#brando-pericic

#brando-pericic

'When I go to bed, I go to work.' Starck describes dreaming as an active method in his design process, where sleep becomes a space for production and innovation.

'Give them a smile, you know, something that can also be a deeper level of understanding,' Sara Ricciardi tells designboom, framing the installation as an immediate emotional trigger before it unfolds into something more layered.

I think it was from a quote or something where I said I wasn't necessarily concerned with the films making perfect sense. My works are a reflection of that chaos and unpredictability.

This idea has been on my mind for some time, shaped by observing the political situation not only in Bulgaria but more broadly. In Bulgaria, we are going through a profound political crisis.

Pilar Zeta builds environments like dreams that feel like stepping into a thought mid-formation. Her sculptural works take shape in the form of portals and objects that invite direct engagement, as visitors are invited to walk through them and notice subtle shifts in perception.

"In Minor Keys focuses on marginal or overlooked voices. Kouoh defined a restorative form of resistance, which calls for attentive listening amid the present chaos."

The exhibition presents approximately 30 works by Alighiero Boetti, beginning with a core group from the museum's permanent collection, including early works from the 1960s.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

The care and attention to detail that is evident throughout the space, combined with the provenance of the hands that created it, marks Oficina Milanese as distinctly respectful and enduring of the surrounding streets.

Cezar Berje's visual approach is a mix of chaos-vibrant colours, symbols, and new age psychedelia. His illustrations often suggest universes within universes, with each part of the image telling its own story through symbols and references.

The project reconsiders the building as a layered architectural structure shaped by successive transformations, reorganizing these historical strata through a spatial strategy that prioritizes clarity, continuity, and flexibility.

In many ways working in the tradition of Kazimir Malevich and Josef Albers, his compositions employ a language of squares and rectangles known as "Cells" and "Prisons," connected by bold lines called "Conduits." Together, these geometric and linear arrangements tap into the inherent geometry that structure reality, and conceptually refer to the construction of everyday life, both public and private as well as physical and psychological.

As a child, I imagined a place far behind our own sky. A planet with its own weather, its own atmosphere, its own logic entirely. It was my own version of science fiction. How did it feel on this planet? Was it snowy, windy, or could you sense the first green breath of spring-I called it Planet Z.

At the Hamburger Bahnhof, the props, costumes, and set pieces of the musical are staged in vignettes throughout a large hall: a life-sized horse sculpture in a pink clearing surrounded by dirt, a curtained cart set up as a stage with a figure on its steps, two life-sized human figures in animal masks perched in a high window, as if observing the events.

Behind its seemingly polished framework, To Empty Out emerges as an exhibition beautifully rife with contradictions that overlay serious and playful themes according to Grzybacz, who often sets out to "clash the forces" of gravity and levity through his chosen subjects. Through sublime florals, bawdy scenes, and raw portraits of social life, Grzybacz balances contemplation and observation, navigating between painterly precision and intuitive expression in this deeply personal exhibition.