May 2012 Featuring

N-SPHERE a world behind curtains | may 2012 Featuring

ramiro tapia

gustave dorÉ

FLYN vibert

R. W. FASSBINDER

mateusz odrobny

LA CITTÀ MURAta

1 | N-SPHERE MAY 2012 EDITORIAL TRANQUILIZERS

»Scharr, scharr, verscharr das Ge- as portrayed in Fassbinder's The bein.« Not all basements are si- Bitter Tears of Petra von Kant. The lent. Some float around in bone sensations don't last, fake murals on bone action, with the dark- coming apart under the heavy ened firepit at their centre, smoke blows of Mateusz Odrobny's urban silently rising up from charred re- visual spaces. »Hier tobte sich der mains. Teufel aus: unten im Keller, im Kno- chenhaus« »Scharr, scharr, verscharr das Ge- bein, grab es tief unten im Keller »Scharr, scharr, verscharr das Ge- ein.« Some basements are laby- bein. Leg auch ihre weißen Schädel rinths. They run deep into dream hinein.« Spiralling backwards, the worlds, along the perfect blue of beheaded white bones clumsily Ramiro Tapia's works. There is a rattle of Gustave Doré's legacy. sky opening inside these spaces, The falling into history runs paths suffusing the darkness in cold through the basements walls, right flames. Along the walls, shad- into the stone confinements of ows take form and color, with the Conegliano's La città murata. »Mit works of Flyn Vibert. »Später dann Beton gießt du es aus: das Funda- graben es andere aus und nennen ment vom Knochenhaus.« dein Haus: das Knochenhaus« Some basements are dark, some »Scharr, scharr, verscharr das Ge- basements just breathe. »Scharr, bein. Da ist noch Platz, da paßt scharr, verscharr das Gebein.« noch wer rein.« Some basements are play houses, in a strictly non- quotes | Janus. vel Thora descript abstractly bizarre way, Knochenhaus. 1998

| 2 INDEX

MAY Nox 2 2012 44Showcase Editorial Flyn Vibert Tranquilizers United Kingdom

glass ABUSE 4 showcase 60 Showcase Ramiro Tapia Mateusz Odrobny Spain United Kingdom

stone CLOCKWORK 30 showcase 76 Showcase Gustave Doré Conegliano's France La Città Murata

moving eYE 36 showcase 88 teaser The 13 Moons of Taida Celi Petra von Kant Norway Rainer Werner Fassbinder

3 | GLASS SHOWCASE Ramiro Tapia

| 4 GLASS SHOWCASE Ramiro Tapia

5 | Dreams feelings wishes introspection

Name: Artwork in 4 words: Ramiro Tapia Dreams, feelings, wishes, intro- Location: spection. Salamanca, Spain What is inspirational for you: Occupation: Odd and attracting passages re- Painter produced within the labyrinths of Definition of personal sphere: my brain, impregnated in certain My special sensibility toward the emotional moments of my life. I only spiritual occurrences of my con- work on that stuff which leaks over sciousness. My philias, my pho- the external milieu, transformed bias, in general terms, everything through my keys which automati- that surround me turn out through cally configure them in those lucu- a filter which lately impulses me to brating dreams, that is »my dreams«. translate it into an imagery gifted Currently favourite artists: by quite diverse interpretations, Bosh, Brueghel, Paul Klee, Kan- according to my state of mind in dinsky, Picaso and the illustrators that moment. For that reason, my Arthur Rackham, Gustav Doré and artwork is so versatile and hetero- Aubrey Beardsley, between many geneous. others.

| 6 photo | Ramiro Tapia. 1965. Encina Nocturna. Courtesy of the artist

Tools of trade: our creative visions. We who walk Ingress: Oil paintings, Acrylics, Watercol- through other paths, strange to ramirotapia.com ors, Gouache, Inks, a varied sort of the vulgarity of the markets, to the Translation from Spanish: dusts with paintbrushes and sticks, bastard aspirations of the com- Iván Elvira scourers and diverse other tools. mon, those unsatisfied and am- Current obsessions: bitious mediocres who hold that Capturing symbologies that shake power acquired with the corrup- and shudder my soul, recomposing tion; annihilating life, annihilating sequences which satisfy my recep- woods, floras, faunas, waters, airs, tive and alerted senses like the and contaminating the blue color tentacles of the subaquatic plants of this poor planet at the expense in the pursuit of feed. of enrich, even more, its inflated, Personal temptation: excessive and putrefied treasuries. Put the finger on the eyes of those people who hold the power and who want massacre us in life, even the citizens whose occupy exclusively giving the heart with all its blood to our ideals, and to

7 | photo | Ramiro Tapia. 1969. Cabrón. Courtesy of the artist

| 8 photo | Ramiro Tapia. 1970. Acorazada. Courtesy of the artist

9 | photo | Ramiro Tapia. 1976. La Novia Que Se Deshace. Courtesy of the artist

| 10 photo | Ramiro Tapia. 1977. Crustáceo Metamórfico. Courtesy of the artist

11 | photo | Ramiro Tapia. 1976. Forma Planetaria Azul. Courtesy of the artist

| 12 photo | Ramiro Tapia. 1977. El Arbol De Babel. Courtesy of the artist

13 | photo | Ramiro Tapia. 1983. El Castillo De Irás Y No Volverás. Courtesy of the artist

| 14 photo | Ramiro Tapia. 1998. Torre Entre Islas. Courtesy of the artist

15 | photo | Ramiro Tapia. 1996. Torre Cósmica II. Courtesy of the artist

| 16 photo | Ramiro Tapia. 1998. Torre Roja. Courtesy of the artist

17 | photo | Ramiro Tapia. 1986. Soledad. Courtesy of the artist

| 18 photo | Ramiro Tapia. 1986. Ogresa Roja. Courtesy of the artist

19 | photo | Ramiro Tapia. 1986. Gigante Triunfante. Courtesy of the artist

| 20 photo | Ramiro Tapia. 1986. Ogro Cipote. Courtesy of the artist

21 | photo | Ramiro Tapia. 1986. Guerrero Rojo. Courtesy of the artist

| 22 photo | Ramiro Tapia. 1986. Gato Salvaje. Courtesy of the artist

23 | photo | Ramiro Tapia. 1986. Pero Llameante. Courtesy of the artist

| 24 photo | Ramiro Tapia. 1993. Gran Duque. Courtesy of the artist

25 | photo | Ramiro Tapia. 1993. Gallo Salvaje. Courtesy of the artist

| 26 photo | Ramiro Tapia. 1993. Pero Azul. Courtesy of the artist

27 | photo | Ramiro Tapia. 1986-2008. Bicha Arrebatada. Courtesy of the artist

| 28 photo | Ramiro Tapia. 2011. Federico De Montefeltro Actualizado. Courtesy of the artist

29 | STONE SHOWCASE Gustave Doré

| 30 STONE SHOWCASE Gustave Doré

31 | waked by the circling hours

Name: Influenced: Gustave Doré Too many after his death Lived: Major works: January 6th 1832 – January 23rd Milton's Paradise Lost, Dante's The 1883 Divine Comedy. Tennyson's The Location: Idylls of the King, Cervantes' Don Paris, France Quixote, Edgar Allan Poe's The Occupation: Raven Illustrator, Engraver, Sculptor Associated with: Influences: Romanticism Myth, The Circles of Heaven & Hell, Obsessions: Nordic Folklore, Sun and Darkness, Falling, Waves, Circles of Hell, Body Contortions in the Works of Wings, Light, Clair-Obscur, Stars, Michelangelo, Severed Heads, The Movement, Nightfall, Microcosm Fall, The Border between Fantasy and Reality, London, Rodolphe quote | John Milton. DIANA DAIA Töpffe Paradise Lost. Book VI

| 32 photo | Gustave Doré. 19th century. Illustration for Paradise Lost Rosa Celeste: Dante and Beatrice gaze upon the highest Heaven, The Empyrean. Courtesy of the artist

33 | photo | Gustave Doré. 1985. The Disaster After The First Ascent Of The Matterhorn. Courtesy of the artist

| 34 photo | Gustave Doré. 19th century. Illustration for Dante's Divina Commedia. The Severed Head of Bertrand de Born Speaks (Inferno, Canto 28) Courtesy of the artist

35 | MOVING SHOWCASE The 13 Moons of Petra von Kant

| 36 MOVING SHOWCASE The 13 Moons of Petra von Kant

37 | Only pity what you can't understand

ainer Werner Fassbinder's that poster has actually a com- The Bitter Tears of Petra mon ground (at least) with the Rvon Kant plays like a fash- image he/she promotes. But in ion-world version of the maggot many cases we are deceived. in the apple. The title obviously points towards a state of long- And so we are in this film. The Bit- ing, the heroine's name inspires ter tears of Petra von Kant con- a kind of elegance and beauty tains many wounding moments and yet, in the same time there is and it is not – by any means – a that coldness/harshness remind- hypocritical work, but a film re- ing of tragic heroines. Overall, volving around a hypocritical before even seeing the film, one character. Because Petra is not may form a rather strong image a tragic heroine, nor is her sad- about it. ness anything else but a strategy to fool others and fool herself and Fashion posters do that as well we see this from the film's open- and we are sometimes inclined ing sequence (the makeup scene, SHADE to believe that the person behind choreography and all).

| 38 39 | For those at least slightly familiar powerful, but it is also presented It is something – maybe induced with Fassbinder's work this should by Sister Gundrun in a very clini- – in some people's mind telling not come as a surprise since the cal manner. them that weak people can show German director is known for a fairly high degree of honesty, creating rather unpleasant char- What made The bitter tears of Pe- that they are authentic just be- acters and he is not the only one. tra von Kant rather interesting for cause they seem or decide to However, what I found to be par- me is that, unlike other Fassbind- be vulnerable. And then the title ticularly interesting is that Fass- er films, this one does not revolve mutates: bitter tears can be an in- binder doesn't make his charac- around outcasts. Petra is not an dicative of a quiet resignation, of ters aggressive. Even when they outcast, which may not be much letting - go - with a smile on your seem to be – like in this film – it is of an argument in making the film face – of something you don't feel just a façade. They are just pre- interesting, however Petra sees ready to let go. But »bitter« can sented, they present themselves, herself as an outcast. She is weak also be an indicative of one being but there is no parade made because she wants to be weak delusional. Petra creates a frail around them, there is no moral and in the film's opening mo- world where she is both queen angle, no direct attempt to be ments we can see that from the and victim, but it is a world only sympathetic about them. An ex- clothing she chooses and the way she can see, not anybody else. ample in this sense is the »Sister she is filmed and from her overall From the outside she is clumsily Gundrun scene« from In a year of physical aspect: all of them sug- portrayed as a queen and nearly 13 Moons in which we are offered gest weakness, more exactly all nonexistent as victim. a glimpse of the protagonist's of them suggest »induced weak- early life. The material itself is ness«. What was said before can be also

| 40 be seen in the dialogue, in Petra's ing, provoking, or would project authentic or at least intriguing. dialogue with her »love interests«. some deep yet fictional wound. Not because she tries to manipu- She either wants to make strong However, it ends being none of late, but because she wants to do statements which are convincing the above. it, or she thinks she wants to do it, halfway through after which they she gives it a shot and fails. One fall apart: Other pieces of dialogue pretty may never be certain if she even much dance on the same tune or tried hard enough. »It's easy to pity, Sidonie, but so if not they are even far less. much harder to understand. If This is why I said that this film you understand someone, don't There is also a very amusing con- deceives. However, I think Fass- pity them, change them. Only pity trast: the film is beautifully and binder was well aware of that as what you cant understand.« elegantly shot, the interior is nice- I am well aware that this was one ly decorated, the same can be of his intentions if not his main in- The above quote is an example. said about the costume, coloring tention. If we strip the film of its Starts with a truthful statement, and all, however at its core it is narrative layer(s), we can see it because indeed it is easy to pity a bleak and somehow repulsive as a cheerful attack against the and in so many cases it is also film. Not because its heroine is bourgeoisie, the hypocritical so- useless and sometimes even in- too »deformed«, nor because she cial/pseudo-philosophical conve- sulting, but the rest is just teen- made decisions that transformed niences masqueraded as »good age nonsense born out of the her in an outcast (13 Moons or Fox manners« or values. Again, this is desire of saying something that in and his friends even), but because not exactly news, actually you can the end would either be disarm- there is nothing about her that is say this about most of his movies,

41 | but I think here he has done it in a deliciously subversive manner.

This having been said, The bitter tears... was a movie I »enjoyed« (not sure if it is the right word) and I am looking forward to see more of Rainer Werner Fassbinder's films (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 films often tackle difficult/scandalous and sensible subjects of matter, they are bitter, straightforward and insightful (especially when it comes to »outcasts«) and yet quiet and »unsensational«. And for me at least, this is the reason they worked. So if you are fed-up if films parading »freaks« either for entertainment, either because the director wanted to fool the audience they are witnessing an important and challenging motion picture this may be your call.

photo & quote | Rainer Werner Fassbinder. 1972. The Bitter Tears of Petra von Kant

| 42 43 | NOX SHOWCASE FLYN VIBERT

| 44 NOX SHOWCASE FLYN VIBERT

45 | Name: Flyn Vibert Location: London, United Kingdom OCCUPATION: Photographer WEBSITE: callmeflyn.blogspot.com

| 46 Name: Flyn Vibert Location: London, United Kingdom OCCUPATION: Photographer WEBSITE: photo | Flyn Vibert. 2010. Slash. photo | Tommy Nease. Untitled. Courtesy of the artist callmeflyn.blogspot.com No Digital Manipulation. Courtesy of the artist

47 | photo | Flyn Vibert. 2012. Lips Cracked Dry. No Digital Manipulation. Courtesy of the artist

| 48 photo | Flyn Vibert. 2012. Lips Cracked Dry. No Digital Manipulation. Courtesy of the artist

49 | photo | Flyn Vibert. 2012. Untitled. No Digital Manipulation. Courtesy of the artist

| 50 photo | Flyn Vibert. 2009. Untitled. No Digital Manipulation. Courtesy of the artist

51 | photo | Flyn Vibert. 2010. KM. No Digital Manipulation. Courtesy of the artist

| 52 photo | Flyn Vibert. 2010. Slash. No Digital Manipulation. Courtesy of the artist

53 | photo | Flyn Vibert. 2011. Devil's Gateway. No Digital Manipulation. Courtesy of the artist

| 54 photo | Flyn Vibert. 2011. Devil's Gateway No Digital Manipulation. Courtesy of the artist

55 | photo | Flyn Vibert. 2010. Slash. No Digital Manipulation. Courtesy of the artist

| 56 photo | Flyn Vibert. 2010. Slash. No Digital Manipulation. Courtesy of the artist

57 | photo | Flyn Vibert. 2011. Devil's Gateway. No Digital Manipulation. Courtesy of the artist

| 58 photo | Flyn Vibert. 2011. Devil's Gateway. No Digital Manipulation. Courtesy of the artist

59 | ABUSE SHOWCASE Mateusz Odrobny

| 60 ABUSE SHOWCASE Mateusz Odrobny

61 | isolation is the comfort zone from whence my painting work flows most freely

:: Hello, Mateusz, and welcome to ing from the fox hole at the top. the Spheres. To get us started, we This was around my 5th year of ex- are curious about your work and istence, so I guess I have always background. When did you begin had a pencil in my hand. painting and drawing? Well, one of my early memories :: What are you working at the mo- (of which I don't have many) is ment? sitting at a table at my grand- Right now is a busy time, which mother’s place in Vienna, where I do prefer. For 6 months I have we were staying while my parents been painting a new body of work, were sorting out emigration from that I'm quite excited about. It's oil Poland to Canada. My grand- on canvas and the pieces are the mother asked if I would draw my largest that I have been able to favourite thing. I proceeded to work on since moving to London. render a large, rather bubbly, but The detail levels I'm working to nonetheless, formidable Panzer are pushing a new standard for tank, complete with an armed me (on canvas), which makes me DIANA DAIA and helmeted General protrud- quite excited to see where these

| 62 photo | Mateusz Odrobny. 2011. Cymmerian Lamb Of Silence. Courtesy of the artist

63 | photo | Mateusz Odrobny. 2011. Drawboard. Courtesy of the artist pieces will end up. Over the past pencil and sketchbook; I'm never tant aspects of developing new half year, beyond painting, I have without these trusted tools. Oil work. It's a similar process to evo- had several illustrations pub- paint has become my medium of lution, as mediums, techniques lished by a London based Maga- choice for canvas work, although and territories merge and in a zine called Stalking Elk (www. I have been using a lot of water- sense battle for domination, the stalkingelk.co.uk), and I have col- colour to work out ideas lately. most useful elements of each rise laborated (created various anima- I do most of my illustration with to the top and combine in new tions and video projections) on Staedtler pigment liners, or Pig- and unexpected ways. a performance piece called The ma Microns. When sign writing I Body, which ran for two weeks use One Shot enamels, and I have :: How and why did you start work- at the ICA. I've also taken up a to mention the Mack »Virus« line ing with video? new direction on the commercial of brushes, truly superb profes- I started working with video in the side of things, namely traditional sional tools that respond beauti- late 1980's. At the time I had two sign writing www.facebook.com/ fully to my every move. I will say vcrs, a 386 mghz pc with an incred- mjoarts, which has been gaining also that I do employ a computer ibly primitive video capture card, momentum for about a year and in many aspects of working (most- and a korg poly six synthesiser. a half. ly on commercial projects), but in Around that time I came across recent times I try to keep the in- a tape of video edits created by :: What tools of trade do you em- fernal machine to minimal usage. Dwayne Goettel, the keyboard- ploy? ist of Skinny Puppy. The tape I've been quite a dabbler over the :: You seem to cover a lot of areas was of edits created to play on years, I tend to explore any medi- and not restrain yourself solely to tv screens during live shows, and ums that are available to me, but I illustration. Is it important to blend was a pandemonium of video and certainly do have my staples. First territories? sound from a myriad of sources. I and foremost would have to be I think it's one of the most impor- loved what I saw, and the sense of

| 64 photo | Mateusz Odrobny. 2011. Cymmerian Lamb Of Silence. Detail. Courtesy of the artist

65 | photo | Mateusz Odrobny. 2007. Portrait. Courtesy of the artist

| 66 disjointedness and intensity I was left with after watching, so I started trying my hand at the medium. From that point moving image work has always been a branch of my practice.

:: Which would you consider to be your most important project so far? This is a hard question to answer, perhaps I will treat the word project more in terms of »category of work«. I think the best thing to say is that my ultimate destination is painting. When I paint freely, I'm at my most honest, and direct. The only filters are mine, the connection 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 never truly mine, as it is processed through client needs, hardware limitations, or timelines. Painting, is for me, the sublime moment.

:: You also dedicate yourself to graphic design. Does painting help you in your typographical work? For many years my mentality towards the two disciplines was very separate. I did not see too many ways to connect the two fields beyond the general prin- ciples of image making. However, in recent times the connection between these two sides of my photo | Mateusz Odrobny. 1999. Portrait of Despair. practice are finding an ideal arena Courtesy of the artist in which to merge and truly combine to a new functionality. The jor influence to how I approach know, it sets the context of my ex- arena is sign writing, which I start- design, and typography. perience, but I'm not sure if it is, ed exploring around 2010 while distinctly, the inspiration. I've al- working with Shunt. Since start- :: Your works plumb the depths of ways seen the inspiration to paint ing the sign work, I have come to the City, revealing a dystopic at- as a more visceral protagonist, it's understand a whole new depth of mosphere. Do you use the urban the sensation of disconnecting typography through the practice space as a main source of inspira- from my surroundings that keeps of hand lettering with a brush, tion? me coming back to the canvas. As and as such, painting is now a ma- Well, the urban space is what I I paint I tend to let go of expec-

67 | tations and thoughts of anything the urban space is quite romantic tios sketching and people watch- specific and the work starts to re- (and stressed) when it comes to ing, where the flow of traffic be- veal itself only when I stop look- showing work. When I see one of comes as soothing as the flow of ing for what may be there. my pieces invading an unsuspect- a river. I've worked on transform- The underlying themes of my ing public in a common setting, or ing locations for film sets, painted work certainly carry a sense of signs on buildings for days on dystopia. I view the systems and end, and whenever I find myself institutions we inherit generation out there in the world just doing after generation with a great fore- »I view the what I do, the process, I feel at boding and melancholia, as sourc- ease. es of great strife to the pursuit of wholesome, unencumbered, systems and :: How is it living in London for a self- regulated existence. Around visual artist? the age of 14-15, I was greatly Absolutely Insane! Absolutely taken by A.Huxley's Brave New institutions Impossible! Absolutely Worth It. World, O.Wells 1984, and sev- (plus you can have a half pint of eral of Carlos Castenada’s Yaqui Guinness for about £1.60 under Way of Knowledge series. I had we inherit Francis Bacon's portrait at the always felt a sense of uneasiness place he used to hang out!) towards institutional systems, but it was these words that really generation :: Do you feel more connected to helped me to formulate a founda- your hometown in Poland? tion of reasoning on the subjects When I came back to Europe in of personal freedom, state intru- after 2005 (my family left for Canada sion, and power hierarchies. in 1981, and I had not been back In formal terms I would say that since), I spent a month living in geometry is the foundation of generation Poland. As I first walked out on to most of my painted works. Each the streets of Bytom in Novem- piece starts with a dissemination ber, I was left in a strange awe. of shape and/or pattern, often with a great Before me in every direction were leaning towards ideas of sacred shapes and colours that I had geometries, occult chart systems, been painting for as long as I can or simple symmetry. From there foreboding remember: washed out beiges the process is one of ambiguity, and blues, gritty grey, splintered working with flow, rhythm, form, panels, certain pitches in the roof until I'm looking at something that and angles... It was a moment of un- I can no longer deny has emerged. expected discovery that gently This process repeats itself many shook me to my very core. The times per canvas, until (hopefully) melancholia« next 3 years I basically stopped I've pulled the whole of the narra- painting. I worked in sketchbooks, tive through, at which point I de- and did design jobs, but painting tail, finalise, frame, and move on. in a gallery, a multitude of emo- simply ceased. Once my impetus tions is conjured, »I am the pro- to paint returned, I found myself :: Some of your illustrations step pagandist«, »I am naked on stage floundering as my relation to the out of the frame and extend on in front of the whole school«, etc. process had profoundly changed. walls, buildings, glass. Do you re- It's exciting, but also very uncom- It was an experience I would liken gard your work as symbolic medi- fortable. to being in an accident, and hav- ation between you and the urban I also commune with the city during to go through physical therapy space? ing the process of creating work, to regain the ability to walk. My Well, if by mediation, you mean which is a very different experi- connection to Poland is some- therapy, then YES, ABSOLUTE- ence for me. I've spent countless what ambiguous now, but having LY! (loud laughter). My relation to hours on coffee shop, and pub pa- been, certainly had its impact.

| 68 photo | Mateusz Odrobny. 2006. Tourist. Courtesy of the artist

69 | :: Is it easy to meet people in the visual arts area in the cultural tur- moil from London? Meeting people in London is a strange endeavour. I am very for- tunate to have worked with Shunt under London Bridge. Each week the massive railway arch network was curated anew with artists, performers, musicians, and film makers from all over Europe and beyond. I was there for about three years and got a very interesting view of London and Euro- pean culture. As with becoming involved with Shunt, almost every meeting of like- mindedness has been a most random experience. I will say there seems to be a larger statistical likelihood of coming across interesting people in a place filled with 8 million pos- sibles!

:: In one of your illustrations from dA BEAtEN series you write: »We all find our little bit of loneliness, if we search long enough«. How would would you describe isolation in relation to your work? Isolation is a state so very deep and filled with treasures and pit- falls. It's the landscape of the self where you confront your personal demons, angels, shamans, and ogy and travel. The original intent into the system, it's overall impact dictators in that blinding reality of technological connection has equalises and integrates. I feel of your deepest and ultimately turned to an observable impact of with technology we are slowly vulnerable primordial essence. It disassociation in social situations, transitioning towards a period is the sublime state, the nirvana, just as easier travel has opened where the »wow« factor or that the Hades, in which pure truth a door for many to seek new lives initial explosion is losing ground and pure being simply exist. It is in a wide spectrum of locations, to an approach of practicality. the comfort zone from whence my leaving the travellers displaced Perhaps there is hope for us yet! painting work flows most freely. from their homes and families. At the same time, I don't see it as a :: Do you think that, paradoxically, snowballing effect that will one while we are gradually connected day render all people as drones through technology and motion, plugged into machines, never to photo up | Mateusz Odrobny. we become more isolated some- interact with one another. I think Da Beaten. The Search how? it's like anything »new«, when first Courtesy of the artist I do think there is a dichotomy be- introduced, the impact is visible photo right | Mateusz Odrobny. tween the original aims and the and intense; as time passes and Da Beaten. Restraining Seminar. observable outcomes of technol- the new element is fully diluted Courtesy of the artist

| 70 71 | photo | Mateusz Odrobny. 2007. Quiet Room. Courtesy of the artist

| 72 photo | Mateusz Odrobny. 2009. The Negotiators. Courtesy of the artist

73 | photo | Mateusz Odrobny. 2011. Hierarchy. Courtesy of the artist

| 74 photo | Mateusz Odrobny. 2007. Reflection. Courtesy of the artist

75 | CLOCKWORK SHOWCASE Sticks and stones: Conegliano, Italy

| 76 CLOCKWORK SHOWCASE Sticks and stones: Conegliano, Italy

77 | ...may break my bones

WHere: Conegliano, Italy WHAT: La città murata (The Walled City) Built and fortified during: 12th-14th centuries, AD Photos of: Calle Madonna della Neve and the Castagnera walls Architectural characteristics: tholos-type archery loopholes vel thora and blind merlons

| 78 79 | | 80 81 | | 82 83 | | 84 85 | | 86 87 | EYE TEASER TAIDA CELI NORWAY

N-Sphere | May 2012

Editors: Vel Thora | www.vel.sfere.ro Diana Daia | www.in-circles.org Layout: Diana Daia Contact: [email protected]

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