A MATTER OF ENTITIES

NATALIA JANULA

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"Each impression upon material is a birthmark of incomplete, precarious being. Each trace of biological utility is nullified and rebirthed through a new material cognition of nonhuman, nonplant, nonflesh, divided into peeling layers of her fractal apparition."

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"A REVERSE VOYEUR EXPERIENCE" 
Marescotti Ruspoli

"A Reverse Voyeur Experience wants to empathize with objects, who are constantly quarantined and obliged to listen to our nonsense all day, every day with no freedom of speech."

Matteo De Clercq

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We are currently living in a pretty singular time in the history of mankind. A surreal time, a time separated not by a wall, but by distance, a time when economies are crashing, inequalities are increasing, a time when our planet is slowly dying. Suddenly Paris is no longer romantic, New York doesn’t stand up anymore and Disney seems out of magic. We found ourselves trapped within our homes, isolated and confronted with a new reality of uncertainty. This lockdown has disrupted our lives, changing habits that were rooted within us, compromising our individual freedom and forcing us to face a loneliness that is both spatial and existential. Undoubtedly the lockdown has been a challenging period for everyone but too many words have been spent to underline what it has taken from us without considering what it may have given us in return. Because, in the end, the lockdown offered us some time. It is a paradox to think that, in a world where everything is becoming more interconnected and more immediate, the notion of time is becoming more elusive and less accessible. Time is the most valuable resource life has granted us, something that nowadays everybody seems to look for but very few seem to find. I like to think of the lockdown as an opportunity. A time for self-introspection, a time for evaluation, a time to rediscover an inner peace that an overly noisy life has long submerged. 

The lockdown gave me the chance to perceive my work under a new light; I understood that authenticity and genuineness are key aspects when approaching communication and that it is imperative for us as the next generations of thinkers to provide solutions that are not only sustainable but also truthful. This is the reason why I wanted my first editorial to speak about my daily life rather than just showcase a product. The editorial was shot during lockdown and I believe there couldn’t have been a better time for it. Due to restrictions I was forced to select scene props using objects from my room, which made it very personal. I feel that in some ways the lockdown brought me back to where it all started. Everything I needed was around me and that brought me an unparalleled amount of reassurance and confidence. Among the scene props, I was able to include objects I grew up with and that represent the person I am today along with other pieces of furniture designed by my father, thus creating a narrative that transcends time by bringing together two different yet similar generations. 

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It is always possible to see things under a different perspective, and it is important to always face adversity with a positive mindset. We must acknowledge that our greatest necessities will often be our greatest difficulties and therefore embrace any struggle without rejecting it. Ultimately it will be our attitude towards hardship that will determine our value and truly make a difference. Struggle represents the wellspring of strength and authenticity and I therefore feel very confident in saying that struggle is exactly what we need to be seeking. Times might be complicated but we now have the chance to be a conduit for change. It is our duty to make this new normal better than what preceded it and embrace our responsibility to set new values that will allow future generations to prosper. 

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GAIA Gencarelli

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Artsy women is born as a homage to women. The concept of the roots of this project is a virtual project where the woman is the piece of art, celebrating the individuality and the authenticity of every one of us. The creative process is based on thsi concept. Artsy women is born on instagram, initially as a tribute to the women of my life, my friends. And organically it evolved in something bigger. Whoever was interested in the project, I asked for photos in which they felt pretty and sure of themselves, which created a collaboration between a positive vision of the subject and my artistic re-interpretation. Every collage is unique, like my muses. For every woman I would select a piece of art that expressed their personality the best, elevating its attributes.

Lodovico Orombelli

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Orombelli’s works originate from personal and cultural memories, realised through the use and manipulation of materials and spaces. In this way, Soft orange bath mat is the result of a creative process which highlights the relationship between three dimensional forms and pictorial images.

Four bath mats had been painted and then used as moulds that gave rise to the pictorial prints that are now visible on the linen canvas. An explicit contact between object, canvas and paint leads to a tactile painting, which is explored visually.

The work, through the appropriation of the original carpets, subverts the existing relation between the beholder and the domesticity of the object. In fact, a soft surface which is usually understood through the soles of the feet, becomes an element to observe and ponder.

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"Ciao, Io Sono Pino"
by Luca Anzalone & Greta Gerardi 

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"Ciao, Io sono Pino. 

What’s (still) so exciting about Christmas? How do we react on life and death? Does it matter? And to what extent? 

My head kept spinning on and on while capturing that lifeless xmas tree, abandoned on those icy empty streets. It’s been now a habit of mine to not feel a thing during Christmas day. I’ve been living in the UK for the last 6 years and on the main streets xmas ads and discounts start coming out at the end of August. I feel numb through all this faux allure of happiness. Unfortunately, I’ve been missing all that joy that I remember used to grow inside of me during my childhood. The aesthetic research that I put into decorating my family xmas tree and all those days finding the right decoration: for example, I liked the cone-shape, green and healthy decorations. It was a process of creating something extraordinary and a moment of collaborating in the making of it. That’s also what I’ve been missing the most: the act of creating collectively. In contrast, as humans, we’ve only gotten better at the consumerism that comes with xmas: we want to decorate as fast as we can and are eager to show off the best decorations. It’s a dystopic process of consuming. I believe all those trees are just the waste product of this engagement. It’s probably this strong feeling of losing touch with childish xmas values and being the witness of this "en plein air" tree graveyard that led me to engage deeply with them. I began documenting almost compulsively with all the trees that I could. I photographed the first one in London, and then more in Barcelona, Copenhagen, Milan and Amsterdam, and so on. I was going crazy about the amount of photographs I collected. I thought it was just a seasonal happening, but then I realized trees (the plastic ones), were constantly thrown out of houses and local markets all year round. While processing the negatives, Greta popped in my mind. She adores trees. These photographs were so intimate to me that she was the first person I decided to share my idea with. The more we discussed this phenomenon, the more we were humanising pine trees. It was as if we’d want to bring life into them, as if imagining an alternative positive world for them was something that made us feel better. We went wild and this is probably the first year that I feel that xmas feeling again. We started by making papier-mache pine-trees and then wrote stories about them. We shared it with other artists ranging from 3D artists, illustrators, designers, cinematographers, curators, model makers and sound engineers. They were all collectively so engaged with this chain of creating that we could not stop it from growing. Greta is such a wonderful human being that I could never expand these emotions without her. We founded “Ciao Io Sono Pino” on xmas day and we are now passionately working to develop this movement into an active project for the coming year. We want to give xmas trees a voice, let people react, think, and change their perception of them naturally, without forcing it. We believe that’s the strongest statement we could make without being political about it. 

Would you care to join us?"

 Luca Anzalone

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"Pino for me is the green tree that represents the canonical and pure ideal of a tree. A tree for me contains something that belongs to me, something that is indecipherable. The indecipherable is translated into a story that is told by us in “Ciao, Io sono Pino”. The Pine tree becomes the protagonist of an ideal that goes beyond the abandonment, the sadness, the loneliness, and the greatness of beauty itself. I believe that for us, the story we are telling represents what we do not know about ourselves and what instead we’d like to say with a whisper. That is the relationship that I have always had with trees. 

The story that Luca and I want to tell makes us focus on the small gestures of the protagonist, Pino. It is a story of someone who is born in a house and ends up living on a different planet. It is a tale that connects two worlds. These are worlds that we unconsciously live every day. This represents our daily dream of going to another planet. What we are saying could be a bit uncommon. However, in this historical moment, we believe we should reinterpret the history of our lives through Pino’s experience. 

Would you care to join us? "

Greta Gerardi 

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