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Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
Alcune foto di «Quando le attitudini diventano forma. Il catalogo di mostra come protesi curatoriale: 1969—2022», il mio progetto di laurea magistrale in arti visive e moda allo IUAV, guidato da Angela Vettese e dal generoso aiuto di @edodoardo, il quale mi ha permesso di esplorare archivi e biblioteche tra Oslo e Venezia e di fare ricerca sui cataloghi di mostre. Questo ha aperto a un ripensamento del catalogo come entità prostetica, generativa e disseminatrice attraverso un confronto con altri sistemi di publishing e produzione editoriale come il libro d’artista e il fashion printed matter, svelando un sottosuolo di influenze reciproche e perpetue.
Some images from «When Attitudes Become Form. The Exhibition Catalogue as Curatorial Prosthesis: 1969–2022», my MA graduation project in Visual Arts and Fashion at IUAV, supervised by Angela Vettese and generously supported by @edodoardo.
The project allowed me to conduct archival research across libraries in Oslo and Venice, focusing on exhibition catalogues and reconsidering them as prosthetic, generative, and disseminative entities. This investigation unfolded through a dialogue with other publishing and editorial production systems — such as the artist’s book and fashion printed matter — revealing an undercurrent of reciprocal and ongoing influences.
Also, my deepest gratitude to @elisebyolsen and @fashionresearchlibrary for giving me access to their incredible collection and for their support.
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
The past six months were all about being locked in libraries, working through the cold and researching exhibition catalogues spanning the last 50 years 📁
Some of the shots i had the honour to be part of for @ellenorge’s Archive Issue
@fashionresearchlibrary
Photo: Ida Fiskaa / Pudder Agency
Styling & art direction: Morteza Vaseghi & Elise By Olsen
Collectors: Astrid Skjerven, Else Skålvoll Thorenfeldt, Kjersti Sletholt, Lisy de Rohan Birkeland, Shohreh Nemati, Sissel Kvello
Designers: Anna Ringstad, Rebecca Fugelli
Light & photo assistant: Iver Ambrosius Julius Bjørhusdal-Eriksen
Hair: Andrés Kløvstad Gevir/StyleManagement/ Hair by Sam McKnight
Makeup: Sóley Ástudóttir/Stripes Creatives
Some of the shots i had the honour to be part of for @ellenorge’s Archive Issue
@fashionresearchlibrary
Photo: Ida Fiskaa / Pudder Agency
Styling & art direction: Morteza Vaseghi & Elise By Olsen
Collectors: Astrid Skjerven, Else Skålvoll Thorenfeldt, Kjersti Sletholt, Lisy de Rohan Birkeland, Shohreh Nemati, Sissel Kvello
Designers: Anna Ringstad, Rebecca Fugelli
Light & photo assistant: Iver Ambrosius Julius Bjørhusdal-Eriksen
Hair: Andrés Kløvstad Gevir/StyleManagement/ Hair by Sam McKnight
Makeup: Sóley Ástudóttir/Stripes Creatives
Some of the shots i had the honour to be part of for @ellenorge’s Archive Issue
@fashionresearchlibrary
Photo: Ida Fiskaa / Pudder Agency
Styling & art direction: Morteza Vaseghi & Elise By Olsen
Collectors: Astrid Skjerven, Else Skålvoll Thorenfeldt, Kjersti Sletholt, Lisy de Rohan Birkeland, Shohreh Nemati, Sissel Kvello
Designers: Anna Ringstad, Rebecca Fugelli
Light & photo assistant: Iver Ambrosius Julius Bjørhusdal-Eriksen
Hair: Andrés Kløvstad Gevir/StyleManagement/ Hair by Sam McKnight
Makeup: Sóley Ástudóttir/Stripes Creatives
Some of the shots i had the honour to be part of for @ellenorge’s Archive Issue
@fashionresearchlibrary
Photo: Ida Fiskaa / Pudder Agency
Styling & art direction: Morteza Vaseghi & Elise By Olsen
Collectors: Astrid Skjerven, Else Skålvoll Thorenfeldt, Kjersti Sletholt, Lisy de Rohan Birkeland, Shohreh Nemati, Sissel Kvello
Designers: Anna Ringstad, Rebecca Fugelli
Light & photo assistant: Iver Ambrosius Julius Bjørhusdal-Eriksen
Hair: Andrés Kløvstad Gevir/StyleManagement/ Hair by Sam McKnight
Makeup: Sóley Ástudóttir/Stripes Creatives
Some of the shots i had the honour to be part of for @ellenorge’s Archive Issue
@fashionresearchlibrary
Photo: Ida Fiskaa / Pudder Agency
Styling & art direction: Morteza Vaseghi & Elise By Olsen
Collectors: Astrid Skjerven, Else Skålvoll Thorenfeldt, Kjersti Sletholt, Lisy de Rohan Birkeland, Shohreh Nemati, Sissel Kvello
Designers: Anna Ringstad, Rebecca Fugelli
Light & photo assistant: Iver Ambrosius Julius Bjørhusdal-Eriksen
Hair: Andrés Kløvstad Gevir/StyleManagement/ Hair by Sam McKnight
Makeup: Sóley Ástudóttir/Stripes Creatives
postmodern mood structures photographed by david lynch for Interview Magazine, 1994
postmodern mood structures photographed by david lynch for Interview Magazine, 1994
postmodern mood structures photographed by david lynch for Interview Magazine, 1994
postmodern mood structures photographed by david lynch for Interview Magazine, 1994
postmodern mood structures photographed by david lynch for Interview Magazine, 1994
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