Publishing - Boiler Corporation

Transcript

Publishing and Editorial
BOILER/ PORTFOLIO/ PUBLISHING
BO I LE R M AGA ZI N E
It all star ted at the turn of last centur y. Founded in London, boilermag.it was one of the f irst blogs about
contemporar y ar ts and it turned a paper magazine in 2002 with the HQ in Milan. The seminal publication lasted
for two years and produced 7 issues and several events. The circus of life, The great escape, La notte, Eureka!,
We are animals, VIVA! ITALIA , and the Super Neen Flip Book.
We involved several curators and contributors including from Barr y Neuman, Hans Ulrich Obrist, Massimiliano
Gioni, Caroline Corbetta, Michele Robecchi, Andrea Viliani, Alix Browne. The legacy of Boiler is still spreading.
In the past few years many other independent publishers raised their f lag and created their own magazine
or webzine giving to Milan an entirely new look and feel. BOILER/ PORTFOLIO/ PUBLISHING
Boiler #00
Boiler #01
Boiler #02
Boiler #03
Boiler #04
Boiler #05
U OVO
In 2013, on the occasion of the tenth anniversar y of Uovo Per forming Ar ts Festival, organized and promoted
by our associates Uovo/MED Associazione Culturale, we published a coffee-table book, a desirable object
with a unique, tailor-made shape. It was designed in collaboration with designer Fabrizio Radaelli.
U OVO
U OVO
U OVO
Socìetas Raffaello Sanzio
Tragedia Endogonidia di Romeo Castellucci
IX Crescita Milano
Hey Girl!
Superstudio 13 Studio3, 2004
ph. luca del pia
Superstudio Più Central Point, 2008
ph. francesco raffaelli
Ciclo filmico della Tragedia Endogonidia
Cinema Gnomo, 2006
ph. luca del pia
Xavier Le Roy
Self Unfinished
Superstudio Più, 2004
ph. katrin schoof
William Forsythe
Solo; Antipodes I / II; Suspense
Triennale di Milano, 2012
ph. lorenza daverio
G LITC H E S
Mila Schön
September 2010
Boiler Corporation
Glitches
Tommaso Garner
essays
Angelo Flaccavento
MicheleD’aurizio
When their f lagship store opened in 2012 in Corso Venezia 18, Milan, historical Mila Schön fashion brand hosted
the vernissage of Glitches, an ar t project by Tommaso Garner with the collaboration of creative director Bianca Ger vasio.
We designed and published the catalogue book, where the purely creative processes of the ar tist
overlapped the symbolic patterns and archive images of the Maison.
The project was completed by a video-reworking by the same authors and dubbing by sound designer Gadi Sassoon.
OV E RG RO U N D
A project in par tnership with Uovo and Fondazione Fotograf ia, Overground was born in 2009 from
the collaboration between the contemporar y theatre and per forming ar ts scholars Lucia Amara, Adele Cacciagrano,
Piersandra di Matteo and Tihana Maravić, and the photographer Luca Del Pia.
The project has involved ten per formers to explore the space of a show, focusing mainly on per formance ar t.
The book has a multidisciplinar y approach, in order to per fectly f it the project’s nature; it comprehends
photography, per formance ar t and critical writing. Each domain communicates with the others in its own language,
yet each domain is open to inter ferences and shifts, detachments and overlaps.
OV E RG RO U N D
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G I OVA N E ITA LI A
Undici storie di nuovi calciatori italiani raccontate da:
Violetta Bellocchio, Cristiano Cavina, Emidio Clementi, Paolo Cognetti,
Giorgio Fontana, Massimo Gardella, Fabio Genovesi, Fabio Guarnaccia,
Davide Musso, Francesco Pacifico, Alberto Piccinini.
With photographs by Angelo Sindaco, Giovane Italia tells 11 stories of 11 young male and female soccer players,
all united in the desire to become famous in the premiere league.
The 11 tales were written by authors Violetta Bellocchio, Cristiano Cavina, Emidio Clementi, Massimo Gardella,
Fabio Guarnaccia, Fabio Genovesi, Paolo Cognetti, Marco Missiroli, Davide Musso, Francesco Pacif ico, Alber to Piccinini.
The series of stories and pictures was exhibited at Nike Stadium Milan in July, 2010.
G I OVA N E ITA LI A
I RACCONTI DI CALCIO
Ovvero: come parlare di una cosa che appassiona miliardi di persone
attraverso qualcosa che non appassiona quasi nessuno.
di Tim Small
In appendice a Litania di un arbitro¹ di Thomas Brussig, elegantissima novella sotto forma di confessione di un direttore di gara in crisi, si trova un breve articolo intitolato “Il calcio”. Nell’articolo Brussig descrive un pensiero che tende a formarsi, prima
o poi, nella mente di tutti gli amanti del calcio e della letteratura. Per la precisione, un
pensiero che si forma quando si è costretti a fare un paragone tra la pochezza offerta
dalle opere di “narrativa calcistica” e la roboante, mastodontica ricchezza della narrazione intrinseca nel calcio stesso. “Chi ama veramente il calcio sa che il calcio è autosufficiente,” dice Brussig. “Il calcio non ha bisogno di libri sul calcio... Una storia su
un giovane e povero immigrato che gioca a calcio per ottenere un riconoscimento sociale e che, giunto in finale, nel momento decisivo... No, non funziona. Funzionerebbe
se fosse il racconto di una storia vera—ma, per favore, basta con le storie inventate.”
La citazione mi piacque così tanto che trasformai le ultime tre parole (Le storie
inventate) nel titolo di una rubrica (argomento: tutte le finzioni narrative legate al
calcio, dai libri ai film ai videogiochi ai cartoni animati) che ho curato² nella primavera del 2010. Qualche mese dopo, mi trovo ad aprire l’introduzione a questo volume
riutilizzando questa citazione. Si vede che mi piace davvero tanto, potreste dire voi.
E bravi simpaticoni, risponderei. In realtà la sto utilizzando per riassumere il processo mentale che mi ha portato alla cura di questa collezione. Il primo dubbio me l’ha
messo in testa proprio Brussig, un dubbio riassumibile in una singola parola: perché? Perché provare a unire calcio e narrativa? Il racconto ne sarebbe sempre uscito
bistrattato, il suo raggio d’azione ridotto, il suo potere sterilizzato. A mio modo di
vedere le cose, lo sport è uno dei rari spazi in cui la narrativa—conflitti, personaggi,
trame, colpi di scena, catastrofi, catarsi—si fonde con l’azione corale, ininterrotta,
naturale. E, soprattutto, ogni partita è anche un singolo capitolo che porta avanti
migliaia di complicatissimi archi narrativi maggiori.
In effetti, il paragone narrativo più appropriato non è quello tra la partita e il
racconto, ma quello tra la partita e la puntata di una serie televisiva americana di
qualità³. Un grande episodio di The Wire o Mad Men—proprio come una partita—
funziona sia, 1. dal punto di vista del singolo racconto compiuto, con un inizio e una
fine (il racconto / la partita); che, 2. dal punto di vista del singolo capitolo all’interno
di una stagione di dodici episodi (il racconto come capitolo di una storia più grande /
la partita come parte della giornata), che, 3. dal punto di vista della singola stagione
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Si fece pari a modo suo.
A giugno, fu bocciato.
A settembre, ricominciò il campionato, e ne fece tre la prima partita.
Praticamente, non si fermò più.
A metà campionato, dissi a mio padre che poteva pure risparmiarsi l’abbonamento alla TV via cavo per seguire le partite del Bologna; avrebbe fatto molto prima a salire in bicicletta e a sedersi sulle tribune del nostro campo sportivo, se voleva vedere
del buon calcio.
Vincemmo il campionato.
Ma la cosa più bella non fu la vittoria in sé.
La cosa più bella fu che a un certo punto, direi più o meno a metà del girone di
ritorno, quella magia che aveva addosso Dario dilagò nel resto della squadra.
Ecco, una specie di contagio.
Un’epidemia; buona, però.
Ad un tratto ci trascinò con sé; i suoi numeri improvvisi, i suoi passaggi che nessuno poteva immaginare, divennero naturali.
Eravamo un motore ben lubrificato che girava senza alcun tipo di attrito.
Tutto girava e si combinava alla perfezione.
E come succede in un qualsiasi motore, sprigionavano una sorta di calore.
Non so cos’era.
Immagino un misto di sudore, fiato corto e tacchetti che pigiano il terreno.
O forse era semplicemente quella passione fino ad allora tutta sua, custodita nelle
sue gambe, che all’improvviso aveva trovato altri dieci amplificatori, che la irradiavano per il campo.
Ci fu un momento, in cui la nostra squadra del quartiere Corticella, Bologna, Italia, era formata da undici brasiliani.
E quando finivano le partite, prima di rientrare negli spogliatoi, guardavo Dario
sorridere soddisfatto, la sua pelle scura lucidata dalla fatica, e mi stupivo che intorno
a noi ci fossero le tribune oltre la recinzione, i tetti dei palazzi di dietro, il cielo nuvoloso di marzo sulla testa e l’erba rinsecchita sotto i piedi, e non la risacca dell’Oceano
Atlantico, i battiti attutiti dei piedi scalzi sulla sabbia e la spiaggia di Ilheus, Bahia,
che si allunga fino alla fine del mondo.
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D I E UX D U S TA DE
Boiler par tner Susanna Cucco was the Ar t Director of Dieux du Stade (Gods of the Stadium) calendars from 2003
to 2011. These best-selling publications feature erotic photographs of players from Stade Français, a Paris-based
French rugby team and, more recently, of athletes from other clubs and spor ts. The photographers involved
in the different editions were Matthias Vriens, François Rousseau, Car ter Smith, Fred Goudon, Mariano Vivanco,
Steven Klein, Peter Lindbergh, Tony Duran. Two books and several “making of ” DVD were also released.
FA NTO M
PHOTOGRAPHIC QUARTERLY
FIRST ISSUE
SUMMER 2009
photographic quarterly
ISSUE 04 - SUMMER 2010
1
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ISSUE 03 - SPRING 2010
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ISSUE 01 - AUTUMN 2009
A feast for your eyes at
ARTBOOK.COM
ISSUE 07 - SUMMER 2011
ISSUE 06 - WINTER 2011
FAnTOM - ISSUE 09 - SprIng 2012
photographic quarterly
phOtOgRaphiC quaRteRlY
ISSUE 09 - SprIng 2012
Masao Moc
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photograp
ARTBOOK | D.A.P.
artbook-fantom-sp12.indd 1
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Photograph by Matthew Sandager
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Sa
4/13/12 2:01 PM
Since its outset between Milan and New York in 2009, through the publication of a photographic quar terly and of a series
of photobooks distributed in over 20 countries, Fantom has become a reference in the world of contemporar y visual culture.
In 2012, after the publication of 10 issues run by Boiler Corporation, the printing of the magazine was discontinued as the project
progressed to become a curatorial collective and an internet platform that carries on the investigation of the uses and abuses
of photography – as Fantom’s original motto says, while it continues to edit and publish books.
FA NTO M PH OTOG R A PH IC Q UA RTE R LY
POP-UP RICCARDO PREVIDI
michael BÜhler-rose eye of the beholder
ESSAY
The Materialization
of Absence
CHRISTODOULOS
PANAYIOTOU by
Denis Pernet
Among the various themes that
crisscross the work of Christodoulos Panayiotou (1978, Cyprus),
one in particular seems to relate
to the medium of photography:
the representation of an absent object, and the emotions arising from
that absence. In a number of works,
the materialization of absence is
manifested in redundant documentary gestures relying on the use
of photographs, installations and
videos, as well as slide projections,
performances, posters advertising
the performances and publications
relating to the projects at hand.
Absence, in Panayiotou’s work, is
a plural topic: from the absence of
the beloved in Slow Dance Marathon to the body’s absence in Untitled (2007) and Le fauteuil de
Sarah Bernhardt (2008), and the
absence of the represented object
in Untitled (Act I: The Departure,
Act II: The Island, Act III: The Glorious Return) (2007), The End (2009)
and Wonder Land (2008). These
works revolve around the emotions
associated with the act of recalling and the memory work. The
artist’s practice interrogates our
relationship to the past, and by extension to society, history (with or
without a capital H), and the construction of identity.
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FAN08_EOBT_buhlerRose.indd 10
PORTFOLIO
23/11/11 11.22
EYE OF THE BEHOLDER KIRSTINE ROEPSTORFF
MIKA NINAGAWA Liquid Dreams & Acid Bloom
“I would like for the viewer to feel free. It is boring
to see things from only one point of view. Just like
the word “kawaii” which has many meanings,
contradictory messages are hidden under every aspect
of life. Even though everything is destined to disappear,
I take pictures simply because I want them to be
everlasting. These photos were taken by films and then
printed on photographic paper, so they are not digitally
altered. It all comes down to the fact that I like those
colors. The subjects I want to photograph just happen
to be colorful. I do not look for motifs to take a photo
of something colorful. I find things that i want to take
a picture of, and they happen to be colorful. Small
creatures like flowers and gold fishes intrigue me. It is
not that I like them because they are small, but I rarely
take pictures of creatures that are of large size. I tend
to react to the beauty of things that are transformed
by humans’ ego such as pet animals or flowers for
appreciation” – Mika Ninagawa was born in 1972 and is
one of her generation’s most renowned Japanese artists.
Since 1997, she has published photo books and produced
television advertisements, cd covers and a music video,
and directed Sakuran, a feature film which was presented
at the Berlin International Film Festival 2007.
Top right, pag 22 and pag 24: from the series Liquid Dreams 2003. Bottom right and pag 26: from the series Acid Bloom 2003.
All images © Mika Ninagawa, courtesy Galerie Priska Pasquer, Cologne/Tomio Koyama Gallery, Tokyo
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23/11/11 11.22
HANK WILLIS THOMAS eye of the BeholDer
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YANG FUDONG portFolio
IRINA POLIN POP-UP
My Collection from the Show-Cases series, 2008, pigment print, cm 100 x 140. Image © and courtesy the artist
BY aPPoInTMenT onLY
POrTFOliO lubri
FranCeSCo ZanoT
vISITS The CoLLeCTIon oF
erIk keSSeLS
FranCeSCo ZanoT
vISITS The CoLLeCTIon oF
erIk keSSeLS
erik kessels is an art director, graphic designer, curator and publisher based
in amsterdam. he’s also a founding partner of communications agency
kesselskramer (kesselskramer.com.) as well as its Dutch headquarters,
kesselskramer runs kk outlet in London. This combined shop, agency
and exhibition space opened in January of 2008, and is located in hoxton
Square (kkoutlet.com.)
kessels started collecting amateur photographs around 10 years ago, around
the time he edited the first issue of the ‘In almost every Picture’ series for
kesselskramer Publishing (kesselskramerpublishing.com.) The agency’s inhouse publisher now features a catalogue including numerous photobooks
and the celebrated magazine Useful Photography.
“a photography collection in itself doesn’t mean anything to me,” kessels
says. “I see the pictures I gather as working material. I use them for publications and exhibitions.” he’s not searching for flawless pieces of art, but
instead finds naivety inspiring, and mistakes worthy of celebration.
“Usually, family pictures are a form of propaganda,” kessels continues. “They
try to ‘sell’ families by making them look as good as possible. I look for errors
that tell the truth and make a picture interesting.”
a selection from kessels’ collection is exhibited at Foam, amsterdam,
under the title Album Beauty, from June 29th to october 14th.
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MAURIZIO ANZERIPORTFOLIO
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sandra kanTanen PORTFOLIO
INTERVIEW HANS-CHRISTIAN SCHINK
Opening page 2/04/2010, 7:22 pm-8:22 pm, S 54°35.873’ W 067°22.541’. Left
page top 2/26/2010, 7:54 am-8:54 am, S 36°49.622’ E 175°47.340’; bottom
2/21/2010, 6:43 pm-7:43 pm, S 38°49.086’ E 174°34.936’. Above 4/10/2009,
4:11 pm-5:11 pm, S 26°28.034’ E 018°16.142’
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FA NTO M BOO K S / V E DOV E W I DOWS
FANTOMBOOKS is the book series arising from FANTOM magazine.
Carefully designed and printed, published in a limited number of copies, and distributed through the Fantom website
- in the most sophisticated ar t and photography bookshops in the world and online - the f irst three titles
in the series have gained critical praise and the f irst two sold out in a few weeks.
Fantombooks #1, Vedove/Widows by Takashi Homma, was curated by Francesco Zanot and designed by Fabrizio
Radaelli. It sprung from a commission of the Rapallo photofestival and is a small treasure and sight to behold:
two soft cover books in a jacket, held together with an elastic band.
FA NTO M BOO K S / V E DOV E W I DOWS
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FA NTO M BOO K S / F I U M E
Fantombooks #2, Fiume (River) by Guido Guidi, curated by Francesco Zanot and designed by Leonardo Sonnoli,
is the result of a collaboration with Fondazione Malvina Menegaz per le Ar ti e le Culture, Castelbasso, Abruzzo, Italy.
FA NTO M BOO K S / F I U M E
16 /17253
17 /17254
18 /17336
19 /17335
FA NTO M BOO K S / A L L AVO RO!
ISBN 978-88-96677-13-1
9 788896 677131
Fantombooks #3, Al Lavoro! by Charlotte Dumas, was curated by Francesco Zanot and designed by Fabrizio Radaelli.
The project is the result of the cooperation between Andrea Botto and Francesco Zanot, respectively director
and curator of the 5th Rapallo Fotograf ia Contemporanea, in 2011 at the Castello di Rapallo, Italy.
Dedicated to examining contemporar y photographic practice, RFC entrusted Dutch photographer Charlotte Dumas
to document the subject of working dogs in the region.
FA NTO M BOO K S / A L L AVO RO!
Charlotte Dumas realizza fotografie di animali. È
questo il soggetto principale che riproducono e il
primo livello di lettura a cui si offrono. Soddisfano alcuni requisiti della cosiddetta fotografia naturalistica,
rivolta all’indagine delle caratteristiche morfologiche
e comportamentali di una specie, ma trasferiscono
questo iniziale riferimento all’interno del sistema
dell’arte in cui si sviluppano e vengono presentate.
Si tratta di un passaggio fondamentale, diretto al superamento della classica compartimentazione della
fotografia per “generi” e “funzioni”. I precedenti più
diretti di questo lavoro, d’altronde, non hanno nulla
a che fare con l’universo dei cani o di altri animali domestici, ma sono da rintracciarsi nella grande tradizione del ritratto sociale. Qui ci sono il rigore progettuale di August Sander, per cui ognuno viene messo
alla stessa distanza dallo stesso obiettivo e nella stessa posizione con lo scopo di ottenere la rappresentazione di una collettività, così come il pathos di Dorothea Lange, che riserva ad ogni soggetto il privilegio di
un rapporto diretto e quello dell’individualità.
Diva, 4 anni
cane da corsa in Irlanda, ora in pensione
Milano
Diva, 4 years old
racing dog in Ireland, now retired
Milano
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“Mi sono sentito come un cane. Allora ho fatto questa
scultura”, ha dichiarato Giacometti dopo avere plasmato il profilo gocciolante del suo quasi-levriero nel 1951.
È paradossale che uno degli autoritratti più riusciti della storia dell’arte non assomigli per nulla al suo autore.
In fotografia, d’altra parte, immortalare un animale significa mettere in pratica ogni volta una dinamica simile
a quella dell’autoritratto, con la differenza che a parteciparvi non è soltanto colui che scatta l’otturatore, ma
alternativamente ciascuno spettatore. Ciò che si legge
nelle espressioni di questi cani, infatti, è soprattutto
una proiezione del nostro pensiero. La loro eloquenza
è, almeno in parte, quella di chi guarda.
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Charlotte Dumas takes pictures of animals. This is
the principal subject of her photographs and the first
level of reading they offer. They satisfy some of the
requisites of so-called nature photography, which addresses the morphological and behavioural characteristics of a species, but subsequently move within
the art frame of reference where they are developed
and presented. It is a fundamental shift, designed to
overcome the classic pigeonholing of photography
into “genres” and “functions”. On the other hand, the
most direct predecessors of this work have nothing to
do with the world of dogs or other pets, but are to be
found in the great tradition of social portraiture. Here
we find the meticulous planning of August Sander,
who places everyone at the same distance from the
lens and in the same position, with the aim of achieving a portrayal of a community, and the pathos of Dorothea Lange, who gives every subject special treatment entering into a direct relationship with them and
emphasising their individuality.
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“I felt like a dog. So I made this sculpture”, said Giacometti after modeling the ragged contours of his
almost-greyhound in 1951. It is paradoxical that one of
the most accurate self-portraits in the history of art
does not resemble its artist at all. In photography, on
the other hand, to immortalise an animal means putting into practice a dynamics which resembles that of
the self-portrait, with the difference being that those
who participate are not just those who click the shutter but, by turns, each and every viewer. Indeed, what
you can read in the expressions of these dogs is, above
all, a projection of our thinking. Their eloquence is, at
least in part, the eloquence of those viewing them.
I ritratti di Charlotte Dumas esibiscono una forte carica di sensualità. Reggendosi su un impianto formale
attentamente calibrato, fanno emergere la naturale
armonia di una serie di corpi spontaneamente adagiati di fronte all’obiettivo. È la logica del Manierismo:
regola + licenza = bellezza.
Charlotte Dumas’ portraits contain a great deal of
sensuality. Supported by a carefully balanced formal
structure, they reveal the natural harmony of a series
of bodies which stretch out spontaneously in front of
the lens. It is the logic of Mannerism: rule + licence =
beauty.
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E D I SO N / PI O N I E R I
Founded in 1884, Edison S.p.a. - par t of EDF Group (Electricité de France) - is Europe’s oldest energy company.
On the occasion of their 130 years anniversar y, we curated for them Pionieri/Pioneers, a traveling exhibition with archival
and newly commissioned photographs telling the histor y of the company.
We also designed and published the exhibition catalogue.
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Edison tram carriage. Produced by Miani Silvestri & C. in 1895, 75 units.
Between 1893 and 1916, Milan City Council entrusted Edison with
the electrification and management of the urban tram network.
Motrice tramviaria Edison. Prodotta dalla Miani Silvestri & C. nel 1895
in 75 esemplari. Dal 1893 al 1916 il Comune di Milano affida alla Edison
l’elettrificazione e la gestione della rete tramviaria cittadina.
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Cividate Camuno hydroelectric Power Plant.
Worker posing in overflow channel, Val Camonica, Brescia 1942.
Cividate Camuno hydroelectric Power Plant.
Reinforcement of a discharge pipe, Val Camonica, Brescia 1941.
Centrale idroelettrica di Cividate Camuno. Operaio in posa
nel canale fugatore, Val Camonica, Brescia 1942.
Centrale idroelettrica di Cividate Camuno.
Armatura di uno scarico, Val Camonica, Brescia 1941.
82
Ettore Motta Summer Camp. Children in pool, Marina di Massa, August 1935.
Colonia Ettore Motta. Bambini in piscina, Marina di Massa, Agosto 1935.
90
Montecatini Edison Pavilion. Optical decorations in one of the exhibition
rooms of the pavilion, designed by the brothers Achille and Piergiacomo
Castiglioni. 45th Fair of Milan, 9th April 1967.
Padiglione Montecatini Edison. Decorazioni optical in una delle sale
espositive del padiglione progettato dai fratelli Achille e Piergiacomo
Castiglioni. XLV Fiera di Milano, 9 Aprile 1967.
Scais Dam, part of the Vedello
hydroelectric Power Plant, Valtellina 2013.
Diga di Scais, appartenente all’impianto
idroelettrico di Vedello, Valtellina 2013.
108
Ermanno Olmi, Edison employee from 1947 to 1961.
“For me Edison was the whole world. For us the company was not some
entity quoted on the stock market; it was something we all experienced like
one big family, and when we would meet there was always the sense of
being part of a whole. Edison accompanied me for a long period of my life,
and thinking back to it, I remember it as if it were my homeland.”
Ermanno Olmi, dipendente Edison dal 1947 al 1961.
“La Edison per me era il mondo intero. L’azienda per noi non era un’entità
quotata in Borsa, era vissuta davvero come una grande famiglia, quando
ci si incontrava c’era il senso di essere parte di un tutto. La Edison mi ha
accompagnato per un lungo periodo della mia vita, e se ci ripenso,
la ricordo come fosse il mio Paese”.
RO DEO
3
Euro
N. 52 Novembre Dicembre 2008 / RoDeo italia. Distribuzione Me.Pe. — Spedizione in a.p. -70% — Milano / 3,00 euro
Mensile di Moda e Cultura Contemporanea.
BEST
OF
2008
Fotografia
RAMAK FAZEL/
GERhARD
RIChTER/
PETER BESTE
Musica
EUGENE
MCGUINNESS/
ARABIAN
PRINCE/
SERGIO
RICCIARDONE
Design
FRATELLI
CAMPANA
Leggere
TOMMASO
PINCIO
Calendario
2 POSTER DI
PIN-UP
ISSN 1971-050x
Victoria!
uNA BRAVISSIMA RAGAZZACCIA
Rodeo was a fashion and lifestyle magazine. Boiler founder and CEO Massimo Torrigiani was the Editor-in-chief
and developed several collaborations between the magazine and mainly fashion brands.
RO DEO
C A M E R A N A ZI O N A LE DE LL A M O DA ITA LI A N A
MIL AN
Camera Nazionale della Moda Italiana is the main no-prof it Association which
promotes Italian fashion through a series of initiatives, corporate events like Milano Fashion week and fairs.
The Association represents all the highest cultural values of Italian Fashion. Its aims is to protect,
co-ordinate and strengthen its image, both in Italy and abroad.
Most of the major Italian brands such as Prada, Gucci, Armani, Versace, Marni,
Costume National, Ermenegildo Zegna, Pucci, Etro are only few of the Association Members.
In 2016, Boiler edited and designed the f irst Annual Repor t on the activites of the Association and their members.
In 2014, Boiler built a new information architecture, ar t directed
all creativity for both web inter face and relative content
(positioning & tone of voice, editorial plan, collaborating with a network of exclusive international contributors).
The main focus of the project was to redesign CNMI web por tal and produce new and engaging content
that could elevate the site to a regular destination for fashion industr y operators and enthusiasts.
C N M I / 2015 -2016 A N N UA L R E P O RT
MIL AN
Camera Nazionale della Moda Italiana asked Boiler Corporation to edit and design the f irst publication
about the activity of the association and its members (Armani, Fendi, Ferragamo, Gucci, Prada, Valentino, Versace,
Zegna, amongst others) between June 1st 2015 and May 31st 2016.
MIL AN
We designed a book made of 160 pages full of beautiful images from fashion shows, presentations, workshops
and off icial meetings, giving signif icant space to the new brands. Through the elaboration of the economic data
on the Italian fashion industr y and the repor t about the Sustainability programme that CNMI is developing,
the publication also aims at forecasting the future of the Italian fashion industr y.
MIL AN
As Carlo Capasa, Chairman of CNMI, stated in his introductor y letter, “It was a ver y impor tant year
for Camera Nazionale della Moda Italiana, for the fashion sector as a whole and for Milan in par ticular.”
CNMI site has been designed to both fulf ill the need for a viable source of infos for the fashion industr y operators
and an engaging platform for constantly changing editorial content ranging from fashion to ar t, to design to lifestyle topics.
A series of inter views to a number of key industr y people populate the site
similarly to how a magazine would operate.
The quality of the iconography of the CNMI site has been greatly improved by adding illustrations nex t to traditinaly
photography with the contribution of great ar tists.
We curated the CNMI’s off icial Pinterest board, where we published a selection of the best detail shots
from the catwalks of each designer included in the calendar of the seasonal fashion weeks.
Social Media strategy has also been curated by Boiler, via the creation of the off icial Instagram por tal for CNMI
and by establishing the editorial plan & team that has taken the page to be followed by 14,000 users in just 6 months.
Facebook page has also been updated with a fresh series of news completely
integrated with the overall new CNMI digital platform.
In order to communicate all the new contents published on their website and social networks, we created periodical
newsletter (daily during the fashion weeks, weekly and monthly) that CNMI could send to their data base made
of members, journalists, PRs, buyers and audience.
U N M O N DO N U OVO / E N N I O C A PA SA
Published by Bompiani in Semptember 2014, Un Mondo Nuovo (A New World) is a book written
by fashion designer Ennio Capasa about his experience in Tokyo, where, while in his twenties, he lived from 1983
to 1986 and worked for Yohji Yamamoto before moving back to Italy to found his own brand
CoSTUME NATIONAL, with his brother Carlo.
In December 2014 unmondonuovo-enniocapasa.com was launched together with an Instagram channel:
an emotional and sensorial moodboard, a weekly update of multimedia contents connected to the chapters
in the book that expanded Capasa’s journey through inspirations and unpublished archive material.
The project was designed and managed by Boiler Corporation.
R E DE M P TI O N C H O PPE R S
The focus is just the same:
artisanal perfection as
a way to express a liberating
quest for beauty.
Founded in 2013 by Gabriele Moratti, Daniele Sir tori and Vanni Laghi, Redemption Choppers
is a Made in Italy brand that blends custom made motorcycles, high fashion and charity,
to which foundations half of net prof its are donated.
Boiler has produced their company prof ile and other communication tools.
R E DE M P TI O N C H O PPE R S
50 EVENTS
EVENTS 51
PA R I S
M A RC H 2 013
The first official fashion
collection was launched
during Paris Fashion
Week FW 2013 with
the event “Welcome
the Machine”.
to
REDEMPTION CHOPPERS
30 FASHION
REDEMPTION CHOPPERS
FASHION 31
68 PRESS
PRESS 69
PRESS
REDEMPTION CHOPPERS
REDEMPTION CHOPPERS
REDEMPTION CHOPPERS
REDEMPTION CHOPPERS
25 M AGA ZI N E
Boiler is the publisher of 25 magazine, an exclusive biannual magazine that celebrates strong minded, sensual women.
Editor in Chief, top model Anja Rubik makes a statement with this unique and inspired take on female sexuality.
Enlisting some of her closest friends and esteemed collaborators from the fashion and ar t worlds, this elegant study
of female strength and beauty is f illed with captivating images, great fashion and irreverent stories
with an erotic twist, making it a truly unique collector’s item.
25 M AGA ZI N E
25 M AGA ZI N E
INEZ & VINOODH JEWELRY SHOT BY INEZ VAN LAMSWEERDE & VINOODH MATADIN
ANJA FACTORY BY WARD IVAN RAFFIK

Publishing - Boiler Corporation

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