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studiosafar
Studio Safar
est. 2012
Design and Art Direction
@journalsafar’s apprentice
.
info@studiosafar.com
.
👇🏽 باب النجّار مخلّع
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @zoeymarciniak for @bob.mov
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @zoeymarciniak for @bob.mov
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @zoeymarciniak for @bob.mov
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @zoeymarciniak for @bob.mov
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @zoeymarciniak for @bob.mov
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @zoeymarciniak for @bob.mov
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @zoeymarciniak for @bob.mov
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @zoeymarciniak for @bob.mov
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @zoeymarciniak for @bob.mov
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Catalogue design for @thisisfragmenta’s first edition, a design and sustainability initiative reimagining crafted pieces and industrial fragments as cultural artifacts.
Conceived by @nournajemdesigns and @guilaineelias, and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brought together 53 designers to transform discarded stone into collectible works.
Format: 21 × 29.7 cm (A4)
Extent: 176 pages
Medium: Print and digital publication
Photographers: @maryagazzaoui, @csaade, @tarekmoukaddem, @adrienne.hurtut
Publication design for @nadimchoufi and @sculpturecenter , In the Face of the Dragon (2025).
Documentation views from the exhibition at SculptureCenter, New York. Copies of In the Face of the Dragon are stacked on shelves throughout SculptureCenter’s dark basement, inviting visitors to navigate the space and read by the light they carry.
Installation view: In Practice: Nadim Choufi, SculptureCenter, New York, 2025
Photos: Charles Benton
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Publication design for @nadimchoufi and @sculpturecenter , In the Face of the Dragon (2025).
Documentation views from the exhibition at SculptureCenter, New York. Copies of In the Face of the Dragon are stacked on shelves throughout SculptureCenter’s dark basement, inviting visitors to navigate the space and read by the light they carry.
Installation view: In Practice: Nadim Choufi, SculptureCenter, New York, 2025
Photos: Charles Benton
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Publication design for @nadimchoufi and @sculpturecenter , In the Face of the Dragon (2025).
Documentation views from the exhibition at SculptureCenter, New York. Copies of In the Face of the Dragon are stacked on shelves throughout SculptureCenter’s dark basement, inviting visitors to navigate the space and read by the light they carry.
Installation view: In Practice: Nadim Choufi, SculptureCenter, New York, 2025
Photos: Charles Benton
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Publication design for @nadimchoufi and @sculpturecenter , In the Face of the Dragon (2025).
Documentation views from the exhibition at SculptureCenter, New York. Copies of In the Face of the Dragon are stacked on shelves throughout SculptureCenter’s dark basement, inviting visitors to navigate the space and read by the light they carry.
Installation view: In Practice: Nadim Choufi, SculptureCenter, New York, 2025
Photos: Charles Benton
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Publication design for @nadimchoufi and @sculpturecenter , In the Face of the Dragon (2025).
Documentation views from the exhibition at SculptureCenter, New York. Copies of In the Face of the Dragon are stacked on shelves throughout SculptureCenter’s dark basement, inviting visitors to navigate the space and read by the light they carry.
Installation view: In Practice: Nadim Choufi, SculptureCenter, New York, 2025
Photos: Charles Benton
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Publication design for @nadimchoufi and @sculpturecenter , In the Face of the Dragon (2025).
Documentation views from the exhibition at SculptureCenter, New York. Copies of In the Face of the Dragon are stacked on shelves throughout SculptureCenter’s dark basement, inviting visitors to navigate the space and read by the light they carry.
Installation view: In Practice: Nadim Choufi, SculptureCenter, New York, 2025
Photos: Charles Benton
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Publication design for @nadimchoufi and @sculpturecenter , In the Face of the Dragon (2025).
Documentation views from the exhibition at SculptureCenter, New York. Copies of In the Face of the Dragon are stacked on shelves throughout SculptureCenter’s dark basement, inviting visitors to navigate the space and read by the light they carry.
Installation view: In Practice: Nadim Choufi, SculptureCenter, New York, 2025
Photos: Charles Benton
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
Two issues ago, @journalsafar underwent a major shift in format. We reduced the physical size of the publication and invited @40mustaqel to rethink the cover template, beginning with Issue 8. The cover was reimagined as an object instead of a surface: the full list of contributors runs along the spine in very small type, while select elements from previous covers were retained to maintain continuity.
Another significant update to the magazine’s template is the treatment of Arabic article titles. All titles are hand-lettered by Khalil Majed, scanned, and placed as-is. Some contain irregularities and minor mistakes, but we rarely intervene in the work of a calligrapher whose practice spans five to six decades, the hand carries its own authority.
My photograph is included in ‘Sign Up’ a @hotpotatonews group exhibition in Bristol at @kit.form
📍Bristol, Stokes Croft
Open night: Thursday 15th Jan 17:00 - 21:00
After that it is Open:
16, 17, 19, 20, 21, 22 and 23 January
12:00–18:00
Thank you @eviehallphotography and @naoiseokeeffe for letting me be a part of this amazing event.
Poster design by: @mayamoumne at @studiosafar
—
#EmilyJuneSmith #ADHDArtist #AutisticArtist #Exhibition
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @makingdept for Antica Terra
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @makingdept for Antica Terra
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @makingdept for Antica Terra
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @makingdept for Antica Terra
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @makingdept for Antica Terra
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @makingdept for Antica Terra
SWERVE: Exquisite Corpse Vol. I
A limited-edition box set of 150, conceived by @antica_terra and @dennistonhill in collaboration with Julie Mehretu, @j_ss_c_r_nk_n , @pmp2021 , and Lawrence Chua, bringing together wine, art, and publication as a single, integrated work.
Each box set includes three wine bottles by Antica Terra, original artwork by Julie, Jessica, and Paul, alongside SWERVE: Exquisite Corpse, Vol. I, a publication conceived as part of the edition.
The cuvées were developed by Julie, Jessica, and Paul in collaboration with Antica Terra winemaker Maggie Harrison, and in dialogue with their original artworks, which later became the bottle labels. A fourth bottle, produced alongside but not included in the box set, unites the three cuvées and bears the combined drawings as an exquisite corpse.
Beginning from the inside out, featured here are the four bottles.
“…this real joy of encountering something unexpected in that process that I think we—as a group of friends, collaborators, queer family—continue to surprise each other and also take each other’s thinking to new, unexpected places. And then the other thing that just came up in talking to Maya and Mia [of Studio Safar] is how the whole process of assembling this from the tasting and mixing of the wine to thinking through the concept and producing the actual edition also has been about an exquisite corpse, or exquisite corpsing. I like that we’re thinking of that term as a verb. And maybe that’s what we’re giving back to the Surrealists is this idea that it doesn’t necessarily resolve in an object, in a dead object, but that it is a process. A living process. I think this edition is an encapsulation of that, in that there is something living in these boxes—the wine, the ideas, the images…”
—Lawrence Chua
Designed by Studio Safar
Photos by @makingdept for Antica Terra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Twelve months of grids, typesetting, low-res images (and the revelation that newspapers don’t need 300dpi which could’ve saved us a few dramatic spirals), widows and orphans, justification battles, pull-quotes, and late-night production rounds for @everything_political
Nine issues in, with the 10th-anniversary issue landing and launching tonight in New York, in an entirely new format.
It’s been a year of building and experimenting with the incredible team at @everything_political
Everything is Political is a members-only periodical published by @theslowfactory, investigating the cultural, social, and environmental forces that shape our world today. We’ve had the pleasure of designing it from identity to publication.
Here’s to Issue 10, and to many more.
@rimamobarak photographed by @myriamboulos
@quannah.rose photographed by @vp_fotos
@1claud9 photographed by @dayday.studio
@nangoldinstudio photographed by @mohamad_abdouni
@francesca.albanese.unsr.opt and @fababs photographed by @bachir_tayachi
@miakhalifa photographed by @elizabethdelapiedra
Logo design for Halapop, the vibrant new prebiotic soda making its debut.
Tagline set in 29LT Azer By @29letters
Logo design for Halapop, the vibrant new prebiotic soda making its debut.
Tagline set in 29LT Azer By @29letters
Logo design for Halapop, the vibrant new prebiotic soda making its debut.
Tagline set in 29LT Azer By @29letters
Logo design for Halapop, the vibrant new prebiotic soda making its debut.
Tagline set in 29LT Azer By @29letters
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
In June 2024, @nieuweinstituut partnered with @journalsafar to launch an open call for contributors to the latest issue of Design Drafts, featured in Journal Safar #9. From 111 applications, five contributors were selected for publication. The submissions were so strong that we also included five additional pieces in Journal Safar #9. The jury included Ahmad Gharbieh, @samanehmoafi , @aricchen , @delanyboutkan , @ranajtawil , @maggiedoueihi , and @mayamoumne.
Design Drafts is a growing writing and publishing network dedicated to exploring what it means to write about design today. Through collaborations with magazines and publishing platforms worldwide, the series seeks to spark new forms of design writing and discourse, engaging in a collective search for the languages we use to write design. Past editions include Design Drafts #1 with @disegnojournal (London, 2022) and Design Drafts #2 with @pinupmagazine (New York, 2023).
Editing and designing Design Drafts #3 has been a brilliant ride, thank you to @delanyboutkan @tijnvandewijdeven and @najibaatwork for being an incredible team to work with. Like Journal Safar, the issue is fully bilingual, with all titles hand-lettered by calligrapher Khalil Majed. Managing editor: @nadimchoufi, production manager: @mia.akiki
Contributors to Design Drafts #3 include @shruti.azh @talaabdelhadi @ecila_wan @afrieyeminded and @myriamatt
Contributors to Journal Safar #9 include @yaa.dae @rashadakkak @theofficeofalinalupu @bettinalauraen @eliaserkan @audreytsengfisch and @verycolorfulbeads.
A collaboration that makes perfect sense. New publication in progress with @everything_political
Publication design for @nadimchoufi and @sculpturecenter, In the Face of the Dragon,2025
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Opening Reception @sculpturecenter
Thu, Oct 2, 2025, 5–8pm
Performance lecture by @nadimchoufi and @elsa.saade
New York
Publication design for @nadimchoufi and @sculpturecenter, In the Face of the Dragon,2025
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Opening Reception @sculpturecenter
Thu, Oct 2, 2025, 5–8pm
Performance lecture by @nadimchoufi and @elsa.saade
New York
Publication design for @nadimchoufi and @sculpturecenter, In the Face of the Dragon,2025
Nadim Choufi’s work explores how ideals of progress manifest and seduce, and the price of such visions on the lives subjected to their realization. Through sculpture, film, and text, Choufi draws on visual and literary practices that oppose or complicate narratives of national and global progress. For Choufi’s project at SculptureCenter, he has produced a new publication, In the Face of the Dragon, in which he composed a cento poem from lines borrowed from Arab poets who transform themselves, their lovers, and their people into animals and natural elements, speaking through these tongues of love and resistance.
Opening Reception @sculpturecenter
Thu, Oct 2, 2025, 5–8pm
Performance lecture by @nadimchoufi and @elsa.saade
New York
Opening September 18
Identity and exhibition design assets for @thisisfragmenta, a design and sustainability initiative that reimagines crafted pieces and industrial fragments as cultural artifacts. Conceived by @nournajemdesigns and @guilaineelias and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brings together 53 designers to transform discarded stone fragments into collectible works.
We loved the process they shared with the participating designers:
1. Select from Najem Group’s archive of marble offcuts, samples, and fragments collected over decades.
2. Design pieces with at least 70% marble, keeping transformations minimal so the stone leads.
3. Work hands-on with Najem Group’s engineers and artisans to shape each piece.
4. Finalize production at the factory before launching at the public event debuting Fragmenta.
Portraits of the designers by @tarekmoukaddem
Photos of the process and factory by @maryagazzaoui
Opening September 18
Identity and exhibition design assets for @thisisfragmenta, a design and sustainability initiative that reimagines crafted pieces and industrial fragments as cultural artifacts. Conceived by @nournajemdesigns and @guilaineelias and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brings together 53 designers to transform discarded stone fragments into collectible works.
We loved the process they shared with the participating designers:
1. Select from Najem Group’s archive of marble offcuts, samples, and fragments collected over decades.
2. Design pieces with at least 70% marble, keeping transformations minimal so the stone leads.
3. Work hands-on with Najem Group’s engineers and artisans to shape each piece.
4. Finalize production at the factory before launching at the public event debuting Fragmenta.
Portraits of the designers by @tarekmoukaddem
Photos of the process and factory by @maryagazzaoui
Opening September 18
Identity and exhibition design assets for @thisisfragmenta, a design and sustainability initiative that reimagines crafted pieces and industrial fragments as cultural artifacts. Conceived by @nournajemdesigns and @guilaineelias and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brings together 53 designers to transform discarded stone fragments into collectible works.
We loved the process they shared with the participating designers:
1. Select from Najem Group’s archive of marble offcuts, samples, and fragments collected over decades.
2. Design pieces with at least 70% marble, keeping transformations minimal so the stone leads.
3. Work hands-on with Najem Group’s engineers and artisans to shape each piece.
4. Finalize production at the factory before launching at the public event debuting Fragmenta.
Portraits of the designers by @tarekmoukaddem
Photos of the process and factory by @maryagazzaoui
Opening September 18
Identity and exhibition design assets for @thisisfragmenta, a design and sustainability initiative that reimagines crafted pieces and industrial fragments as cultural artifacts. Conceived by @nournajemdesigns and @guilaineelias and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brings together 53 designers to transform discarded stone fragments into collectible works.
We loved the process they shared with the participating designers:
1. Select from Najem Group’s archive of marble offcuts, samples, and fragments collected over decades.
2. Design pieces with at least 70% marble, keeping transformations minimal so the stone leads.
3. Work hands-on with Najem Group’s engineers and artisans to shape each piece.
4. Finalize production at the factory before launching at the public event debuting Fragmenta.
Portraits of the designers by @tarekmoukaddem
Photos of the process and factory by @maryagazzaoui
Opening September 18
Identity and exhibition design assets for @thisisfragmenta, a design and sustainability initiative that reimagines crafted pieces and industrial fragments as cultural artifacts. Conceived by @nournajemdesigns and @guilaineelias and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brings together 53 designers to transform discarded stone fragments into collectible works.
We loved the process they shared with the participating designers:
1. Select from Najem Group’s archive of marble offcuts, samples, and fragments collected over decades.
2. Design pieces with at least 70% marble, keeping transformations minimal so the stone leads.
3. Work hands-on with Najem Group’s engineers and artisans to shape each piece.
4. Finalize production at the factory before launching at the public event debuting Fragmenta.
Portraits of the designers by @tarekmoukaddem
Photos of the process and factory by @maryagazzaoui
Opening September 18
Identity and exhibition design assets for @thisisfragmenta, a design and sustainability initiative that reimagines crafted pieces and industrial fragments as cultural artifacts. Conceived by @nournajemdesigns and @guilaineelias and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brings together 53 designers to transform discarded stone fragments into collectible works.
We loved the process they shared with the participating designers:
1. Select from Najem Group’s archive of marble offcuts, samples, and fragments collected over decades.
2. Design pieces with at least 70% marble, keeping transformations minimal so the stone leads.
3. Work hands-on with Najem Group’s engineers and artisans to shape each piece.
4. Finalize production at the factory before launching at the public event debuting Fragmenta.
Portraits of the designers by @tarekmoukaddem
Photos of the process and factory by @maryagazzaoui
Opening September 18
Identity and exhibition design assets for @thisisfragmenta, a design and sustainability initiative that reimagines crafted pieces and industrial fragments as cultural artifacts. Conceived by @nournajemdesigns and @guilaineelias and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brings together 53 designers to transform discarded stone fragments into collectible works.
We loved the process they shared with the participating designers:
1. Select from Najem Group’s archive of marble offcuts, samples, and fragments collected over decades.
2. Design pieces with at least 70% marble, keeping transformations minimal so the stone leads.
3. Work hands-on with Najem Group’s engineers and artisans to shape each piece.
4. Finalize production at the factory before launching at the public event debuting Fragmenta.
Portraits of the designers by @tarekmoukaddem
Photos of the process and factory by @maryagazzaoui
Opening September 18
Identity and exhibition design assets for @thisisfragmenta, a design and sustainability initiative that reimagines crafted pieces and industrial fragments as cultural artifacts. Conceived by @nournajemdesigns and @guilaineelias and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brings together 53 designers to transform discarded stone fragments into collectible works.
We loved the process they shared with the participating designers:
1. Select from Najem Group’s archive of marble offcuts, samples, and fragments collected over decades.
2. Design pieces with at least 70% marble, keeping transformations minimal so the stone leads.
3. Work hands-on with Najem Group’s engineers and artisans to shape each piece.
4. Finalize production at the factory before launching at the public event debuting Fragmenta.
Portraits of the designers by @tarekmoukaddem
Photos of the process and factory by @maryagazzaoui
Opening September 18
Identity and exhibition design assets for @thisisfragmenta, a design and sustainability initiative that reimagines crafted pieces and industrial fragments as cultural artifacts. Conceived by @nournajemdesigns and @guilaineelias and curated by @gregorygatserelia, the inaugural edition (in partnership with Najem Group) brings together 53 designers to transform discarded stone fragments into collectible works.
We loved the process they shared with the participating designers:
1. Select from Najem Group’s archive of marble offcuts, samples, and fragments collected over decades.
2. Design pieces with at least 70% marble, keeping transformations minimal so the stone leads.
3. Work hands-on with Najem Group’s engineers and artisans to shape each piece.
4. Finalize production at the factory before launching at the public event debuting Fragmenta.
Portraits of the designers by @tarekmoukaddem
Photos of the process and factory by @maryagazzaoui
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.