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⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
⚪BCO⚫
Last year I designed the graphic identity for @serpentineuk arts & tech and @radxchange event 𝑩𝒆𝒚𝒐𝒏𝒅 𝑪𝒖𝒍𝒕𝒖𝒓𝒆𝒔 𝒐𝒇 𝑶𝒘𝒏𝒆𝒓𝒔𝒉𝒊𝒑 at @somersethousestudios.
BCO was a day-long gathering that invited attendees to explore and strategise how art and culture can help reshape our understanding of ownership. It gathered artists, activists, researchers, technologists and policymakers to collectively sketch out new imaginaries and practices for more plural and relational protocols for interdependence through (un)conferences, flash talks, conversations and collective discussions.
The graphic identity and custom typeface take inspiration from interdependence models found in nature, also known as ‘collective excitations’: ripples, viral infections, flower blossoms, fungal colonies, magnetism or gravity.
A biggest thanks to my friend @roxyamina, without whom I hadn’t had this opportunity, and to @eva__jaeger for such a trustful, smooth and close collaboration experience!
Identity and bespoke typeface: 🙋♂️
Motion design typeface and symbols: @gerardmallandrich
Motion design assets and images: 🙋♂️
With guest speakers:
@holly_herndon
@matdryhurst
@ladydangfua
Adrienne Buller
@hilary_cottam
Divya Siddarth
@indy_johar
________
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Este sábado ᏕᎮᏋᏦ, Asalto #9 a cargo de @claudia.rebeca.lorenzo en Bizkaia por @canicheeditorial
Texto: Gema Intxausti
Fotografía y documentación: Álvaro Perdices
____
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Este sábado ᏕᎮᏋᏦ, Asalto #9 a cargo de @claudia.rebeca.lorenzo en Bizkaia por @canicheeditorial
Texto: Gema Intxausti
Fotografía y documentación: Álvaro Perdices
____
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Cap. III: Extender la mano y agitar el pigmento
Inauguración: Sábado 4 de octubre de 12 a 18h @espaciogaviota (Calle de la Gaviota, 25, Carabanchel,
28025. Madrid)
La intención de esta exposición es explorar la pintura contemporánea en España a través de la lente de la materialidad del color—como organizador, como mercancía, como comunicador de ideología y como sistema de categorización del espacio y la forma. Esta exposición desplaza la atención hacia otro componente de la figuración pictórica: el pigmento como material, para indagar en cuestiones relacionadas con el consumismo, la identidad nacional, el colonialismo y los sistemas epistemológicos de ordenamiento que sostienen tales ideologías.
Comisariada por @carmen_lael_hines y @robertomajano
Diseño Gráfico @jaidelcorro
Artistas:
@cristinagarridowork
#ElenaAsins
@manu_blazquez
@paulagarciamasedo
@r.silvac
@studiocristinalucas
Con el apoyo de @madrid y la colaboración de @albarran.bourdais
@galeriathegoma @freijogallery @luisadelantadovlc
Cap. III: Extender la mano y agitar el pigmento
Inauguración: Sábado 4 de octubre de 12 a 18h @espaciogaviota (Calle de la Gaviota, 25, Carabanchel,
28025. Madrid)
La intención de esta exposición es explorar la pintura contemporánea en España a través de la lente de la materialidad del color—como organizador, como mercancía, como comunicador de ideología y como sistema de categorización del espacio y la forma. Esta exposición desplaza la atención hacia otro componente de la figuración pictórica: el pigmento como material, para indagar en cuestiones relacionadas con el consumismo, la identidad nacional, el colonialismo y los sistemas epistemológicos de ordenamiento que sostienen tales ideologías.
Comisariada por @carmen_lael_hines y @robertomajano
Diseño Gráfico @jaidelcorro
Artistas:
@cristinagarridowork
#ElenaAsins
@manu_blazquez
@paulagarciamasedo
@r.silvac
@studiocristinalucas
Con el apoyo de @madrid y la colaboración de @albarran.bourdais
@galeriathegoma @freijogallery @luisadelantadovlc
Cap. III: Extender la mano y agitar el pigmento
Inauguración: Sábado 4 de octubre de 12 a 18h @espaciogaviota (Calle de la Gaviota, 25, Carabanchel,
28025. Madrid)
La intención de esta exposición es explorar la pintura contemporánea en España a través de la lente de la materialidad del color—como organizador, como mercancía, como comunicador de ideología y como sistema de categorización del espacio y la forma. Esta exposición desplaza la atención hacia otro componente de la figuración pictórica: el pigmento como material, para indagar en cuestiones relacionadas con el consumismo, la identidad nacional, el colonialismo y los sistemas epistemológicos de ordenamiento que sostienen tales ideologías.
Comisariada por @carmen_lael_hines y @robertomajano
Diseño Gráfico @jaidelcorro
Artistas:
@cristinagarridowork
#ElenaAsins
@manu_blazquez
@paulagarciamasedo
@r.silvac
@studiocristinalucas
Con el apoyo de @madrid y la colaboración de @albarran.bourdais
@galeriathegoma @freijogallery @luisadelantadovlc
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
Identity for ANIMARIO. Organized by @cinetecamadrid and @mataderomadrid, designed in collaboration between @victor.clemente_ @alfonso_yordi @emmegu and @jaidelcorro
ANIMARIO is the international contemporary animation film festival of Madrid, with Poland as its invited guest country for the 2024 edition.
This year’s graphic identity is inspired by ‘wycinanki’, a traditional Polish art of paper cutting born in the XIXth century. It involves creating intricate designs by cutting and layering paper, through which families depicted their daily lives and decorated interior spaces. The term comes from the Polish verb “wycinać,” which means “to cut out”.
Parting from this research, the visual identity aims to bring a traditional technique into a contemporary language, mixing the rural and the fantastic, history and modernity.
Music score by the wizard @pb___sr
Special thanks @mario__cano__
💌 to Cabo de Gata
Collage of images collected during our first 4-day expedition through land and sea in Cabo de Gata, Almería 🦂🐚🌾 with @radical_outdoors_club last year 🌞 A gathering of memories, objects, landscapes and people we met through the way. From my 🤎 to the land 🪢
____
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
💌 to Cabo de Gata
Collage of images collected during our first 4-day expedition through land and sea in Cabo de Gata, Almería 🦂🐚🌾 with @radical_outdoors_club last year 🌞 A gathering of memories, objects, landscapes and people we met through the way. From my 🤎 to the land 🪢
____
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
𝕊𝕡𝕝𝕒𝕤𝕙𝕚𝕟𝕘 𝕄𝕚𝕖𝕤 gathers the intervention by artist @peral_alberto for the Mies van der Rohe Pavillion in Barcelona, designed by Mies van der Rohe and Lilly Reich for the 1929 Barcelona International Exhibition.
Peral's work takes the building's most recognizable elements as their starting point—the reflections in the stones, glass, metals, and water surfaces, and the legendary structural and constructive rigidity of the German genius—and thus challenges what is commonly accepted. With practically a single element, which he places in different locations and gives a variety of uses (beams that do not support anything, pillars that are not pillars, pipes as fountains that break the stillness of the ponds), he aims to redefine the myth, stripping it of its sacrosanct coldness and thus bringing it closer to the Mediterranean enjoyment of the contradictions on display and of the water that flows and splashes us.
As silently playful as the installation, the publication establishes cues guiding the reader into its own tricks and happenings. A reflective surface, an upside-down title, pillar-like typography and thin materials.
Pictures are by Juande Jarillo
Text by David Mesa.
Published by @canicheeditorial
𝕊𝕡𝕝𝕒𝕤𝕙𝕚𝕟𝕘 𝕄𝕚𝕖𝕤 gathers the intervention by artist @peral_alberto for the Mies van der Rohe Pavillion in Barcelona, designed by Mies van der Rohe and Lilly Reich for the 1929 Barcelona International Exhibition.
Peral's work takes the building's most recognizable elements as their starting point—the reflections in the stones, glass, metals, and water surfaces, and the legendary structural and constructive rigidity of the German genius—and thus challenges what is commonly accepted. With practically a single element, which he places in different locations and gives a variety of uses (beams that do not support anything, pillars that are not pillars, pipes as fountains that break the stillness of the ponds), he aims to redefine the myth, stripping it of its sacrosanct coldness and thus bringing it closer to the Mediterranean enjoyment of the contradictions on display and of the water that flows and splashes us.
As silently playful as the installation, the publication establishes cues guiding the reader into its own tricks and happenings. A reflective surface, an upside-down title, pillar-like typography and thin materials.
Pictures are by Juande Jarillo
Text by David Mesa.
Published by @canicheeditorial
𝕊𝕡𝕝𝕒𝕤𝕙𝕚𝕟𝕘 𝕄𝕚𝕖𝕤 gathers the intervention by artist @peral_alberto for the Mies van der Rohe Pavillion in Barcelona, designed by Mies van der Rohe and Lilly Reich for the 1929 Barcelona International Exhibition.
Peral's work takes the building's most recognizable elements as their starting point—the reflections in the stones, glass, metals, and water surfaces, and the legendary structural and constructive rigidity of the German genius—and thus challenges what is commonly accepted. With practically a single element, which he places in different locations and gives a variety of uses (beams that do not support anything, pillars that are not pillars, pipes as fountains that break the stillness of the ponds), he aims to redefine the myth, stripping it of its sacrosanct coldness and thus bringing it closer to the Mediterranean enjoyment of the contradictions on display and of the water that flows and splashes us.
As silently playful as the installation, the publication establishes cues guiding the reader into its own tricks and happenings. A reflective surface, an upside-down title, pillar-like typography and thin materials.
Pictures are by Juande Jarillo
Text by David Mesa.
Published by @canicheeditorial
𝕊𝕡𝕝𝕒𝕤𝕙𝕚𝕟𝕘 𝕄𝕚𝕖𝕤 gathers the intervention by artist @peral_alberto for the Mies van der Rohe Pavillion in Barcelona, designed by Mies van der Rohe and Lilly Reich for the 1929 Barcelona International Exhibition.
Peral's work takes the building's most recognizable elements as their starting point—the reflections in the stones, glass, metals, and water surfaces, and the legendary structural and constructive rigidity of the German genius—and thus challenges what is commonly accepted. With practically a single element, which he places in different locations and gives a variety of uses (beams that do not support anything, pillars that are not pillars, pipes as fountains that break the stillness of the ponds), he aims to redefine the myth, stripping it of its sacrosanct coldness and thus bringing it closer to the Mediterranean enjoyment of the contradictions on display and of the water that flows and splashes us.
As silently playful as the installation, the publication establishes cues guiding the reader into its own tricks and happenings. A reflective surface, an upside-down title, pillar-like typography and thin materials.
Pictures are by Juande Jarillo
Text by David Mesa.
Published by @canicheeditorial
𝕊𝕡𝕝𝕒𝕤𝕙𝕚𝕟𝕘 𝕄𝕚𝕖𝕤 gathers the intervention by artist @peral_alberto for the Mies van der Rohe Pavillion in Barcelona, designed by Mies van der Rohe and Lilly Reich for the 1929 Barcelona International Exhibition.
Peral's work takes the building's most recognizable elements as their starting point—the reflections in the stones, glass, metals, and water surfaces, and the legendary structural and constructive rigidity of the German genius—and thus challenges what is commonly accepted. With practically a single element, which he places in different locations and gives a variety of uses (beams that do not support anything, pillars that are not pillars, pipes as fountains that break the stillness of the ponds), he aims to redefine the myth, stripping it of its sacrosanct coldness and thus bringing it closer to the Mediterranean enjoyment of the contradictions on display and of the water that flows and splashes us.
As silently playful as the installation, the publication establishes cues guiding the reader into its own tricks and happenings. A reflective surface, an upside-down title, pillar-like typography and thin materials.
Pictures are by Juande Jarillo
Text by David Mesa.
Published by @canicheeditorial
𝕊𝕡𝕝𝕒𝕤𝕙𝕚𝕟𝕘 𝕄𝕚𝕖𝕤 gathers the intervention by artist @peral_alberto for the Mies van der Rohe Pavillion in Barcelona, designed by Mies van der Rohe and Lilly Reich for the 1929 Barcelona International Exhibition.
Peral's work takes the building's most recognizable elements as their starting point—the reflections in the stones, glass, metals, and water surfaces, and the legendary structural and constructive rigidity of the German genius—and thus challenges what is commonly accepted. With practically a single element, which he places in different locations and gives a variety of uses (beams that do not support anything, pillars that are not pillars, pipes as fountains that break the stillness of the ponds), he aims to redefine the myth, stripping it of its sacrosanct coldness and thus bringing it closer to the Mediterranean enjoyment of the contradictions on display and of the water that flows and splashes us.
As silently playful as the installation, the publication establishes cues guiding the reader into its own tricks and happenings. A reflective surface, an upside-down title, pillar-like typography and thin materials.
Pictures are by Juande Jarillo
Text by David Mesa.
Published by @canicheeditorial
𝕊𝕡𝕝𝕒𝕤𝕙𝕚𝕟𝕘 𝕄𝕚𝕖𝕤 gathers the intervention by artist @peral_alberto for the Mies van der Rohe Pavillion in Barcelona, designed by Mies van der Rohe and Lilly Reich for the 1929 Barcelona International Exhibition.
Peral's work takes the building's most recognizable elements as their starting point—the reflections in the stones, glass, metals, and water surfaces, and the legendary structural and constructive rigidity of the German genius—and thus challenges what is commonly accepted. With practically a single element, which he places in different locations and gives a variety of uses (beams that do not support anything, pillars that are not pillars, pipes as fountains that break the stillness of the ponds), he aims to redefine the myth, stripping it of its sacrosanct coldness and thus bringing it closer to the Mediterranean enjoyment of the contradictions on display and of the water that flows and splashes us.
As silently playful as the installation, the publication establishes cues guiding the reader into its own tricks and happenings. A reflective surface, an upside-down title, pillar-like typography and thin materials.
Pictures are by Juande Jarillo
Text by David Mesa.
Published by @canicheeditorial
Recovering a most beloved project ♋
Last year I had the great luck to collaborate with @la_vica_ , an artist and human I admire very very much
"ITA" is an audiovisual living organism, a contemplative system in movement like a world in entelequia swinged by the rhythm of an improvised concert. "ITA" means flower in Mixteco.
This project felt to me like an insight into the sculptural and illustrative potential in letters. Into how thinking like a film-director when drawing letters can lead! I let myself be guided by the film, and rather than thinking of the letter, I thought of the little beings I was trying to create.
So happy to have put a lace to this magical artwork 🎀
Directed by @la_vica_
Letters by 🙋🏻♂️
3D in slide 2 by the magician @clumsycas 🩰
Recovering a most beloved project ♋
Last year I had the great luck to collaborate with @la_vica_ , an artist and human I admire very very much
"ITA" is an audiovisual living organism, a contemplative system in movement like a world in entelequia swinged by the rhythm of an improvised concert. "ITA" means flower in Mixteco.
This project felt to me like an insight into the sculptural and illustrative potential in letters. Into how thinking like a film-director when drawing letters can lead! I let myself be guided by the film, and rather than thinking of the letter, I thought of the little beings I was trying to create.
So happy to have put a lace to this magical artwork 🎀
Directed by @la_vica_
Letters by 🙋🏻♂️
3D in slide 2 by the magician @clumsycas 🩰
Recovering a most beloved project ♋
Last year I had the great luck to collaborate with @la_vica_ , an artist and human I admire very very much
"ITA" is an audiovisual living organism, a contemplative system in movement like a world in entelequia swinged by the rhythm of an improvised concert. "ITA" means flower in Mixteco.
This project felt to me like an insight into the sculptural and illustrative potential in letters. Into how thinking like a film-director when drawing letters can lead! I let myself be guided by the film, and rather than thinking of the letter, I thought of the little beings I was trying to create.
So happy to have put a lace to this magical artwork 🎀
Directed by @la_vica_
Letters by 🙋🏻♂️
3D in slide 2 by the magician @clumsycas 🩰
Recovering a most beloved project ♋
Last year I had the great luck to collaborate with @la_vica_ , an artist and human I admire very very much
"ITA" is an audiovisual living organism, a contemplative system in movement like a world in entelequia swinged by the rhythm of an improvised concert. "ITA" means flower in Mixteco.
This project felt to me like an insight into the sculptural and illustrative potential in letters. Into how thinking like a film-director when drawing letters can lead! I let myself be guided by the film, and rather than thinking of the letter, I thought of the little beings I was trying to create.
So happy to have put a lace to this magical artwork 🎀
Directed by @la_vica_
Letters by 🙋🏻♂️
3D in slide 2 by the magician @clumsycas 🩰
Recovering a most beloved project ♋
Last year I had the great luck to collaborate with @la_vica_ , an artist and human I admire very very much
"ITA" is an audiovisual living organism, a contemplative system in movement like a world in entelequia swinged by the rhythm of an improvised concert. "ITA" means flower in Mixteco.
This project felt to me like an insight into the sculptural and illustrative potential in letters. Into how thinking like a film-director when drawing letters can lead! I let myself be guided by the film, and rather than thinking of the letter, I thought of the little beings I was trying to create.
So happy to have put a lace to this magical artwork 🎀
Directed by @la_vica_
Letters by 🙋🏻♂️
3D in slide 2 by the magician @clumsycas 🩰
Recovering a most beloved project ♋
Last year I had the great luck to collaborate with @la_vica_ , an artist and human I admire very very much
"ITA" is an audiovisual living organism, a contemplative system in movement like a world in entelequia swinged by the rhythm of an improvised concert. "ITA" means flower in Mixteco.
This project felt to me like an insight into the sculptural and illustrative potential in letters. Into how thinking like a film-director when drawing letters can lead! I let myself be guided by the film, and rather than thinking of the letter, I thought of the little beings I was trying to create.
So happy to have put a lace to this magical artwork 🎀
Directed by @la_vica_
Letters by 🙋🏻♂️
3D in slide 2 by the magician @clumsycas 🩰
Queridos amigos🍸
Os recordamos a todos que el miércoles 3 de julio os esperamos en Calle Pradillo 11 para celebrar un nuevo modelo de galería. Enfatizamos el compromiso con nuestros artistas y seguiremos trabajando como representantes y a nivel comercial siguiendo una vocación de progresiva internacionalización del proyecto. A partir de las 19h presentaremos una selección de obras icónicas dentro de nuestra trayectoria y brindaremos con nuestros artistas, amigos y colaboradores.
Habrá sorpresas 👀 ¡os esperamos!
Agradecimiento especial a @jaidelcorro por su cariño, dedicación y talento gráfico durante estos años 🚀
Queridos amigos🍸
Os recordamos a todos que el miércoles 3 de julio os esperamos en Calle Pradillo 11 para celebrar un nuevo modelo de galería. Enfatizamos el compromiso con nuestros artistas y seguiremos trabajando como representantes y a nivel comercial siguiendo una vocación de progresiva internacionalización del proyecto. A partir de las 19h presentaremos una selección de obras icónicas dentro de nuestra trayectoria y brindaremos con nuestros artistas, amigos y colaboradores.
Habrá sorpresas 👀 ¡os esperamos!
Agradecimiento especial a @jaidelcorro por su cariño, dedicación y talento gráfico durante estos años 🚀
SPEK, publicación de @claudia.rebeca.lorenzo por @canicheeditorial is grown and out 🌳🌱🌺
____
La raíz indoeuropea spek ha ido propagándose, floreciendo y ramificando de manera entrelazada entre distintos idiomas: speculo en latín, espejo en castellano, ispilu en euskera. Los viajes a la raíz etimológica suelen estar plagados de desviaciones compatibles con irse por las ramas. Así, las ramas acaban imitando a las raíces, desplegándose y creciendo de manera azarosa y las raíces ramifican como en un juego de espejos invertidos.
Esta publicación recoge la intervención que desarrolló la artista Claudia Rebeca Lorenzo en el jardín de Iturribide Etxea durante las obras de rehabilitación de la futura sede de caniche. La acompañaron en el proceso Gema Intxausti, que elaboró el texto, Álvaro Perdices, que documentó y fotografió la intervención y Jaime del Corro, que diseñó el cartel así como esta especie (esta palabra también proviene de spek) de fanzine, elaborado con un papel reciclado de algas.
Las piezas de Claudia Rebeca que aquí se documentan, prótesis y reflejos de ramas y raíces, elaboradas con celo al que da forma durante horas y vueltas infinitas -el tejer y destejer de Penélope-; conforman un paisaje, un campo semántico, como a rose is a rose is a rose is a rose, de Gertrude Stein; unas estructuras que persisten en su reiteración, en el celo de su desempeño.
195 x 255 mm
24 páginas
Edición bilingüe: euskera y castellano
Texto: Gema Intxausti @gema.intxausti
Documentación fotográfica: Álvaro Perdices
@alvaroperdices
Diseño: Jaime del Corro @jaidelcorro
15 euros
Edición limitada de 50 ejemplares
Gastos de envío gratuitos en España
Gracias @canicheeditorial @claudia.rebeca.lorenzo 💚
SPEK, publicación de @claudia.rebeca.lorenzo por @canicheeditorial is grown and out 🌳🌱🌺
____
La raíz indoeuropea spek ha ido propagándose, floreciendo y ramificando de manera entrelazada entre distintos idiomas: speculo en latín, espejo en castellano, ispilu en euskera. Los viajes a la raíz etimológica suelen estar plagados de desviaciones compatibles con irse por las ramas. Así, las ramas acaban imitando a las raíces, desplegándose y creciendo de manera azarosa y las raíces ramifican como en un juego de espejos invertidos.
Esta publicación recoge la intervención que desarrolló la artista Claudia Rebeca Lorenzo en el jardín de Iturribide Etxea durante las obras de rehabilitación de la futura sede de caniche. La acompañaron en el proceso Gema Intxausti, que elaboró el texto, Álvaro Perdices, que documentó y fotografió la intervención y Jaime del Corro, que diseñó el cartel así como esta especie (esta palabra también proviene de spek) de fanzine, elaborado con un papel reciclado de algas.
Las piezas de Claudia Rebeca que aquí se documentan, prótesis y reflejos de ramas y raíces, elaboradas con celo al que da forma durante horas y vueltas infinitas -el tejer y destejer de Penélope-; conforman un paisaje, un campo semántico, como a rose is a rose is a rose is a rose, de Gertrude Stein; unas estructuras que persisten en su reiteración, en el celo de su desempeño.
195 x 255 mm
24 páginas
Edición bilingüe: euskera y castellano
Texto: Gema Intxausti @gema.intxausti
Documentación fotográfica: Álvaro Perdices
@alvaroperdices
Diseño: Jaime del Corro @jaidelcorro
15 euros
Edición limitada de 50 ejemplares
Gastos de envío gratuitos en España
Gracias @canicheeditorial @claudia.rebeca.lorenzo 💚
SPEK, publicación de @claudia.rebeca.lorenzo por @canicheeditorial is grown and out 🌳🌱🌺
____
La raíz indoeuropea spek ha ido propagándose, floreciendo y ramificando de manera entrelazada entre distintos idiomas: speculo en latín, espejo en castellano, ispilu en euskera. Los viajes a la raíz etimológica suelen estar plagados de desviaciones compatibles con irse por las ramas. Así, las ramas acaban imitando a las raíces, desplegándose y creciendo de manera azarosa y las raíces ramifican como en un juego de espejos invertidos.
Esta publicación recoge la intervención que desarrolló la artista Claudia Rebeca Lorenzo en el jardín de Iturribide Etxea durante las obras de rehabilitación de la futura sede de caniche. La acompañaron en el proceso Gema Intxausti, que elaboró el texto, Álvaro Perdices, que documentó y fotografió la intervención y Jaime del Corro, que diseñó el cartel así como esta especie (esta palabra también proviene de spek) de fanzine, elaborado con un papel reciclado de algas.
Las piezas de Claudia Rebeca que aquí se documentan, prótesis y reflejos de ramas y raíces, elaboradas con celo al que da forma durante horas y vueltas infinitas -el tejer y destejer de Penélope-; conforman un paisaje, un campo semántico, como a rose is a rose is a rose is a rose, de Gertrude Stein; unas estructuras que persisten en su reiteración, en el celo de su desempeño.
195 x 255 mm
24 páginas
Edición bilingüe: euskera y castellano
Texto: Gema Intxausti @gema.intxausti
Documentación fotográfica: Álvaro Perdices
@alvaroperdices
Diseño: Jaime del Corro @jaidelcorro
15 euros
Edición limitada de 50 ejemplares
Gastos de envío gratuitos en España
Gracias @canicheeditorial @claudia.rebeca.lorenzo 💚
SPEK, publicación de @claudia.rebeca.lorenzo por @canicheeditorial is grown and out 🌳🌱🌺
____
La raíz indoeuropea spek ha ido propagándose, floreciendo y ramificando de manera entrelazada entre distintos idiomas: speculo en latín, espejo en castellano, ispilu en euskera. Los viajes a la raíz etimológica suelen estar plagados de desviaciones compatibles con irse por las ramas. Así, las ramas acaban imitando a las raíces, desplegándose y creciendo de manera azarosa y las raíces ramifican como en un juego de espejos invertidos.
Esta publicación recoge la intervención que desarrolló la artista Claudia Rebeca Lorenzo en el jardín de Iturribide Etxea durante las obras de rehabilitación de la futura sede de caniche. La acompañaron en el proceso Gema Intxausti, que elaboró el texto, Álvaro Perdices, que documentó y fotografió la intervención y Jaime del Corro, que diseñó el cartel así como esta especie (esta palabra también proviene de spek) de fanzine, elaborado con un papel reciclado de algas.
Las piezas de Claudia Rebeca que aquí se documentan, prótesis y reflejos de ramas y raíces, elaboradas con celo al que da forma durante horas y vueltas infinitas -el tejer y destejer de Penélope-; conforman un paisaje, un campo semántico, como a rose is a rose is a rose is a rose, de Gertrude Stein; unas estructuras que persisten en su reiteración, en el celo de su desempeño.
195 x 255 mm
24 páginas
Edición bilingüe: euskera y castellano
Texto: Gema Intxausti @gema.intxausti
Documentación fotográfica: Álvaro Perdices
@alvaroperdices
Diseño: Jaime del Corro @jaidelcorro
15 euros
Edición limitada de 50 ejemplares
Gastos de envío gratuitos en España
Gracias @canicheeditorial @claudia.rebeca.lorenzo 💚
SPEK, publicación de @claudia.rebeca.lorenzo por @canicheeditorial is grown and out 🌳🌱🌺
____
La raíz indoeuropea spek ha ido propagándose, floreciendo y ramificando de manera entrelazada entre distintos idiomas: speculo en latín, espejo en castellano, ispilu en euskera. Los viajes a la raíz etimológica suelen estar plagados de desviaciones compatibles con irse por las ramas. Así, las ramas acaban imitando a las raíces, desplegándose y creciendo de manera azarosa y las raíces ramifican como en un juego de espejos invertidos.
Esta publicación recoge la intervención que desarrolló la artista Claudia Rebeca Lorenzo en el jardín de Iturribide Etxea durante las obras de rehabilitación de la futura sede de caniche. La acompañaron en el proceso Gema Intxausti, que elaboró el texto, Álvaro Perdices, que documentó y fotografió la intervención y Jaime del Corro, que diseñó el cartel así como esta especie (esta palabra también proviene de spek) de fanzine, elaborado con un papel reciclado de algas.
Las piezas de Claudia Rebeca que aquí se documentan, prótesis y reflejos de ramas y raíces, elaboradas con celo al que da forma durante horas y vueltas infinitas -el tejer y destejer de Penélope-; conforman un paisaje, un campo semántico, como a rose is a rose is a rose is a rose, de Gertrude Stein; unas estructuras que persisten en su reiteración, en el celo de su desempeño.
195 x 255 mm
24 páginas
Edición bilingüe: euskera y castellano
Texto: Gema Intxausti @gema.intxausti
Documentación fotográfica: Álvaro Perdices
@alvaroperdices
Diseño: Jaime del Corro @jaidelcorro
15 euros
Edición limitada de 50 ejemplares
Gastos de envío gratuitos en España
Gracias @canicheeditorial @claudia.rebeca.lorenzo 💚
SPEK, publicación de @claudia.rebeca.lorenzo por @canicheeditorial is grown and out 🌳🌱🌺
____
La raíz indoeuropea spek ha ido propagándose, floreciendo y ramificando de manera entrelazada entre distintos idiomas: speculo en latín, espejo en castellano, ispilu en euskera. Los viajes a la raíz etimológica suelen estar plagados de desviaciones compatibles con irse por las ramas. Así, las ramas acaban imitando a las raíces, desplegándose y creciendo de manera azarosa y las raíces ramifican como en un juego de espejos invertidos.
Esta publicación recoge la intervención que desarrolló la artista Claudia Rebeca Lorenzo en el jardín de Iturribide Etxea durante las obras de rehabilitación de la futura sede de caniche. La acompañaron en el proceso Gema Intxausti, que elaboró el texto, Álvaro Perdices, que documentó y fotografió la intervención y Jaime del Corro, que diseñó el cartel así como esta especie (esta palabra también proviene de spek) de fanzine, elaborado con un papel reciclado de algas.
Las piezas de Claudia Rebeca que aquí se documentan, prótesis y reflejos de ramas y raíces, elaboradas con celo al que da forma durante horas y vueltas infinitas -el tejer y destejer de Penélope-; conforman un paisaje, un campo semántico, como a rose is a rose is a rose is a rose, de Gertrude Stein; unas estructuras que persisten en su reiteración, en el celo de su desempeño.
195 x 255 mm
24 páginas
Edición bilingüe: euskera y castellano
Texto: Gema Intxausti @gema.intxausti
Documentación fotográfica: Álvaro Perdices
@alvaroperdices
Diseño: Jaime del Corro @jaidelcorro
15 euros
Edición limitada de 50 ejemplares
Gastos de envío gratuitos en España
Gracias @canicheeditorial @claudia.rebeca.lorenzo 💚
SPEK, publicación de @claudia.rebeca.lorenzo por @canicheeditorial is grown and out 🌳🌱🌺
____
La raíz indoeuropea spek ha ido propagándose, floreciendo y ramificando de manera entrelazada entre distintos idiomas: speculo en latín, espejo en castellano, ispilu en euskera. Los viajes a la raíz etimológica suelen estar plagados de desviaciones compatibles con irse por las ramas. Así, las ramas acaban imitando a las raíces, desplegándose y creciendo de manera azarosa y las raíces ramifican como en un juego de espejos invertidos.
Esta publicación recoge la intervención que desarrolló la artista Claudia Rebeca Lorenzo en el jardín de Iturribide Etxea durante las obras de rehabilitación de la futura sede de caniche. La acompañaron en el proceso Gema Intxausti, que elaboró el texto, Álvaro Perdices, que documentó y fotografió la intervención y Jaime del Corro, que diseñó el cartel así como esta especie (esta palabra también proviene de spek) de fanzine, elaborado con un papel reciclado de algas.
Las piezas de Claudia Rebeca que aquí se documentan, prótesis y reflejos de ramas y raíces, elaboradas con celo al que da forma durante horas y vueltas infinitas -el tejer y destejer de Penélope-; conforman un paisaje, un campo semántico, como a rose is a rose is a rose is a rose, de Gertrude Stein; unas estructuras que persisten en su reiteración, en el celo de su desempeño.
195 x 255 mm
24 páginas
Edición bilingüe: euskera y castellano
Texto: Gema Intxausti @gema.intxausti
Documentación fotográfica: Álvaro Perdices
@alvaroperdices
Diseño: Jaime del Corro @jaidelcorro
15 euros
Edición limitada de 50 ejemplares
Gastos de envío gratuitos en España
Gracias @canicheeditorial @claudia.rebeca.lorenzo 💚
SPEK, publicación de @claudia.rebeca.lorenzo por @canicheeditorial is grown and out 🌳🌱🌺
____
La raíz indoeuropea spek ha ido propagándose, floreciendo y ramificando de manera entrelazada entre distintos idiomas: speculo en latín, espejo en castellano, ispilu en euskera. Los viajes a la raíz etimológica suelen estar plagados de desviaciones compatibles con irse por las ramas. Así, las ramas acaban imitando a las raíces, desplegándose y creciendo de manera azarosa y las raíces ramifican como en un juego de espejos invertidos.
Esta publicación recoge la intervención que desarrolló la artista Claudia Rebeca Lorenzo en el jardín de Iturribide Etxea durante las obras de rehabilitación de la futura sede de caniche. La acompañaron en el proceso Gema Intxausti, que elaboró el texto, Álvaro Perdices, que documentó y fotografió la intervención y Jaime del Corro, que diseñó el cartel así como esta especie (esta palabra también proviene de spek) de fanzine, elaborado con un papel reciclado de algas.
Las piezas de Claudia Rebeca que aquí se documentan, prótesis y reflejos de ramas y raíces, elaboradas con celo al que da forma durante horas y vueltas infinitas -el tejer y destejer de Penélope-; conforman un paisaje, un campo semántico, como a rose is a rose is a rose is a rose, de Gertrude Stein; unas estructuras que persisten en su reiteración, en el celo de su desempeño.
195 x 255 mm
24 páginas
Edición bilingüe: euskera y castellano
Texto: Gema Intxausti @gema.intxausti
Documentación fotográfica: Álvaro Perdices
@alvaroperdices
Diseño: Jaime del Corro @jaidelcorro
15 euros
Edición limitada de 50 ejemplares
Gastos de envío gratuitos en España
Gracias @canicheeditorial @claudia.rebeca.lorenzo 💚
SPEK, publicación de @claudia.rebeca.lorenzo por @canicheeditorial is grown and out 🌳🌱🌺
____
La raíz indoeuropea spek ha ido propagándose, floreciendo y ramificando de manera entrelazada entre distintos idiomas: speculo en latín, espejo en castellano, ispilu en euskera. Los viajes a la raíz etimológica suelen estar plagados de desviaciones compatibles con irse por las ramas. Así, las ramas acaban imitando a las raíces, desplegándose y creciendo de manera azarosa y las raíces ramifican como en un juego de espejos invertidos.
Esta publicación recoge la intervención que desarrolló la artista Claudia Rebeca Lorenzo en el jardín de Iturribide Etxea durante las obras de rehabilitación de la futura sede de caniche. La acompañaron en el proceso Gema Intxausti, que elaboró el texto, Álvaro Perdices, que documentó y fotografió la intervención y Jaime del Corro, que diseñó el cartel así como esta especie (esta palabra también proviene de spek) de fanzine, elaborado con un papel reciclado de algas.
Las piezas de Claudia Rebeca que aquí se documentan, prótesis y reflejos de ramas y raíces, elaboradas con celo al que da forma durante horas y vueltas infinitas -el tejer y destejer de Penélope-; conforman un paisaje, un campo semántico, como a rose is a rose is a rose is a rose, de Gertrude Stein; unas estructuras que persisten en su reiteración, en el celo de su desempeño.
195 x 255 mm
24 páginas
Edición bilingüe: euskera y castellano
Texto: Gema Intxausti @gema.intxausti
Documentación fotográfica: Álvaro Perdices
@alvaroperdices
Diseño: Jaime del Corro @jaidelcorro
15 euros
Edición limitada de 50 ejemplares
Gastos de envío gratuitos en España
Gracias @canicheeditorial @claudia.rebeca.lorenzo 💚
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
TRASCITY book look inside! 🚨💽🔑
An exhibition catalogue that turns into an “artifact” putting together collage, texts and installation views where we explore the possibilities of the book as a constant flow of images (and words).
Multiplicity, diversity, mutability and continuous displacement are characteristics offered to us by Alberto in this project, with which he establishes multiple identification processes that allow us to think about the avalanche of pictures that shape and occupy our spaces.
This project reflects upon the concept of the ‘fragment’, understood from multiple points of view. We have a city created out of a mixture of several, with fleeting memories and everyday annotations in the form of photographs that pile up on top of one another to create unstable architectures denoting a world in collapse, accelerated and decadent.
Edited by IVAM
Texts by Nuria Enguita, Jon Uriarte and Angels Miralda
Design by @jaidelcorro
Concept by @jaidelcorro @albertofeijoo
Pre-Printing by @latroupecolectivo
Printed by @impresos_izquierdo
Paperback cover with screen-printed plastic dust jacket
212 pages
31x24cm
Texts in spanish, english and valencià
2023
Now available at the museum’s online bookshop
https://tienda.ivam.es/en/producto/trascity-alberto-feijoo/
Earlier last June @albertofeijoo invited me to design the identity of 'Trascity' at @gva_ivam . An exhibition that reflects on the roles we perform and objects and images we accumulate and collect.
To communicate each of the five roles explored in the rooms of the exhibition, I contributed with five logos that interpret and perform each of these roles: visual artist (pink), accumulator (orange), apprentice (green), photographer (black) and collector (yellow).
Each logo dives into the semiotics of one mainstream or sub culture (corporate, web 1.0. pirate software, mass entertainment, jackass, idm) and bootlegs its codes, locating each role within the wider social and generational context that might have helped producing it.
It's a pleasure to work in projects that not only involve help in designing, but that rather feel like artistic collaborations. Thank you for this incredible ride @albertofeijoo 🦢
———————
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Earlier last June @albertofeijoo invited me to design the identity of 'Trascity' at @gva_ivam . An exhibition that reflects on the roles we perform and objects and images we accumulate and collect.
To communicate each of the five roles explored in the rooms of the exhibition, I contributed with five logos that interpret and perform each of these roles: visual artist (pink), accumulator (orange), apprentice (green), photographer (black) and collector (yellow).
Each logo dives into the semiotics of one mainstream or sub culture (corporate, web 1.0. pirate software, mass entertainment, jackass, idm) and bootlegs its codes, locating each role within the wider social and generational context that might have helped producing it.
It's a pleasure to work in projects that not only involve help in designing, but that rather feel like artistic collaborations. Thank you for this incredible ride @albertofeijoo 🦢
———————
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Earlier last June @albertofeijoo invited me to design the identity of 'Trascity' at @gva_ivam . An exhibition that reflects on the roles we perform and objects and images we accumulate and collect.
To communicate each of the five roles explored in the rooms of the exhibition, I contributed with five logos that interpret and perform each of these roles: visual artist (pink), accumulator (orange), apprentice (green), photographer (black) and collector (yellow).
Each logo dives into the semiotics of one mainstream or sub culture (corporate, web 1.0. pirate software, mass entertainment, jackass, idm) and bootlegs its codes, locating each role within the wider social and generational context that might have helped producing it.
It's a pleasure to work in projects that not only involve help in designing, but that rather feel like artistic collaborations. Thank you for this incredible ride @albertofeijoo 🦢
———————
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Earlier last June @albertofeijoo invited me to design the identity of 'Trascity' at @gva_ivam . An exhibition that reflects on the roles we perform and objects and images we accumulate and collect.
To communicate each of the five roles explored in the rooms of the exhibition, I contributed with five logos that interpret and perform each of these roles: visual artist (pink), accumulator (orange), apprentice (green), photographer (black) and collector (yellow).
Each logo dives into the semiotics of one mainstream or sub culture (corporate, web 1.0. pirate software, mass entertainment, jackass, idm) and bootlegs its codes, locating each role within the wider social and generational context that might have helped producing it.
It's a pleasure to work in projects that not only involve help in designing, but that rather feel like artistic collaborations. Thank you for this incredible ride @albertofeijoo 🦢
———————
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Earlier last June @albertofeijoo invited me to design the identity of 'Trascity' at @gva_ivam . An exhibition that reflects on the roles we perform and objects and images we accumulate and collect.
To communicate each of the five roles explored in the rooms of the exhibition, I contributed with five logos that interpret and perform each of these roles: visual artist (pink), accumulator (orange), apprentice (green), photographer (black) and collector (yellow).
Each logo dives into the semiotics of one mainstream or sub culture (corporate, web 1.0. pirate software, mass entertainment, jackass, idm) and bootlegs its codes, locating each role within the wider social and generational context that might have helped producing it.
It's a pleasure to work in projects that not only involve help in designing, but that rather feel like artistic collaborations. Thank you for this incredible ride @albertofeijoo 🦢
———————
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Earlier last June @albertofeijoo invited me to design the identity of 'Trascity' at @gva_ivam . An exhibition that reflects on the roles we perform and objects and images we accumulate and collect.
To communicate each of the five roles explored in the rooms of the exhibition, I contributed with five logos that interpret and perform each of these roles: visual artist (pink), accumulator (orange), apprentice (green), photographer (black) and collector (yellow).
Each logo dives into the semiotics of one mainstream or sub culture (corporate, web 1.0. pirate software, mass entertainment, jackass, idm) and bootlegs its codes, locating each role within the wider social and generational context that might have helped producing it.
It's a pleasure to work in projects that not only involve help in designing, but that rather feel like artistic collaborations. Thank you for this incredible ride @albertofeijoo 🦢
———————
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Earlier last June @albertofeijoo invited me to design the identity of 'Trascity' at @gva_ivam . An exhibition that reflects on the roles we perform and objects and images we accumulate and collect.
To communicate each of the five roles explored in the rooms of the exhibition, I contributed with five logos that interpret and perform each of these roles: visual artist (pink), accumulator (orange), apprentice (green), photographer (black) and collector (yellow).
Each logo dives into the semiotics of one mainstream or sub culture (corporate, web 1.0. pirate software, mass entertainment, jackass, idm) and bootlegs its codes, locating each role within the wider social and generational context that might have helped producing it.
It's a pleasure to work in projects that not only involve help in designing, but that rather feel like artistic collaborations. Thank you for this incredible ride @albertofeijoo 🦢
———————
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Earlier last June @albertofeijoo invited me to design the identity of 'Trascity' at @gva_ivam . An exhibition that reflects on the roles we perform and objects and images we accumulate and collect.
To communicate each of the five roles explored in the rooms of the exhibition, I contributed with five logos that interpret and perform each of these roles: visual artist (pink), accumulator (orange), apprentice (green), photographer (black) and collector (yellow).
Each logo dives into the semiotics of one mainstream or sub culture (corporate, web 1.0. pirate software, mass entertainment, jackass, idm) and bootlegs its codes, locating each role within the wider social and generational context that might have helped producing it.
It's a pleasure to work in projects that not only involve help in designing, but that rather feel like artistic collaborations. Thank you for this incredible ride @albertofeijoo 🦢
———————
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
Earlier last June @albertofeijoo invited me to design the identity of 'Trascity' at @gva_ivam . An exhibition that reflects on the roles we perform and objects and images we accumulate and collect.
To communicate each of the five roles explored in the rooms of the exhibition, I contributed with five logos that interpret and perform each of these roles: visual artist (pink), accumulator (orange), apprentice (green), photographer (black) and collector (yellow).
Each logo dives into the semiotics of one mainstream or sub culture (corporate, web 1.0. pirate software, mass entertainment, jackass, idm) and bootlegs its codes, locating each role within the wider social and generational context that might have helped producing it.
It's a pleasure to work in projects that not only involve help in designing, but that rather feel like artistic collaborations. Thank you for this incredible ride @albertofeijoo 🦢
———————
#thedesignblacklist #repostersworld #postereposter #collectgraphics #lebenliebegrafik #selectedwork #designeverywhere #graphicdirectory #typosters #graphicindex #visualgraphic #aiga #itsnicethat
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.