nSPHERE Magazine - May 2012 issue

7/29/2019 nSPHERE Magazine - May 2012 issue

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N-SPHEREa world beind curtains | may 2012

Featuring

ramiro tapia

gustave dorÉ

FLYN vibert

mateusz odrobNY

r. W. FassbiNder

La CittÀ murata



| 2

»Scharr, scharr, verscharr das Ge-

bein.« Not all basements are si-

lent. Some oat arond in bone

on bone action, with the dark-ened repit at their centre, smoke

silently rising p rom charred re-

mains.


bein, grab es tie nten im Keller

ein.« Some basements are laby-

rinths. They rn deep into dream

worlds, along the perect ble o

Ramiro Tapia's works. There is a

sky opening inside these spaces,

ssing the darkness in cold

ames. Along the walls, shad-

ows take orm and color, with the

works o Flyn Vibert. »Später dann

graben es andere as nd nennen

dein Has: das Knochenhas«


bein. Da ist noch Plat, da paßt

noch wer rein.« Some basementsare play hoses, in a strictly non-

descript abstractly biarre way,

as portrayed in Fassbinder's The

Bitter Tears of Petra von Kant. The

sensations don't last, ake mrals

coming apart nder the heavyblows o Mateusz Odrobny's rban

visal spaces. »Hier tobte sich der

Teel as: nten im Keller, im Kno-

chenhas«


bein. Leg ach ihre weißen Schädel

hinein.« Spiralling backwards, the

beheaded white bones clmsily

rattle o Gustave Doré's legacy.

The alling into history rns paths

throgh the basements walls, right

into the stone connements o

Conegliano's La città murata. »Mit

Beton gießt d es as: das Fnda-

ment vom Knochenhas.«

Some basements are dark, some

basements jst breathe. »Scharr,

scharr, verscharr das Gebein.«

qotes | Janus.

Knochenhaus. 1998

EDITORIALTRANQUILIZERS

vEL ThORA

N-SPHERE

MAY 2012



3 |

INDEX

EditorialTranquilizers

glassshowcase

aBUseshowcase

stoneshowcase

noxshowcase

The 13 Moons of

Petra von KantRr wrr

Fbdr

Mateusz Odrobny

United Kingdom

Ramiro Tapia

Spain

Gustave Doré

France

Flyn Vibert

United Kingdom

MaY2012

Movingshowcase

2

4

30

36

44

60

88eYeteaseR

Taida Celi

Norway

Conegliano's

La Città Murata

76clocKwoRKshowcase



| 4 Ram



5 |

glass

showcase

iRo TaPia



| 6

Name:

Ramiro Tapia

Location:

Salamanca, Spain

Occupation:

Painter

Denition o personal spere:

My special sensibility toward the

spirital occrrences o my con-

sciosness. My philias, my pho-

bias, in general terms, everything

that srrond me trn ot throgh

a lter which lately implses me to

translate it into an imagery gited

by qite diverse interpretations,

according to my state o mind in

that moment. For that reason, myartwork is so versatile and hetero-

geneos.

Artwork in 4 words:

Dreams, eelings, wishes, intro-

spection.

Wat is inspirational or you:

Odd and attracting passages re-

prodced within the labyrinths o

my brain, impregnated in certain

emotional moments o my lie. I only

work on that st which leaks over

the external milie, transormed

throgh my keys which atomati-

cally congre them in those lc-

brating dreams, that is »my dreams«.

Currently aourite artists:

Bosh, Breghel, Pal Klee, Kan-

dinsky, Picaso and the illstrators

Arthr Rackham, Gstav Doré andAbrey Beardsley, between many

others.

Dreams

feelings

wishes

introspection



7 |

photo | Ramiro Tapia. 1965.Encina Nocturna.

Courtesy o the artist

Tools o trade:

Oil paintings, Acrylics, Watercol-

ors, Goache, Inks, a varied sort o

dsts with paintbrshes and sticks,

scorers and diverse other tools.

Current obsessions:

Captring symbologies that shake

and shdder my sol, recomposing

seqences which satisy my recep-

tive and alerted senses like the

tentacles o the sbaqatic plants

in the prsit o eed.

Personal temptation:

Pt the nger on the eyes o those

people who hold the power and

who want massacre s in lie,

even the citiens whose occpyexclsively giving the heart with

all its blood to or ideals, and to

or creative visions. We who walk

throgh other paths, strange to

the vlgarity o the markets, to the

bastard aspirations o the com-

mon, those nsatised and am-

bitios mediocres who hold that

power acqired with the corrp-

tion; annihilating lie, annihilating

woods, oras, anas, waters, airs,

and contaminating the ble color

o this poor planet at the expense

o enrich, even more, its inated,

excessive and ptreed treasries.

Ingress:

ramirotapia.com

Translation rom Spanis:

Iván Elvira



| 8

photo | Ramiro Tapia. 1969.Cabrón.




9 |

photo | Ramiro Tapia. 1970. Acorazada.




| 10

photo | Ramiro Tapia. 1976.La Novia Que Se Deshace.




11 |

photo | Ramiro Tapia. 1977.Crustáceo Metamórco.




| 12

photo | Ramiro Tapia. 1976.Forma Planetaria Azul.




13 |

photo | Ramiro Tapia. 1977.El Arbol De Babel.




| 14

photo | Ramiro Tapia. 1983.El Castillo De Irás Y No Volverás.




15 |

photo | Ramiro Tapia. 1998.Torre Entre Islas.




| 16

photo | Ramiro Tapia. 1996. Torre Cósmica II.




17 |

photo | Ramiro Tapia. 1998.Torre Roja.




| 18

photo | Ramiro Tapia. 1986.Soledad.




19 |

photo | Ramiro Tapia. 1986.Ogresa Roja.




| 20

photo | Ramiro Tapia. 1986.Gigante Triunante.




21 |

photo | Ramiro Tapia. 1986.Ogro Cipote.




| 22

photo | Ramiro Tapia. 1986.Guerrero Rojo.




23 |

photo | Ramiro Tapia. 1986.Gato Salvaje.




| 24

photo | Ramiro Tapia. 1986.Pero Llameante.




25 |

photo | Ramiro Tapia. 1993.Gran Duque.




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photo | Ramiro Tapia. 1993.Gallo Salvaje.




27 |

photo | Ramiro Tapia. 1993.Pero Azul.




| 28

photo | Ramiro Tapia. 1986-2008.Bicha Arrebatada.




29 |

photo | Ramiro Tapia. 2011.Federico De Monteeltro Actualizado.




| 30 GuST



31 |

stone

showcase

avE DoRé



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Name:

Gstave Doré

Lied:

Janary 6th 1832 – Janary 23rd

1883

Location:

Paris, France

Occupation:

Illstrator, Engraver, Sclptor

Infuences:

Myth, The Circles o Heaven & Hell,

Nordic Folklore, Sn and Darkness,

Body Contortions in the Works o

Michelangelo, Severed Heads, The

Fall, The Border between Fantasyand Reality, London, Rodolphe

Töpe

Infuenced:

Too many ater his death

Major works:

Milton's Paradise Lost, Dante's The

Divine Comedy. Tennyson's The

Idylls of the King, Cervantes' Don

Quixote, Edgar Allan Poe's The

Raven

Associated wit:

Romanticism

Obsessions:

Falling, Waves, Circles o Hell,

Wings, Light, Clair-Obscr, Stars,

Movement, Nightall, Microcosm

quote | John Milton.

Paradise Lost. Book VI

WAKED

BY THECIRCLING

HOuRS

DIANA DAIA



33 |

photo | Gustave Doré. 19 th

century. Illustration or Paradise LostRosa Celeste: Dante and Beatrice gaze upon the highest Heaven, The Empyrean.




| 34

photo | Gustave Doré. 1985.The Disaster Ater The First Ascent O The Matterhorn.




35 |

photo | Gustave Doré. 19 th

century. Illustration or Dante's Divina Commedia.The Severed Head o Bertrand de Born Speaks (Inerno, Canto 28)




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The 13

PeTra



37 |

Moving

showcase

Moons of

von KanT



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Rainer Werner Fassbinder's

The Bitter Tears of Petra

von Kant plays like a ash-

ion-world version o the maggot

in the apple. The title obviosly

points towards a state o long-

ing, the heroine's name inspires

a kind o elegance and beaty

and yet, in the same time there is

that coldness/harshness remind-

ing o tragic heroines. Overall,

beore even seeing the lm, one

may orm a rather strong image

abot it.

Fashion posters do that as welland we are sometimes inclined

to believe that the person behind

that poster has actally a com-

mon grond (at least) with the

image he/she promotes. Bt in

many cases we are deceived.

And so we are in this lm. The Bit-

ter tears of Petra von Kant con-

tains many wonding moments

and it is not – by any means – a

hypocritical work, bt a lm re-

volving arond a hypocritical

character. Becase Petra is not

a tragic heroine, nor is her sad-

ness anything else bt a strategy

to ool others and ool hersel and

we see this rom the lm's open-ing seqence (the makep scene,

choreography and all).

ONLY

PITY WHAT

YOu CAN'T

uNDERSTAND

S h A D E



39 |



| 40

For those at least slightly amiliar

with Fassbinder's work this shold

not come as a srprise since the

German director is known or

creating rather npleasant char-

acters and he is not the only one.

However, what I ond to be par-

ticlarly interesting is that Fass-

binder doesn't make his charac-

ters aggressive. Even when they

seem to be – like in this lm – it is

jst a açade. They are jst pre-

sented, they present themselves,

bt there is no parade made

arond them, there is no moral

angle, no direct attempt to be

sympathetic abot them. An ex-

ample in this sense is the »Sister

Gndrn scene« rom In a year of

13 Moons in which we are oereda glimpse o the protagonist's

early lie. The material itsel is

powerl, bt it is also presented

by Sister Gndrn in a very clini-

cal manner.

What made The bitter tears of Pe-

tra von Kant rather interesting or

me is that, nlike other Fassbind-

er lms, this one does not revolve

arond otcasts. Petra is not an

otcast, which may not be mch

o an argment in making the lm

interesting, however Petra sees

hersel as an otcast. She is weak

becase she wants to be weak

and in the lm's opening mo-

ments we can see that rom the

clothing she chooses and the way

she is lmed and rom her overall

physical aspect: all o them sg-

gest weakness, more exactly allo them sggest »indced weak-

ness«.

It is something – maybe indced

– in some people's mind telling

them that weak people can show

a airly high degree o honesty,

that they are athentic jst be-

case they seem or decide to

be vlnerable. And then the title

mtates: bitter tears can be an in-

dicative o a qiet resignation, o

letting - go - with a smile on yor

ace – o something yo don't eel

ready to let go. Bt »bitter« can

also be an indicative o one being

delsional. Petra creates a rail

world where she is both qeen

and victim, bt it is a world only

she can see, not anybody else.

From the otside she is clmsily

portrayed as a qeen and nearly

nonexistent as victim.

What was said beore can be also



41 |

be seen in the dialoge, in Petra's

dialoge with her »love interests«.

She either wants to make strong

statements which are convincing

halway throgh ater which they

all apart:

»It's easy to pity, Sidonie, bt so

mch harder to nderstand. I

yo nderstand someone, don't

pity them, change them. Only pity

what yo cant nderstand.«

The above qote is an example.

Starts with a trthl statement,

becase indeed it is easy to pity

and in so many cases it is also

seless and sometimes even in-

slting, bt the rest is jst teen-

age nonsense born ot o thedesire o saying something that in

the end wold either be disarm-

ing, provoking, or wold project

some deep yet ctional wond.

However, it ends being none o

the above.

Other pieces o dialoge pretty

mch dance on the same tne or

i not they are even ar less.

There is also a very amsing con-

trast: the lm is beatilly and

elegantly shot, the interior is nice-

ly decorated, the same can be

said abot the costme, coloring

and all, however at its core it is

a bleak and somehow replsive

lm. Not becase its heroine is

too »deormed«, nor becase she

made decisions that transormed

her in an otcast (13 Moons or Foxand his friends even), bt becase

there is nothing abot her that is

athentic or at least intriging.

Not becase she tries to manip-

late, bt becase she wants to do

it, or she thinks she wants to do it ,

she gives it a shot and ails. One

may never be certain i she even

tried hard enogh.

This is why I said that this lm

deceives. However, I think Fass-

binder was well aware o that as

I am well aware that this was one

o his intentions i not his main in-

tention. I we strip the lm o its

narrative layer(s), we can see it

as a cheerl attack against the

borgeoisie, the hypocritical so-

cial/psedo-philosophical conve-

niences masqeraded as »good

manners« or vales. Again, this isnot exactly news, actally yo can

say this abot most o his movies,



| 42

bt I think here he has done it in a

deliciosly sbversive manner.

This having been said, The bitter

tears... was a movie I »enjoyed«

(not sre i it is the right word) and

I am looking orward to see more

o Rainer Werner Fassbinder's

lms (except In a year of 13 Moons,

Fox and his Friends, The Marriage

of Maria Braun which I have seen).

From what I have seen, his lms

oten tackle difclt/scandalos

and sensible sbjects o matter,

they are bitter, straightorward

and insightl (especially when

it comes to »otcasts«) and yet

qiet and »nsensational«. Andor me at least, this is the reason

they worked. So i yo are ed-p

i lms parading »reaks« either

or entertainment, either becase

the director wanted to ool the

adience they are witnessing an

important and challenging mo-

tion pictre this may be yor call.

photo & quote | Rainer Werner Fassbinder. 1972. The Bitter

Tears o Petra von Kant



43 |



| 44 FL



45 |

nox

showcase

YN viBERT



| 46

Name:

Flyn Vibert

LocatioN:

london, United Kingdom

occUPatioN:

PhotograPher

WeBSite:callmeFlyn.blogsPot.com



47 |

photo | Tommy Nease. Untitled. Courtesy o the artistphoto | Flyn Vibert. 2010. Slash.

No Digital Manipulation. Courtesy o the artist



| 48

photo | Flyn Vibert. 2012. Lips Cracked Dry.




49 |

photo | Flyn Vibert. 2012. Lips Cracked Dry.




| 50

photo | Flyn Vibert. 2012. Untitled.




51 |

photo | Flyn Vibert. 2009. Untitled.




| 52

photo | Flyn Vibert. 2010. KM.




53 |

photo | Flyn Vibert. 2010. Slash.




| 54

photo | Flyn Vibert. 2011. Devil's Gateway.




55 |

photo | Flyn Vibert. 2011. Devil's Gateway




| 56





57 |





| 58





59 |





| 60 MaTeusz



61 |

aBUse

howcase

odrobny



| 62

DIANA DAIA

:: Hello, Mateusz, and welcome to

the Spheres. To get us started, we

are curious about your work and

background. When did you begin

painting and drawing?

Well, one o my early memories

(o which I don't have many) is

sitting at a table at my grand-

mother’s place in Vienna, where

we were staying while my parents

were sorting out emigration rom

Poland to Canada. My grand-

mother asked i I would draw my

avourite thing. I proceeded to

render a large, rather bubbly, but

nonetheless, ormidable Panzertank, complete with an armed

and helmeted General protrud-

ing rom the ox hole at the top.

This was around my 5th year o ex-

istence, so I guess I have always

had a pencil in my hand.

:: What are you working at the mo-

ment?

Right now is a bsy time, which

I do preer. For 6 months I have

been painting a new body o work,

that I'm qite excited abot. It's oil

on canvas and the pieces are the

largest that I have been able to

work on since moving to London.

The detail levels I'm working to

are pshing a new standard orme (on canvas), which makes me

qite excited to see where these

ISOLATION IS

THE COMFORTzONE FROM

WHENCE

MY PAINTINGWORK FLOWS

MOST FREELY



63 |

photo | Mateusz Odrobny. 2011.

Cymmerian Lamb O Silence. Courtesy o the artist



| 64

pieces will end p. Over the past

hal year, beyond painting, I havehad several illustrations pub-

lished by a London based Maga-

zine called Stalking Elk (www.

stalkingelk.co.uk ), and I have col-

laborated (created various anima-

tions and video projections) on

a perormance piece called The

Body, which ran or two weeks

at the ICA. I've also taken up a

new direction on the commercial

side o things, namely traditional

sign writing www.facebook.com/

mjoarts, which has been gaining

momentum or about a year and

a hal.

:: What tools o trade do you em-

ploy?

I've been quite a dabbler over the

years, I tend to explore any medi-

ums that are available to me, but Icertainly do have my staples. First

and oremost would have to be

pencil and sketchbook; I'm never

without these trusted tools. Oilpaint has become my medium o

choice or canvas work, although

I have been using a lot o water-

colour to work out ideas lately.

I do most o my illustration with

Staedtler pigment liners, or Pig-

ma Microns. When sign writing I

use One Shot enamels, and I have

to mention the Mack »Virus« line

o brushes, truly superb proes-

sional tools that respond beauti-

ully to my every move. I will say

also that I do employ a computer

in many aspects o working (most-

ly on commercial projects), but in

recent times I try to keep the in-

ernal machine to minimal usage.

:: You seem to cover a lot o areas

and not restrain yoursel solely to

illustration. Is it important to blendterritories?

I think it's one o the most impor-

tant aspects o developing new

work. It's a similar process to evo-lution, as mediums, techniques

and territories merge and in a

sense battle or domination, the

most useul elements o each rise

to the top and combine in new

and unexpected ways.

:: How and why did you start work-

ing with video?

I started working with video in the

late 1980's. At the time I had two

vcrs, a 386 mghz pc with an incred-

ibly primitive video capture card,

and a korg poly six synthesiser.

Around that time I came across

a tape o video edits created by

Dwayne Goettel , the keyboard-

ist o Skinny Puppy. The tape

was o edits created to play on

tv screens during live shows, and

was a pandemonium o video andsound rom a myriad o sources. I

loved what I saw, and the sense o

photo | Mateusz Odrobny. 2011. Drawboard.




65 |

photo | Mateusz Odrobny. 2011. Cymmerian Lamb O Silence.

Detail. Courtesy o the artist



| 66

photo | Mateusz Odrobny. 2007. Portrait.




67 |

disjointedness and intensity I was

let with ater watching, so I start-

ed trying my hand at the medium.

From that point moving image

work has always been a branch o

my practice.

:: Which would you consider to

be your most important project so

ar?

This is a hard question to answer,

perhaps I will treat the word proj-

ect more in terms o »category o

work«. I think the best thing to say

is that my ultimate destination is

painting. When I paint reely, I'm

at my most honest, and direct.

The only lters are mine, the con-nection to the work is organic

and visceral. When working with

clients on design, illustrating with

guidelines, or even working on my

own animation, the work is nev-

er truly mine, as it is processed

through client needs, hardware

limitations, or timelines.

Painting, is or me, the sublime

moment.

:: You also dedicate yoursel to

graphic design. Does painting

help you in your typographical

work?

For many years my mentality to-

wards the two disciplines was

very separate. I did not see too

many ways to connect the two

elds beyond the general prin-

ciples o image making. However,

in recent times the connection

between these two sides o my

practice are nding an ideal arena

in which to merge and truly com-

bine to a new unctionality. The

arena is sign writing, which I start-

ed exploring around 2010 while

working with Shunt. Since start-

ing the sign work, I have come to

understand a whole new depth o

typography through the practiceo hand lettering with a brush,

and as such, painting is now a ma-

jor inuence to how I approach

design, and typography.

:: Your works plumb the depths o

the City, revealing a dystopic at-

mosphere. Do you use the urban

space as a main source o inspira-tion?

Well, the urban space is what I

photo | Mateusz Odrobny. 1999. Portrait o Despair.


know, it sets the context o my ex-

perience, but I'm not sure i it is,

distinctly, the inspiration. I've al-

ways seen the inspiration to paint

as a more visceral protagonist, it's

the sensation o disconnecting

rom my surroundings that keepsme coming back to the canvas. As

I paint I tend to let go o expec-



| 68

tations and thoughts o anything

specic and the work starts to re-

veal itsel only when I stop look-

ing or what may be there.

The underlying themes o my

work certainly carry a sense o

dystopia. I view the systems and

institutions we inherit generation

ater generation with a great ore-

boding and melancholia, as sourc-

es o great strie to the pursuit

o wholesome, unencumbered,

sel- regulated existence. Around

the age o 14-15, I was greatly

taken by A.Huxley's Brave New

World , O.Wells 1984, and sev-

eral o Carlos Castenada’s Yaqui

Way of Knowledge series. I hadalways elt a sense o uneasiness

towards institutional systems,

but it was these words that really

helped me to ormulate a ounda-

tion o reasoning on the subjects

o personal reedom, state intru-

sion, and power hierarchies.

In ormal terms I would say that

geometry is the oundation o

most o my painted works. Each

piece starts with a disseminationo shape and/or pattern, oten

leaning towards ideas o sacred

geometries, occult chart systems,

or simple symmetry. From there

the process is one o ambiguity,

working with ow, rhythm, orm,

until I'm looking at something that

I can no longer deny has emerged.

This process repeats itsel many

times per canvas, until (hopeully)

I've pulled the whole o the narra-

tive through, at which point I de-

tail, nalise, rame, and move on.

:: Some o your illustrations step

out o the rame and extend on

walls, buildings, glass. Do you re-

gard your work as symbolic medi-

ation between you and the urban

space?

Well, i by mediation, you meantherapy, then YES, ABSOLUTE-

LY! (loud laughter). My relation to

the urban space is quite romantic

(and stressed) when it comes to

showing work. When I see one o

my pieces invading an unsuspect-

ing public in a common setting, or

in a gallery, a multitude o emo-

tions is conjured, »I am the pro-

pagandist«, »I am naked on stage

in ront o the whole school«, etc.

It's exciting, but also very uncom-

ortable.

I also commune with the city dur-

ing the process o creating work,

which is a very dierent experi-ence or me. I've spent countless

hours on coee shop, and pub pa-

tios sketching and people watch-

ing, where the ow o trafc be-

comes as soothing as the ow o

a river. I've worked on transorm-

ing locations or lm sets, painted

signs on buildings or days on

end, and whenever I nd mysel

out there in the world just doing

what I do, the process, I eel at

ease.

:: How is it living in London or a

visual artist?

Absolutely Insane! Absolutely

Impossible! Absolutely Worth It.

(plus you can have a hal pint o

Guinness or about £1.60 under

Francis Bacon's portrait at theplace he used to hang out!)

:: Do you eel more connected to

your hometown in Poland?

When I came back to Europe in

2005 (my amily let or Canada

in 1981, and I had not been back

since), I spent a month living in

Poland. As I rst walked out on to

the streets o Bytom in Novem-

ber, I was let in a strange awe.Beore me in every direction were

shapes and colours that I had

been painting or as long as I can

remember: washed out beiges

and blues, gritty grey, splintered

panels, certain pitches in the roo

angles... It was a moment o un-

expected discovery that gently

shook me to my very core. The

next 3 years I basically stopped

painting. I worked in sketchbooks,

and did design jobs, but painting

simply ceased. Once my impetus

to paint returned, I ound mysel

oundering as my relation to the

process had prooundly changed.

It was an experience I would liken

to being in an accident, and hav-

ing to go through physical therapy

to regain the ability to walk. My

connection to Poland is some-what ambiguous now, but having

been, certainly had its impact.

»I vIew the

systems and

InstItutIons

we InherIt

generatIon

after

generatIon

wIth a great

forebodIng

and

melancholIa«



69 |

photo | Mateusz Odrobny. 2006. Tourist.




| 70

:: Is it easy to meet people in the

visual arts area in the cultural tur-

moil rom London?

Meeting people in London is a

strange endeavour. I am very or-

tunate to have worked with Shunt

under London Bridge. Each week

the massive railway arch network

was curated anew with artists,

perormers, musicians, and lm

makers rom all over Europe and

beyond. I was there or about

three years and got a very inter-

esting view o London and Euro-

pean culture. As with becoming

involved with Shunt, almost ev-

ery meeting o like- mindedness

has been a most random experi-ence. I will say there seems to be

a larger statistical likelihood o

coming across interesting people

in a place lled with 8 million pos-

sibles!

:: In one o your illustrations rom

da Beaen series you write: »We

all fnd our little bit o loneliness,

i we search long enough«. How

would would you describe isola-tion in relation to your work?

Isolation is a state so very deep

and lled with treasures and pit-

alls. It's the landscape o the sel

where you conront your person-

al demons, angels, shamans, and

dictators in that blinding reality

o your deepest and ultimately

vulnerable primordial essence. It

is the sublime state, the nirvana,

the Hades, in which pure truth

and pure being simply exist. It is

the comort one rom whence my

painting work ows most reely.

:: Do you think that, paradoxically,

while we are gradually connected

through technology and motion,

we become more isolated some-

how?

I do think there is a dichotomy be-tween the original aims and the

observable otcomes o technol-

ogy and travel. The original intent

o technological connection has

trned to an observable impact o

disassociation in social sitations,

jst as easier travel has opened

a door or many to seek new lives

in a wide spectrm o locations,

leaving the travellers displaced

rom their homes and amilies. At

the same time, I don't see it as a

snowballing eect that will one

day render all people as drones

plgged into machines, never to

interact with one another. I think

it's like anything »new«, when rst

introdced, the impact is visibleand intense; as time passes and

the new element is lly dilted

into the system, it's overall impact

eqalises and integrates. I eel

with technology we are slowly

transitioning towards a period

where the »wow« actor or that

initial explosion is losing grond

to an approach o practicality.

Perhaps there is hope or s yet!

photo up | Mateusz Odrobny.

Da Beaten. The Search


photo right | Mateusz Odrobny.Da Beaten. Restraining Seminar.




71 |



| 72

photo | Mateusz Odrobny. 2007. Quiet Room.




73 |

photo | Mateusz Odrobny. 2009. The Negotiators.




| 74

photo | Mateusz Odrobny. 2011. Hierarchy.




75 |

photo | Mateusz Odrobny. 2007. Refection.




| 76

cl

s

sTicKs a

conegl



77 |

ocKwoRK

howcase

nd sTones:

iano, iTaly



| 78

...MAY

BREAKMY

BONES

vEL ThORA

WHr:

conegliano, italy

WHat:

la città mUrata

(the Walled city)

Bul nd frfd durng:

12th-14th centUries, ad

Phs f:

calle madonna della neVe and

the castagnera Walls

arhurl hrrss:

tholos-tyPe archery looPholesand blind merlons



79 |



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N-Sphere | my 2012

Edtrs:v tr | www.vel.sere.ro

D D | www.in-circles.org

L t

eYe teaseR

TAIDA CELINORWAY

Documents

nSPHERE Magazine - May 2012 issue