in Buenos Aires are ideal for asking existential questions? All transport in rush hour. The places that you wouldn’t choose to be are those that most provoke questioning. I also like the philosophical idea of flâneur, getting lost in the city. Buenos Aires has a lot of social and urban stratification in zones that you can still walk around and feel that sensation of estrangement, from Villa Devoto to Barracas. Motorways are also places that to me offer a different perspective. Another place that has always caught my attention is Chacarita cemetery. When I was really losing it, I went to walk round its walls. ¶

BETWEEN THE EPHEMERAL AND THE ETERNAL They leave their indelible mark in different cities around the world and astonish us with their open-air works of art. We present six of the main players in the world of murals, who are transforming the urban landscape. TXT Andrea Cukier

street art began as a synonym for rebellion, protest and counterculture. However, in the past decades this has changed radically. It has gone from being an act of vandalism to becoming a legitimate art-form that today is used to make cities more beautiful, create value for abandoned properties and even as a medium for publicity campaigns. In this way, murals persist as a tradition of social art and in addition to fulfilling an aesthetic function are also loaded with their own discourse. They turn the streets into an infinite canvas that reflects what is happening in a city at a specific moment in time. Many neighbourhoods have been â&#x20AC;&#x2DC;rebornâ&#x20AC;&#x2122; through this

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type of initiative. This was the case with Wynwood (Miami), a neighbourhood that has been revitalised and converted into a mecca for street art thanks to the Wynwood Walls project that each year brings together dozens of muralists for the Art Basel contemporary art fair. Another urban centre and great exponent of street art is Lisbon. The Portuguese capital managed to convert what had been a long struggle with graffiti vandalism into a circuit of renowned international muralists. This was achieved thanks to the intervention of local government, which offered free paint and other materials to any artist who presented a project to enhance the city.

MR MYSTERY

Banksy is the pseudonym of the legendary English street artist. Very little is known about his identity since neither his name nor his physical appearance are known and most of his biographical details are uncertain. His work mainly consists of satirically humorous murals commenting on politics, conflicts of war, social injustice and pop culture. He combines graffiti with stencils and his images are usually accompanied by provocative phrases to challenge the random viewers who come across his works. His murals have already become highly coveted British icons and his artworks have appeared in dozens of cities in the UK, as well as in Australia, the United States, France and Canada. With the authentic punk spirit that has characterised his career from the outset, on more than one occasion he has entered into renowned museums to clandestinely add his works. In this manner, he has exhibited in the Tate Modern, Brooklyn Museum, Metropolitan Museum of Art, and The Louvre, amongst others. In later years, various museums went on to acquire his works in the conventional manner for their collections and in 2010, Time magazine included him in their list of the hundred most influential people in the world. Always responsive to the latest world events, one of his most recent pieces was a work realised in Calais refugee camp. This depicted Steve Jobs - founder of Apple and son of a Syrian migrant to the United States - carrying a Mac and a rubbish bag with some of his belongings. The explicit aim was to show the hypocrisy between the politics towards immigrants and how countries can benefit from opening their doors to different cultures. Banksy’s immense popularity and the mystery surrounding his life mean that whenever one of his artworks appears on a wall, the owner of the property can sell the piece to a collector or a gallery for hundreds of thousands of dollars.

MADE IN ARGENTINA

The artist behind hundreds of street pieces, Martín Ron is known as one of ten best muralists in the world. A native of Caseros in the province of Buenos Aires, he produced his first work at 13, at the request of a friend. Today, he is a lecturer at UNTREF, the local university. Since 2010, has been the artistic director of the ‘Urban Beautification’ project in the Tres de Febrero area, where he has produced a large number of murals with different collaborators. The City of Buenos Aires invited him to create work as

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part of the celebrations for one hundred years of the subte [metro]. Not only did he paint a complete train of the A Line, but he also signed the walls of different stations on other lines. The work brought together different key players of local history, including Julio Cortázar, Mercedes Sosa, Carlos Tévez and Juan Manuel Fangio, amongst others. Ron has a great international presence and has painted murals in England, the United States, Germany, Belgium, Malaysia, Estonia, Guyana and the Canary Islands.

BROTHERS UNITED

It was in the eighties, when hip-hop culture rose to the fore, that identical twins Gustavo y Otavio Pandolfo began to roam the streets of their home city of São Paulo in Brazil and enter into the world of muralism. Since 1987 the brothers have been using the particularity of their condition to join forces and form an artistic duo known worldwide as Os Gemeos [The Twins]. They began with graffiti - creating a very particular aesthetic - later moving to painting, sculpture and finally to capture it on the walls. Although their paintings began casually, in the year 2000 the duo received public legitimation when they were invited – together with other street artists – to paint various train and metro carriages, which were later to become recognised as Brazilian cultural

heritage. Gustavo and Otavio are also members of the Wynwood Walls project and have exhibited their works in renowned museums and galleries in Brazil, Cuba, Chile, Italy, Spain, Germany, Japan and the United States, amongst others. Among their best-known work is the collaboration that they realised for the luxury brand Louis Vuitton: an silk scarf with an exclusive design created for the label. The duo also intervened an open-air street work by the British artist Banksy. Yet another impressive work by the duo was seen as part of the 2014 World Cup in Brazil. The brothers were tasked with painting the Boeing 737 that transported the Brazilian team during the event. Recently they have exhibited in New York and Paris, and intervened a former train factory in Milan, Italy.

SECOND GENERATION

Bordalo II - Artur Bordalo - chose his pseudonym in honour of his grandfather, the landscape painter Real Bordalo, clarifying his position as the second artist of the family. While his predecessor concerned himself with capturing the beauty of his native Lisbon, Bordalo II reinterprets the urban landscape with a figurative style that fuses artistic recycling with techniques of collage, sculpture, painting and graffiti. Born in 1987, Artur grew up with messages that encouraged consumerism and the mass production of objects. The bombardment of publicity had a great impact on his youth and from the outset he has maintained an interest in working with residual objects that others would consider junk. Many streets in

FROM SÃO PAULO WITH LOVE

Lisbon have been intervened by his artworks, which seek to represent nature with the materials responsible for its destruction. In the words of the artist: “I was part of an extremely consumerist, materialist and self-serving generation. The overproduction of goods creates an increase in consumption and that generates a lot of ‘waste’. I say ‘waste’, in quotes, because it’s a very abstract definition. One man’s waste is another man’s treasure”. In addition to presenting his 3D art on floors and wall, he has also used several rail lines in Portugal and created artworks with subliminal messages around the rail-lines to raise awareness about the world in which we live.

Another São Paulo artist that stands out amongst the circuit is Eduardo Kobra, who began to paint at 11 years old and today is recognised worldwide for the realism of his works, his handling of colour and implementation of geometric figures. Kobra’s artwork has a distinctive feature that makes it easily recognisable, as he works with series of 3D murals that allow interaction between the public and the artwork. During the nineties he developed the Muros de la Memoria [Walls of Memory] project with the aim of transforming the urban landscape, showing what the streets were like in the past, with people and their stories, and in this way resignifying the connection with history. He reproduced old photos and printed them with his personal touch in intense and vibrant colours. The project continues in the present day. In addition to participating in Wynwood Walls, his murals can be found in cities such as New York, Los Angeles, London, Rome, Athens and Lyon, amongst others. During the 2016 Olympic games in Rio, he established himself with the creation of the largest mural ever painted by one person. The piece is called ‘Etnías’ [Ethnicities]. It measures 3000m2, took hundreds of hours to complete and was inspired by the five Olympic rings, representing the different continents.

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TROPICAL FLAVOUR

Without any formal education in art or design, Elliot Tupac is a renowned screen-printing and calligraphy artist who has crossed the frontiers of his native Peru to bring his art across Latin America and to Europe From Huancayo, in the Junin region, he was raised to the rhythm of chicha, a musical genre born of the fusion between tropical rhythms and Andean music. Although this rhythm originated in Lima, it became known at the beginning of the seventies in the central region of Peruvian sierra, in particular in the city of Huancayo. His father is a designer and transmitted the art of screenprinting and craftsmanship to him from a young age. At 12,

Elliot began to design and create lettering and typography on the posters that were used to promote the tropical chicha bands and dances. This influence has accompanied him throughout his career and is the reason why today his bright and colourful calligraphy stands out in all of his great murals or posters. Since 2004, the artist has pursued this art both within his home continent and beyond. Through his artwork, Tupac focuses on indigenous traditions and promotes popular culture. After several years, he and his art arrived to Europe and his works reached neighbourhoods such as Notting Hill in London. He also painted a mural in Tunisia and another in Part Dieu metro station in the French city of Lyon.

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Aged Flavours Cheese, coffee, meat, whisky and beer. The gourmet world experiments with the passing of time to achieve more complex aromas. We explore the aging processes that improve and intensify food and drink to generate amazing foodie experiences.

TXT Daniela Rossi

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ime is one of the fundamental ingredients in many foods: Sardo, Lincoln or Cheddar reaches the ideal flavour and consistency after months of ripening. A wine that rests in a barrel takes on another potency and body after completing the cycle selected for it by the winemaker. The storage location, temperature and care received all contribute to defining the characteristics that the senses will perceive while tasting them. Beyond the traditional aging processes, the gourmet world has begun to experiment with the passing of time in different products to achieve different experiences. Drinks can be consumed young – when they are generally fresh, light and fragrant – or with a period of aging in different vessels. In the lapse of time in which they appear to rest, in reality their notes, colour, texture and aromas are being reinvented. Whisky is perhaps one of the best known aging processes: labels reveal the number of years that have passed before they reach the market. The Macallan, for many the best Scotch, favours Spanish oak barrels – previously used to age sherry – to mature its whisky. In 2014, in one of Sotheby’s auction rooms, a Taiwanese man bidding on a six litre bottle of ‘M’ – a blend elaborated with barrels dating from 1940 to 1990 – paid 628,205 dollars, thus making it the most expensive whisky in the world. The record was previously held by The Macallan’s 64 year old ‘Cire Perdue’. The years are worth it, and worth a lot. In 1867, an excavation in the German city of Speyer shocked historians and wine-lovers alike, when a bottle of wine produced between 325 and 359 CE was discovered buried alongside a Roman nobleman. The glass vessel was in a perfect state, but the condition of the wine remains a mystery, as for fear of damaging it, the bottle remains sealed.

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In the Strasbourg City Hospital Wine Cellar in France, one of the oldest wines in the world is stored. In its 545 years of age, the Alsace white has passed through three barrels and has been tasted only three times. A Château d’Yquem, elaborated in 1811 in the Sauternes region of Bordeaux, was the most expensive white wine in the world. The sommelier and collector Christian Vannequé coveted the 300-year-old bottle and acquired it for 110,000 dollars to exhibit in his restaurant in Indonesia. If a diner so wishes, they can ask for it to sit on their table. Beyond records and auctions, restaurants and wineries reserve bottles from past harvests in their wine cellars to open on special occasions. For example, to celebrate their 120th anniversary, the Norton winery opened labels that were more than 60 years old and that surprised everyone with their vitality and potency. Beer is no stranger to the aging process either. The United States’ brewers began experimenting with the use of oak barrels, in the style of wine, and achieved promising results. In fact, the exclusivity gained by this aging – before unthinkable for beer – turned these limited editions into objects of desire for connoisseurs. Hair of the Dog, a Portland brewery, sold its bottles for 2000 dollars each. In the Argentine market, artisan brands are also proving themselves: Antares launched its Proyecto Barricas [barrel project] to produce El Centinela, passed through distilling barrels (mainly those used for whisky). In their microbrewery in Bariloche, Cerveza Patagonia cares for barrels that previously held Malbec and which now contain Barley Wine for one year. The traditional aging of coffee began in the early 1700s, when the grains harvested in Indonesia travelled to Europe. They were stored in the ships’ hulls, which modified their condition. Following that process, some later made

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wood-aging fashionable. However, the material also changes and with it, evolves. “We take coffee to another level”, says Consuelo León, Nespresso Coffee Ambassador, on the worldwide launch of Limited Edition Selection Vintage 2014. The Colombian Arabica beans used to produce it has been conserved in burlap bags at 3,700 metres altitude. According to León: “Time refines the attributes of bitterness and acidity, highlights the toast of the wood and rests the red fruit. The flavour was perfected”. With meat, in addition to heightening the flavour, aging achieves an unparalleled tenderness. In this case, the birth of the practice can also be located with transoceanic transport, however it was only around 1970 that it was reincorporat-

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ed into modern cuisine. The Spanish chuleta, or ribeye, was one of the cuts used for this method. The technique of beef aging was also widespread in the rest of Europe and the United States. Little by little, there has been an increase in the investigations, tests and numbers of new kitchens adopting it. In Buenos Aires, Elena – the Four Seasons hotel restaurant, number 31 on the 50 Best Latin American Restaurants list – was one of those that bet heavily on the technique. Their executive chef, Juan Gaffuri, had come across it in the United States and Egypt and decided to incorporate it on the menu. “The dry aging adds value to the product. In a meat producing and consuming country, I felt that we had to evolve”, he recounts. Today, they serve 250 kilos of matured beef to their diners every week. In the larder they have more than a tonne in process (including, for example, Wagyu beef, which takes 180 days) and in the coming months they plan to launch personal meat stores: where a client preselects a cut, which will then be duly cared for over time and, at the perfect moment, arrive on their plate. Whether due to tradition or the search for innovation, the foodie universe appreciates the passing of time and takes advantage of the value that it adds.¶

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THE PRICE OF MEMORY Manufacturers that refabricate models from the past, collectors that bet on the long-term and the classic car auctions that move millions. When heritage moves on four wheels. TXT Gabriel Silveira

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“T

he past was always better…” it’s a phrase that takes on more meaning as the years unfold. Without attempting a deep analysis, we can say that this expression is rooted in our emotional memory. Yet it also functions as a trend: today vintage is chic. Design and originality of form - difficult to find in the present day - are both present in classic cars. And, of course, fashion is big business. According to a study carried out by the British consultants Knight Frank in late 2015, classic cars are valued at 25 percent after their first year and reach almost 111 percent after five years. If you have patience, after ten years the increase in valuation can be as much as 469 percent. In comparison with other valuables, classic cars have become a safe investment, leaving other collectables and investments in the dust. In one decade, gold has appreciated in value by 254 percent, followed by works of art (226 percent) and coins (221 percent). According to the same consultant, the cars most sought after for resale value are Ferraris and Porsches from the 50s and 60s, as these deliver the greatest profitability over the shortest timeframe. Today, the consours d’elegance [literally, elegance meetings], where vintage cars are awarded for their originality and rarity, are taking on increasing importance. The most famous of these are in Villa D’Este in northern Italy and Pebble Beach on the West Coast of the United States. Each year, thousands attend these events, where members of the aristocracy rub shoulders with car enthusiasts and businessmen. In recent years, the world’s principal auction houses have become involved, carrying out million dollar auctions in parallel with the events. In one of these meetings, in 2015, a Ferrari

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290 MM, fabricated for Juan Manuel Fangio to honour his 1965 Formula 1 win, was sold to an anonymous buyer for $28 million. One year later, $38.1 million was paid for a 1962 Ferrari 250 GTO Berlineta, promoted by the auction house as ‘the Holy Grail for collectors across the world.’ Special or limited editions with low number of vehicles produced are the must-have characteristics of these trailblazers of the motoring world, in addition (of course) to originality and impeccable conservation. But the trend of the ‘classics’ today goes beyond vintage cars. The manufacturers realised that playing on this emotional memory could bring good results, and they were not mistaken. The current reincarnations of the Mini Cooper, Volkswagen Beetle or Fiat 500, amongst others, are a worldwide success. They have a shared characteristic from the past that in the present day has taken on a new significance: the original versions of these models were accessibly priced and popular; today, thanks to their nostalgia value, they are sold as exclusives.

NOSTALGIA’S CARESS Of course, some brands use their history to forge a deeper bond with their clients. Mercedes-Benz, Porsche and BMW all have classic car divisions. These are dedicated to preserving the companies’ heritage models (used in various exhibitions) and also for restoring and repairing customers’ own vehicles. They have specialist workshops and an incredible stock of spare parts for practically all of their models. Moreover, last year BMW open a restored 13,000m2

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restored building, dedicated exclusively to its classic car division. In addition to running repair and maintenance workshops, Porsche has begun to integrate new technology into models from the past. For example, the first generation 911 vehicles, even mid-90s models, can be equipped with a 3.5 inch touch-screen navigation system, while still maintaining the classic two-knob and six-button design; truly retro. Land Rover and Jaguar, today under the same corporate umbrella, have launched two new variants. Land Rover’s Reborn programme, will see the re-launch of ten of the first Range Rover series, the release of a classic in the form of a new vehicle. A Reborn will cost upwards of £135,000, practically the same as one of the most expensive and powerful versions of the current Range Rover models in the UK. The Jaguar proposal is even bolder. The idea is to remanufacture past models, using not only the materials but also the production process of the past. In 2014, the final six E-Type Lightweight vehicles were manufactured, a project

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from the 60’s that had envisioned the production of 18 vehicles, but that was cut short by circumstance. On the back of its success, the British brand had gone even further with the XKSS of the 50’s. History recounts that 16 of the planned 25 vehicles were sold to European customers. The other nine, ready to be exported to the United States, were lost in a fire at the Browns Lane depot. Last year, Jaguar made the decision to remanufacture the vehicles lost in the incident, in part to honour history and of course also as a business proposal: each vehicle will cost one million pounds sterling. ¶

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ILLUSTRACIÃ&#x201C;N Ariel Escalante

Yellow gold and South Sea golden pearl earrings, Jewelmer. Yellow gold and South Sea golden pearl necklace, Jewelmer.

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