Evita Manji

Phoenix Central Park in Sydney, AU

Grief, the Human Condition and Live Performance

Greek musician and vocalist Evita Manji is part of a new wave of underground club music producers that began her career in Athens and since then has performed in multiple countries across Europe. Her music is a mixture of contemporary club music, baroque pop, and experimental sound design which she uses to explore themes of death, grief, climate change and the human condition. 

Manji launched her platform myxoxym in 2021 and has collaborated with multiple artists, across various medias. One of her most recent collaborations with the artist duo dmstfctn was at HQI in London at the Serpentine Gallery, where she performed a live soundtrack for a interactive audiovisual performance titled, Waluigis Purgatory which follows an AI sent to purgatory. NR joins Manji in conversation about her practice and recent performances. 

Phoenix Central Park in Sydney, AU

You mentioned that your process has involved you locking yourself in your apartment for long periods of time to work on your music. What does the day-to-day process of this look like?

It includes the necessary human functions, eating and such. Also a lot of silence and thinking. The thinking gets out of hand at some point and that’s when the music-making begins. Small breaks here and there for cuddles with Heidi (my cat), a cigarette and herbal tea refills until I get sleepy and crawl back to bed.

Phoenix Central Park in Sydney, AU

You stated that your experiences with loss and grief have influenced your creative process, is that still the case and do you draw on any other emotions and experiences to create your work?

It still is the case. However, if you imagine grief as a city, I was only hanging around the center when I was making Spandrel?. I’m more into exploring the suburbs and the countryside these days. Travelling to other cities too but always staying within the country of uncomfortable emotions.

You were part of a church choir for many years, has this had any influence on your music and if so how?

It has influenced the way I understand and create music a lot, especially when it comes to singing. But in the way I compose my melodies too, though the effect is more abstract in this case. It’s not always there but it’s like a solid part of my identity I can return to when I’m not sure which way to go.

Phoenix Central Park in Sydney, AU

Considering your father’s involvement in music production and songwriting, do you believe this has provided you with certain advantages or unique opportunities in pursuing your music career?

Being surrounded by music and encouraged to pursue it from a young age is definitely an advantage I wouldn’t have if it wasn’t for my dad but if we’re talking about actual career opportunities then no, it hasn’t played a role.

Your live improv style debuted at the Aurora Live Ambient Show, in September 2023, in Berlin. How did you feel before the performance, and did the experience meet your expectations? Did the spontaneity of the improv provide a sense of freedom, and is it something you would like to explore further in your music career?

I was excited but very stressed and seriously lacking sleep. It was such a last-minute request, I sketched out the live set on the plane on my way to the show, I was still editing 10 minutes before performing. I did enjoy the performance very much though, it was very special, I felt fully immersed in the music and sort of lost touch with reality.

Aurora Live Edition in Berlin

You recently performed at Londons Cafe OTO with artist Sarahsson. What were your hopes and expectations for this performance, and do you think you achieved them in the show? 

I was initially planning to present an elaborate version of my Aurora set but my hopes and expectations changed pretty much 2 days before the show when I decided to create a whole new live set. I wanted to play something not entirely related to Spandrel? , so I put together a bunch of music I made in the last few months and a couple of new versions of songs from Spandrel?. I was just hoping I will have it ready on time and I did manage to.

What advice do you have for young creatives looking to work in the music industry?

“To walk backwards and enter the circle looking outwards.”

Interview · Nicola Barrett
Photography · Clément Beaugé and Ruby Boland
Follow Evita Manji on Instagram and Soundcloud
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Koekkoek

Team

Photography · Koekkoek
Photography Assistant · Margarita Keller
Best Boy · Tim Kardashian
Casting & Styling · Rike Hemedinger
Styling Assistant · Lis Füreder
Make-Up · Julia Marinics
Hair · Propaganda & Less Is More
Lights · Digitalkamera Verleih
Post · Tim Wachnowski
Locations · Studio Franzensgasse. Hotel am Brillantengrund and Hotel Motto


Oldyungmayn

Strike

NR presents Track Etymology, the textual corollary to nr.world’s exploration of contemporary soundscapes: A series of short interviews delving in the processes and backstories behind the releases premiered on nr.world’s dedicated platform.

I did some digging on your previous releases while preparing for this interview. One aspect that I was immediately drawn to was connecting the threads between Strike and your earlier productions. Should we go over shared specifics and differences between this new EP and your previous works? I think it would make a great starting point for us to introduce and contextualize M.A036

I’ve been DJing for many more years than I’ve been producing, so my inclination  towards creating a track comes largely from the desire to play and mix it. Like many  DJs, I am always looking for new interesting sounds that I think will fit with my  ever-growing collection, and to discover tracks (and producers) that impress and inspire me. Learning to produce using software was equally an individual learning experience for me (initially instigated by the pandemic when I was still living in UAE), as it was an experience I shared with friends. Across the Middle East, there’s not as many people pursuing this sort of music production – for various reasons – and those that are, I probably know them. It’s a very small scene that extends across the whole region, and there’s a lot of collaboration by necessity as a result. My previous efforts, for example, with my close friend and producer Van Boom, channels much of our shared interests in experimental noise and power electronics, but shaved down into tracks we both enjoy playing during our DJ sets. My earlier solo productions are a good example of many hours of imposed isolation and experimentation – it takes time to learn how to produce a signature sound and really bring the final product to a point where you’re happy with it. In the most recent EP I’ve done with estoc, there’s a few factors at play and what made it what it is…firstly, she’s a friend, and we’ve spent many hours just chatting and getting to know about each other’s lives…this year has been very pivotal for both of us, and I think it has reaffirmed certain relationships with other artists. Like my previous collaborations, there was a lot of back and forth, but also a lot of trust and compromise.  B2B DJ sets are pretty common these days, but working on tracks together and  releasing them as well is much more challenging – it requires you to trust someone else  with your sound, it’s very intimate, but the results speak for themselves. I think this EP with estoc is different than my previous releases as we took our time and it was less impulsive. 

Since we are already speaking of connecting threads, your bio states that ‘your identity is layered through both productions and performances, navigating away from a Eurocentric focus, mixing a 90’s era rave musical lexicon and a wide spectrum of music from fellow Middle Eastern producers.’ How do you find balance in an approach that feels both respectful of its influences and liberating from those same traditions and sonic stereotypes?

I think that I play what I like listening to, and therefore my sets are genuine expressions of my tastes, first and foremost. I don’t play music that’s ‘trending’, and I certainly don’t do people favors either. Some DJs opt to play based on the (expected) tastes of audiences, which is fine, but for me that leaves little room for surprise. Not that my sets are totally unpredictable, but I like to throw in unfamiliar tracks, edits, unreleased stuff from people that otherwise would never be played in European clubs. 

“For me, getting away from the Eurocentric focus isn’t only about the sounds or tracks themselves, or where the producers are from, but actually avoiding the pressure to perform and operate as a DJ with these aforementioned ‘European’ standards.”

There’s quite a bit of pressure to conform and play what people might expect, and I don’t want to do this, because I am not European, I just live here. 

Is it a mindful process, a specific sound design choice, or more of something almost unconsciously ingrained in your process, a natural approach you have towards mixing sounds, pun intended, and expressing yourself through them? 

I think DJing, and really delivering a fun, energetic performance to your audience is experiences on and off the dancefloor. Some people have very acute skills, such as a very good ear for beatmatching and blends, where some people have simply spent so much time organizing events, listening to longer sets from start to finish, and dancing themselves that they just know what works for the crowd. It’s so important that people who are DJing can relate to the audience on a very intimate level, otherwise you’re left with this very obvious disconnect. I feel my audience is usually varied, and so are there tastes, as is mine. It’s really about making everything work together, and skillfully matching things up in unexpected ways. I’m mindful about it, but most of my decisions are made ‘in the moment’, so a lot of it stems from risk-taking and experimenting, largely tied to intuition, and that’s something which becomes sharper through your own.

The sense of self-exploration and experimentation behind your music reminded me of Underground Resistance and their ethos: relating early Detroit Techno aesthetics to the social, political, and economic circumstances they were facing. 

Music and its dissemination is situated. It resonates differently depending on who’s playing it, to whom and where, and when played in club settings, that extends to what it’s mixed with and why. Most people don’t pay attention to these questions when they are going out, and I don’t blame them…it’s not always a consideration that everyone has when they want to just go out and have a good time. Although, I think audiences these days are much more conscious and inquisitive, especially given the current climate…I think this sense of affiliation to common goals and social objectives is becoming more present, especially in regards to breaking down categories. 

Do you think that nowadays, as electronic music culture has become a global mass movement and club music has generally shifted from the underground’s hazy light into the media spotlight, such stances are still possible? Do you believe that creating sonic communities on the periphery of mainstream culture is still a viable form of sonic resistance? 

Is it really a movement? I’m not sure that’s the best word to use, as when I think of movements, I think of selflessness and fading individualism for the greater good…with club culture today, I still see a lot of self-centering, egoism, choices and strategies based around economic growth at all costs. As its popularity increases, so do its misinterpretations and its easy to lose sight of the bigger picture.

“Club culture, to a large degree, feels quite co-opted at the moment, so supporting smaller, independent spaces and promoters is more vital than ever.”

I touched on the concept of resistance because I feel that it is a central theme of our contemporary world, and I imagine it being especially, and painfully, close to you as a Palestinian. 

Many, if not all, Palestinian people both in Palestine and around the world would say that resistance is a tenet of our existence, if not a vital theme of how we get through each day.

“In the same way that all marginalized people suffer under oppression, Palestinians are resisting more than just occupation and violence – we are resisting our miscategorization, as individuals, as a population and as a culture, and of our being viewed as less-deserving of our humanity.”

Club music has always positioned itself on the thin line between pure hedonism and almost political defiance. How do you feel about this dichotomy during such complicated times? 

This is a very poignant question, and one which I’ve thought about a lot these days as someone living in Berlin. On one hand, this is both my passion and my preferred source of income – neither of which I want to give up, and this is requiring me to actively pursue and accept gigs. There’s been many occasions since relocating to Germany where I wanted to give up on DJing, simply because the hostile climate towards Palestinians (or Arabs, or POC, for that matter) was so present in the scene.

“It’s not like we are never booked, but it feels we are almost always optioned last, or doubted, or tokenized.”

With this in mind, my choice to continue playing and my presence is in itself political, even if it’s sometimes just a random booking. There are events which still cater to the hedonistic crowd (evidently in Berlin), but I wouldn’t say that it’s the only kind of events I like playing for. I’ve been lucky to play a handful of gigs in the last while which center around solidarity, community and togetherness – pretty much the opposite of hedonism, or at least these events offered various / multiple reasons for people to show up. I think at the moment, balance is key. Audiences, and people in general, are just becoming more aware and conscious of the world around them, more informed, and I think club spaces should also be operating in a more informed manner, and engage with their audiences who are ultimately the ones keeping their businesses running. 

Do you think this contradiction is something that needs to be resolved, or perhaps it is something we need now more than ever to internalize as both consumers and creators, to help us better navigate the contradictory landscapes we are facing today in music, culture, and social life? 

We all still must operate within capitalism and consumer habits have infiltrated everything. Consumption is engrained now to such a degree that value is attached to everything. I hate to say it, but I don’t really know if all of this will last very long if things keep going this way.

“I think we need to have a reassessment of ‘real’ values, and create more events, spaces and projects which operate away from economic motives.”

This is something that needs to be said, at this time especially, because it is really leading to a very watered down culture overall. Social media, I feel, has greatly harmed dance music and clubbing as an experience. Connection and responsibility feels short lived. Of course, it goes without saying, it has helped to platform, amplify and support many artists and their careers, but there’s a downside as well. Attention spans are so short and people can easily take an apathetic stance while making it seem like they truly have a position.

“I think at present, DJs should use their platforms to speak for those who can’t, and use their influence positively.”

One last question to complete this release backstory’s picture: what were some of the influences behind it? Musical and not. 

I really wanted to approach this in a totally freeform way and just have fun. Working on this with estoc let me take my mind off a lot of things… estoc is such a multifaceted artist and producer; she does tons of remixes and collaborations, and I felt inspired to be pairing up with her, and especially being able to get this EP out just before she will have her FFS*. It took a while going back and forth, as she was already back in the US when we really started to hammer things out. It was really a pleasure to get the remixes back as well from 3Phaz and Brodinski, and we’re really pleased with what they came up with. Both her and I have an obsession with punk and noise, and I think together this came through in the end. We like that it’s merging so many things all at once, and also fits to the label as well, which we’ve both been huge fans of since its inception. Myself and DJ LOSER really wanted to invite her out to Berlin to play at the showcase we’re doing at Ohm next week, but unfortunately the timing wasn’t right, so I am really looking forward to meeting up with her when she’s recovered and touring again in a few months. 

Order the digital album here from 01.02.24
Interview · Andrea Bratta
Photography · Mike D’Hondt
Follow Oldyungmayn on Instagram and Soundcloud
Follow Estoc on Instagram and Soundcloud
*You can contribute to Estoc’s fundraiser here
Follow DJ LOSER on Instagram and Soudcloud
Follow Magdalena’s Apathy on Soundcloud
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Elpac & Grove

Talk Small

NR presents Track Etymology, the textual corollary to nr.world’s exploration of contemporary soundscapes: A series of short interviews delving in the processes and backstories behind the releases premiered on nr.world’s dedicated platform.

Hi guys! Thank you for doing this! The EP is titled An Ode To Brentry Road. I am curious to know the title’s backstory! Was the goal for the record a canonical Bristol take on Bass music? How much of the city is ingrained in your sound?

Elpac: So I moved to Bristol just over 3 years ago with my mates that I run Amity with (Camalot & Mulholland). The first house we moved into was on Brentry Road, this place became almost venue-like where there didn’t seem to be any noise limits nor a capacity on how many people we would have over for parties hahaha, it was a special place and it was also the place in which I made all of the tracks for the EP. I’d go out on a limb and say the whole street happened to see us go.  

I think with my production I’ve always been heavy on bass-focused music. Originally I was going to just put pen to paper and write the EP with the EP always in mind but it ended up with me making a lot of tracks and then overtime thinking about which would fit best for our label. I’ve constantly been inspired by music that is very weird and wonderful and this is where Bristol has had a massive touch on my sound, I’ve heard so many mad sounds in places like Strange Brew and The Island since moving here and I think if anything, this has become the most motivating and inspiring for my production. Parties such as accidentalmeetings, Normcore, psychotherapysessions have just blown my mind over the last few years to be honest, shout out the crew !

What were you thinking while laying down the Talk Small sonic palette?

Was there a certain sound you were going for, a certain vibe? What are the influences behind it? Walk us a little bit through the process.

E: I mean when Grove reached out I was like jumping around the house, you can ask the Amity boys hahahah. I’ve always wanted to work with a vocalist/mc, with my style and approach to music, there was nobody better than Grove. I think it was the same night we got in contact: I went on my laptop and smashed out like 3 tracks in 4 hours or something stupid, Talk Small was the first idea that I had.

“I wanted to encapsulate that kind of raw aggressive dancehall sound to work alongside groves vocals.”

I’ve always been influenced by that weird kind of slow-fast sounding music, producers like TSVI, Equiknoxx, Low End Activist all really push this sound that doesn’t seem to have any boundaries and I find that really interesting and enticing.

Grove: Dark and sexy is my favorite approach to club music. Proper waist-whine sweatbox riddims. I’ve been heavily in love with the combo of bashment and darker tech-leanings since listening to that Mr Mitch Techno Dancehall mix from 2019.

I’ve loved Elpac’s tunes since hearing in a TSVI mix and we got chatting and realized we crossed over strongly with the stuff we like listening to.

Ended up linking for a session in my little ex-police cell studio (big up The Island in Bristol) and this was the tune he brought to it –massive weapon.

Session flowed like mad, and we laid down some big phat extra synth layer(s) and the vocals.

Listening to Talk Small made me wish I had better speakers at home and think of how the way club music circulates and is experienced changes accordingly to the place and support it is experienced upon. How do you approach producing tracks intended for club use knowing that they will circulate digitally before ending up where they belong: Played in a dark club, on a proper sound-system?

E: I’m always making stuff with the idea of it being what I would want to be hearing, I don’t care too much about the thought of what others would want to hear from me. I think I benefit from this as it doesn’t limit what I’m doing. Obviously at times I’m like okay I want to make something hard for the clubs but I can always find myself overdoing it and overcomplicating the track. This is where me and Grove worked really well together because we didn’t spend too much time on it and we managed to get exactly what we wanted in one session.

G: With making bass-focused music, I used to worry about half the song being “missing” but now I honestly don’t think about it too much –

“I trust it’ll connect with the people it’s meant to, when it’s meant to.”

Was this your first collaboration? Should we expect more?

E: We actually made two tracks in the session but Talk Small was the one that made the cut, you can most definitely expect more from us.

Last but not least, a touch of synesthesia: What would your sound look like? Paint us a word picture.

E: A strobe-y smoked out tunnel of bodies.

Pre-order the digital album here
Interview · Andrea Bratta
Follow Elpac on Instagram and Soundcloud
Follow Grove on Instagram and Soundcloud
Follow Amity on Instagram , Soudcloud and Bandcamp
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iagö

Chemical Wedding

NR is excited to announce the premiere of ‘Chemical Wedding’, a music video by multidisciplinary artist iagö. The lead track and namesake song features North London rapper Tommy Saint. iagö is known for merging his tracks and the visual arts in a process that focuses on the artwork as a whole rather than just the sound he produces.

‘Chemical Wedding’ was directed by Dom Sesto with iagö taking the lead on the creative direction of the project produced by PRETTYBIRD. With its distinctive fusion of musical styles, and the heady hypnotic choreography of the video ‘Chemical Wedding’ transports you into a new space where you can fully immerse yourself in the sound and the visuals that iagö has created. NR joins the artist in conversation.  

 Where do you get your inspiration for your music from? 

As I come to think of it, I have to acknowledge my childhood. Growing up there’s such an increased level of sensitivity to certain things, from emotions to characteristics, visuals and sound. The likes of Jean-Michel Jarre to Joy Division, come to mind. 

The exposure to these different sonic and visual languages, certainly set the foundation for why I’m drawn to certain worlds, even if subconsciously. 

Presently though, the strive to create is really rooted within a conceptual framework. The idea is to develop a narrative in which I can begin to conduct a story through sound. This latest project “The Chemical Wedding” really acts as a testament to my love for the early works of Philip K. Dick and Fitz Lang’s ‘Metropolis’. This was the catalyst to “Chemical Wedding” and the birth of the project as a whole, a reference to the first sci-fi novel written in 1616.  

Did you have any challenges when working on “Chemical Wedding” and if so how did you overcome them? 

As with most creative pursuits, there are always moments where either absurdity or self-deprecation creeps in. I’m surprised we’re even talking, and the project has cemented itself into reality. Sorry, I digress…

The narrative which was set before I began recording really acts as a soundboard during the writing and production process – the safe house, if things take a turn – and a place for inspiration.

The record really expresses where my head’s been at.

“There’s truthfulness, integrity and sincerity.”

How did the collaboration with Tommy Saint come about?

“Chemical Wedding” was the first thing I recorded for the project, so I really aimed for it to be that pivotal moment in the story, the crescendo in which the plot shifts. Tommy really acted as the main antagonist.

The collaboration itself grew through a relationship I had with a previous collaborator. I knew from Tommy’s work that he’d depict the angst and energy that was necessary.

There is a lot of focus on the body and movement of the body in this work, what was the creative motivation behind this?

The influence from “The Chymical Wedding of Christian Rosenkreutz” – which is believed to be the first sci-fi novel – really played into this notion. In essence, the story depicts the symbolic representation of birth, survival and death; life is represented as a circle because it’s a constant loop. People are constantly born and constantly dying.

There’s a spiritual element to this circle, however: the end of one’s existence is not necessarily the end of life altogether. An invitation for the viewer to pull their own meaning.

What advice do you have for young creatives who are looking to work in the music industry? 

Remain honest and pure with your intentions, both in terms of your creative output and in who you are.

“There will be moments of insanity but also euphoric joy as you fly through the seventh heaven at 6 AM. It’ll be ok…”

Although, I’m still figuring it out…

Interview · Nicola Barrett
Photography · Angelo Domenic Sesto
Styling · Harry Crum
iagö wears trousers and boots BOTTEGA VENETA, vest PATRICK MATAMOROS and gloves 0HIDE

Follow iagö on Instagram and Soundcloud

Plebeian

Ephemerides

NR is excited to announce the premiere of ‘Ephemerides’, a track by New York City-based producer and sound engineer Plebeian aka Andrew Nerviano. Plebeian is quickly becoming one to watch on the scene for his “acutely detailed and explorative bass productions reminiscent of Objekt and Djrum.” 

The artist’s track ‘Ephemerides’ is featured on the newly released Various Artists EP by Berlin wax label Isabelline alongside other avant-garde compositions from artists such as Corell, Gaul Plus, and Undveld. In addition to this Plebeian’s upcoming solo EP titled ‘Contrast’ will be released via Grid Records on February 16th. NR joins Plebeian in conversation.

What was your creative process when working on your new track Ephemerides?

It originally began as a eurorack jam and was developed into an arrangement in Ableton. I wound up making an unusual amount of revisions, so the end result is essentially a remix of a discarded track. Thankfully David, who runs Isabelline, pushed me to take it further and now I’m super proud of the track.

How do you think your music aligns with the other artists on the Various Artist EP?

The A and B of the comp are divided between two different moods. I am on the lighter side and wound up contributing the most straightforward dance number. I think there’s a dissociative thread that runs through all of them despite having pretty different energies.

Tell me more about your beginnings in music and how you progressed to where you are today?

I began writing and recording music at around age 14. I was primarily a guitarist playing in bands but began making electronic music early on. A close friend of mine was a really gifted electronic artist, so I was fortunate to have someone to learn from. 

My early influences came from IDM and pop of the time. It wasn’t until I attended Unsound while studying audio engineering abroad that I heard dance music in the right context and something clicked. I switched entirely to dance music after moving to NY in my early 20s. I also began engineering records for other artists and ran a label with a group of friends for a number of years.

What would be some of your dream collaborations and why?

I have been listening to several of Valentina Magaletti’s projects lately and they’ve made me really drawn to live drum sounds again. Everything she does is amazing.

Pete Namlook is another prolific collaborator I would have loved to have seen work. His music is so patient and in the moment, unlike my own stuff which is very ADD and overly arranged. 

Where did you get inspiration for your upcoming solo EP Contrast on Grid Records?

The tracks were originally written for a live set at Dripping Fest in New Jersey, just a few miles from where I grew up. I was really motivated to not bomb in my hometown! And of course, make something special for the occasion.

I was also greatly inspired by a new drum machine just constantly in awe of the sounds it was able to create. Most of the EP was written on one machine.

What advice do you have for young creatives looking to work in the music industry?

As someone that doesn’t really work in the industry, all I can say is stay on your grindset, never log off, become a DJ, and don’t let anyone stand in your way.

Buy the digital album here
Interview · Nicola Barrett
Follow Plebeian on Instagram and Soundcloud
Follow Isabelline on Instagram and Soundcloud
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ML Casteel

American Interiors

spazioSERRA

Found in Transition

Since 2017, spazioSERRA has been subverting the paradigms of art curation in Milan. The unique exhibition space occupies a formerly dismissed aedicula within the Milano Lancetti train station, a site of commuting, certainly not catered for the arts.

However, over the last five years, spazioSERRA has grown into one of the most distinguished curatorial realities of the city, adopting a grassroots and collaborative ethos that revolves around a multidisciplinary collective of young personalities. They are not afraid to challenge the artistic status quo and try to democratise arts, making it a daily experience for passersby.

Its curatorial practice speaks to the present, moving within sculpture, performance and mixed media, with the now not so utopian aim of sparking a discourse on arts, culture and beauty in a suburban setting that, traditionally, was only seen for its pragmatic and structural means. 

Defying labels and refusing the conformist definition of gallery, spazioSERRA is busy narrowing the gap between art and the public sphere, growing seamlessly with the local community.

We sat in conversation with the team behind spazioSERRA.

Lorenzo Ottone: spazioSERRA aims to promote contemporary art in a suburban context. Howimportant but also challenging it is, within that specific social context, to establish adialogue with such a broad community, made of both locals and commuters, whichmay not be necessarily exposed to nor interested in art and culture and who mayhappen to find themselves by the space for other purposes? 

spazioSERRA: spazioSERRA was established to specifically cater to this audience. Our unwavering mission revolves around fostering an authentic and meaningful dialogue with the community, rendering it a matter of great significance to us. Our ultimate aim is to democratise art, liberating it from constraints both literal and metaphorical, thereby fostering accessibility, openness, and transparency. 

The challenge lies in the undeniable reality that the passersby, intentionally or fortuitously interacting with our space, constitute an immensely diverse collective. Certain exhibitions possess the power to ignite the curiosity of specific visitors, while others engender intrigue in an entirely distinct set of observers. We aspire for the passersby, who traverse the Lancetti railway station on their daily commutes, to discover something within our space that can transcend their routine, infusing it with curiosity and a touch of liveliness. 

Furthermore, cultivating a dialogue with the community holds paramount importance. The irrefutable truth remains that spazioSERRA derives its essence and purpose from this very collective. As an integral part of a bustling urban ecosystem, nestled within a public space of a train station, it finds itself intricately interwoven with the broader social fabric. Failure to maintain this vital connection would invariably result in the gradual erosion of its significance and eventual obsolescence. 

Lorenzo Ottone: The exhibitions you promote range widely, from performances to sculpture and mixedmedia. Can you please guide us throughout your curatorial approach? Within an artworld that is quite multi-faceted and fragmented, what stimulates you the most rightnow? 

spazioSERRA: We actually acknowledge and embrace the diverse and expansive nature of artistic  expression in the present era and ever-evolving landscape. We try not to confine contemporary art into a singular definition or medium and instead we aim to promote art that addresses pertinent societal issues and provokes meaningful conversations. Works that challenge established norms, promote inclusivity, and shed light on underrepresented voices resonate strongly with us. We are committed to providing a platform for artists whose practices embody social consciousness, cultural diversity, and critical discourse. We recognize that different perspectives, cultural backgrounds, and social contexts influence artistic expression. It allows for the exploration of unconventional materials, interdisciplinary collaborations, boundary-pushing artistic experiments, and the fusion of traditional and contemporary techniques. 

Ultimately, our curatorial approach is driven by facilitating meaningful connections between artists, audiences, and the broader cultural landscape. Our curatorial collective is formed by multidisciplinary individuals with diverse backgrounds, expertise, and walks of life. So we try our best to curate exhibitions that both inspire and engage, inviting visitors to embark on a thought-provoking journey through the rich tapestry of contemporary art. Over the years, our curatorial approach has evolved significantly, and we anticipate that it will continue to evolve in the future. 

Lorenzo Ottone: At the moment we are noticing an increasing attention towards archive culture.Whereas a spazioSERRA is located in an environment that unfolds at the speed ofsound, dictated by the passing of time and trains. How can art capture the presentand the zeitgeist when there seems to be so much emphasis on the past? 

spazioSERRA: Art, with its innate versatility and capacity for interpretation, possesses the remarkable ability to bridge the gap between past, present, and future. While archive culture may be rooted in preserving and revisiting historical records, art can infuse the present moment with vitality, relevance, and contemporary resonance. Rather than being constrained by the weight of the past, art can engage with history as a source of inspiration and reflection. Artists can draw upon archival materials, cultural artifacts, and collective memory to create works that explore the contemporary human experience. By recontextualizing historical narratives, art can shed light on the enduring themes, struggles, and aspirations that shape our current reality. 

Moreover, art can serve as a catalyst for dialogue and critical examination of the present. It has the power to evoke emotions and provoke thoughtful contemplation. Artists can respond to the pressing issues, complexities, and transformations of the modern world, using their creative expression to capture the zeitgeist and stimulate collective consciousness. Moreover, the immediacy of art’s impact lies in its ability to engage with the viewer on an emotional and visceral level by creating moments of connection and reflection that go beyond the barriers of time. Through these dynamic and experiential approaches, art can vividly reflect the spirit of the present, surpassing the perceived emphasis on the past and artists can evoke a profound sense of connection to the ever-evolving world around us. In short, art’s capacity to transcend temporal boundaries and its potential to explore historical narratives in a contemporary context enable it to capture the present and embody the zeitgeist.

Lorenzo Ottone: You work with young, up and coming artists. Even your own definition of collective issomething that often hails from youth and underground culture. How is the collectiveand social dimension of spazioSERRA shaping your identity? 

spazioSERRA: The majority of the artists we have worked with are in fact relatively young and emerging; we also had the chance to work with artists who are well established and belong to a different generation. We do want to provide a platform for emerging artists to showcase their talent, share their perspectives, and gain exposure within a supportive community. It is truly needed in the current art world. 

By embracing the essence of youth and underground culture, we shape our identity. We also find our distinct character and purpose through our commitment to fostering a collective spirit and creating a vibrant social space. The social dimension of spazioSERRA is equally significant. Our space is designed as a gathering place, where diverse individuals can converge, engage, and experience art in an inclusive and dynamic environment. By facilitating interactions and dialogue between artists, visitors, and the community, we cultivate a sense of shared ownership and participation. Our identity is driven by the collaborative energy that permeates spazioSERRA while fostering a sense of belonging. We strive to remain receptive to emerging trends, societal changes, and the ever-changing landscape of contemporary art. By engaging in ongoing dialogues, we ensure that our identity remains relevant, vibrant, and in tune with the aspirations of our artists and audience. 

Lorenzo Ottone: Last year, your call for artists was titled “Un posto impossibile”, an impossible place,which is what a gallery within an underground railway station may look like at first sight.Have you found an answer to your question? How utopian is spazioSERRA’s visionnow, 5 years after its opening? 

spazioSERRA: It depends on the question to be answered. Our aim is not to necessarily provide answers but more so to create an environment that could potentially generate questions. Every visitor can have their own answer or simply reflect on the questions they personally perceive. spazioSERRA is a peculiar place situated in an underground train station but it is not really a gallery and this is why the expectations from a space like this can be somehow unusual but certainly not entirely impossible. We never set out to have a utopian nor a dystopian vision. While our vision continues to evolve, we find that spazioSERRA’s essence remains firmly rooted in serving the community. The journey of the past five years has allowed us to realize that the vision itself is an ongoing pursuit—a continual exploration of possibilities and a quest to defy limitations. By seamlessly integrating art into this dynamic urban environment, we seek to reduce the boundaries that traditionally separate art from the general public sphere. Yet, we acknowledge that the road to achieving our vision is ever-unfinished. As we navigate the complexities of operating within a train station and engaging with diverse audiences, we continuously adapt, learn, and refine our approach. We try to promote art as an integral part of people’s daily lives. Art has a transformative power. The diverse voices that have graced our space, and the connections forged between artists, visitors, and the broader community determine spazioSERRA’s impact as an exhibition space. The fulfillment of the vision also depends on its ability to sustain its operations over time. These factors can shape the overall vision and determine the extent to which it aligns with the initial starting point.

Sara Pavan

En Plein Air

Team

Photographer · Sara Pavan
Art Director · Flavio Crespi
Styling Assistant · Giovanni Tricase
Supported by FUJIFILM, Shot with FUJIFILM GFX100S


Shauna Summers

Secret Sunshine

Team

Production · Shabatura
Photographer · Shauna Summers
Photographer assistant · Julia Lee Goodwin
Fashion stylist and art director · Camille Naomi Franke
Fashion assistant · Antonio Chiocca
Creative producer · Yelyzaveta Krysachenko
Production assistant · Samo Wong
Hair · Peggy Kurka using Oribe
Hair assistant · Fabienne Hoppe
Makeup stylist · Susanna Jonas
Models · Eline Bocxtaele via Ulla Models and Loni Landua via SMC management
Casting · Hien Le via Dillerglobal
Set designer · Matthew Bianchi
Nail · Oksana Zavora
Retoucher · Cristina Farrarons


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