FanzineRed
instagram.com/FanzinedriedRed
FanzineRed
+
TOLUCA ÉDITIONS paolo gasparini - la llave de la carretera
In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking up the same politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex, about to take to the road. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and along the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the name Normal Studio, the agency they created in 2006, have designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini’s photographs.
TOLUCA ÉDITIONS paolo gasparini - la llave de la carretera
In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking up the same politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex, about to take to the road. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and along the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the name Normal Studio, the agency they created in 2006, have designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini’s photographs.
TOLUCA ÉDITIONS paolo gasparini - la llave de la carretera
In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking up the same politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex, about to take to the road. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and along the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the name Normal Studio, the agency they created in 2006, have designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini’s photographs.
TOLUCA ÉDITIONS paolo gasparini - la llave de la carretera
In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking up the same politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex, about to take to the road. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and along the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the name Normal Studio, the agency they created in 2006, have designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini’s photographs.
TOLUCA ÉDITIONS paolo gasparini - la llave de la carretera
In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking up the same politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex, about to take to the road. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and along the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the name Normal Studio, the agency they created in 2006, have designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini’s photographs.
TOLUCA ÉDITIONS paolo gasparini - la llave de la carretera
In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking up the same politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex, about to take to the road. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and along the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the name Normal Studio, the agency they created in 2006, have designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini’s photographs.
TOLUCA ÉDITIONS paolo gasparini - la llave de la carretera
In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking up the same politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex, about to take to the road. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and along the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the name Normal Studio, the agency they created in 2006, have designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini’s photographs.
TOLUCA ÉDITIONS paolo gasparini - la llave de la carretera
In «La Llave de la Carretera,» José Agustin evokes the work of Gasparini, taking up the same politically-engaged writing in this parable on greed. We follow the inner dialogue of a Mexican in his eighties, a millionaire, obsessed by sex, about to take to the road. He is on his way to Ciudad Juarez to steal an Aztec mask of inestimable value from his twin brother. Here Agustin is openly mocking the instability of powerful Mexican families, and along the way, poking fun at the trauma of having lost part of its territory to the USA… Jean-François Dingjian and Eloi Chafaï, better known under the name Normal Studio, the agency they created in 2006, have designed a container made out of a solid block of aluminum and mirror polished, a direct reference to the curvaceous forms of the cars featured in Paolo Gasparini’s photographs.
+
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
TOLUCA ÉDITIONS takashi homma - structure pulsion
To evoke the deserted and almost unreal landscapes of Takashi Homma’s photographs, the author adopts a writing process he has used in earlier collections. It is a form of writing that loops around itself—in the same way as electronic music. He describes a young Tokyoite caught up in an extremely violent video game. An archaic drive kicks in putting him into a trance. The author then describes the contrasting calm that follows his immersion in the game, a mega city fast asleep.
+
TOLUCA ÉDITIONS candida höfer - les grands transparents
Antoine Volodine’s setting is the empty and dilapidated haunts of the Pavillhao da Bienal in São Paulo, a world confined by a deaf silence where terror and manipulation are the order of the day. Photographs of Oscar Niemeyer’s buildings – taken during one of Candida Höfer’s recent visits to Brazil – are the inspiration behind this author of fiction’s world where soldiers “nine or eight centuries before the global revolution” are set to the test of a higher power. The text is broken up into seven modules of equal thickness, each forming lines of perspective inspired by the photographs of Candida Höfer. In places the text is superimposed by a grid of millimeter-squared paper. Martin Szekely chose to use a material commonly found in construction, birch plywood, which he cut and hollowed out to create a plank-shaped box.
TOLUCA ÉDITIONS candida höfer - les grands transparents
Antoine Volodine’s setting is the empty and dilapidated haunts of the Pavillhao da Bienal in São Paulo, a world confined by a deaf silence where terror and manipulation are the order of the day. Photographs of Oscar Niemeyer’s buildings – taken during one of Candida Höfer’s recent visits to Brazil – are the inspiration behind this author of fiction’s world where soldiers “nine or eight centuries before the global revolution” are set to the test of a higher power. The text is broken up into seven modules of equal thickness, each forming lines of perspective inspired by the photographs of Candida Höfer. In places the text is superimposed by a grid of millimeter-squared paper. Martin Szekely chose to use a material commonly found in construction, birch plywood, which he cut and hollowed out to create a plank-shaped box.
TOLUCA ÉDITIONS candida höfer - les grands transparents
Antoine Volodine’s setting is the empty and dilapidated haunts of the Pavillhao da Bienal in São Paulo, a world confined by a deaf silence where terror and manipulation are the order of the day. Photographs of Oscar Niemeyer’s buildings – taken during one of Candida Höfer’s recent visits to Brazil – are the inspiration behind this author of fiction’s world where soldiers “nine or eight centuries before the global revolution” are set to the test of a higher power. The text is broken up into seven modules of equal thickness, each forming lines of perspective inspired by the photographs of Candida Höfer. In places the text is superimposed by a grid of millimeter-squared paper. Martin Szekely chose to use a material commonly found in construction, birch plywood, which he cut and hollowed out to create a plank-shaped box.
TOLUCA ÉDITIONS candida höfer - les grands transparents
Antoine Volodine’s setting is the empty and dilapidated haunts of the Pavillhao da Bienal in São Paulo, a world confined by a deaf silence where terror and manipulation are the order of the day. Photographs of Oscar Niemeyer’s buildings – taken during one of Candida Höfer’s recent visits to Brazil – are the inspiration behind this author of fiction’s world where soldiers “nine or eight centuries before the global revolution” are set to the test of a higher power. The text is broken up into seven modules of equal thickness, each forming lines of perspective inspired by the photographs of Candida Höfer. In places the text is superimposed by a grid of millimeter-squared paper. Martin Szekely chose to use a material commonly found in construction, birch plywood, which he cut and hollowed out to create a plank-shaped box.
TOLUCA ÉDITIONS candida höfer - les grands transparents
Antoine Volodine’s setting is the empty and dilapidated haunts of the Pavillhao da Bienal in São Paulo, a world confined by a deaf silence where terror and manipulation are the order of the day. Photographs of Oscar Niemeyer’s buildings – taken during one of Candida Höfer’s recent visits to Brazil – are the inspiration behind this author of fiction’s world where soldiers “nine or eight centuries before the global revolution” are set to the test of a higher power. The text is broken up into seven modules of equal thickness, each forming lines of perspective inspired by the photographs of Candida Höfer. In places the text is superimposed by a grid of millimeter-squared paper. Martin Szekely chose to use a material commonly found in construction, birch plywood, which he cut and hollowed out to create a plank-shaped box.
TOLUCA ÉDITIONS candida höfer - les grands transparents
Antoine Volodine’s setting is the empty and dilapidated haunts of the Pavillhao da Bienal in São Paulo, a world confined by a deaf silence where terror and manipulation are the order of the day. Photographs of Oscar Niemeyer’s buildings – taken during one of Candida Höfer’s recent visits to Brazil – are the inspiration behind this author of fiction’s world where soldiers “nine or eight centuries before the global revolution” are set to the test of a higher power. The text is broken up into seven modules of equal thickness, each forming lines of perspective inspired by the photographs of Candida Höfer. In places the text is superimposed by a grid of millimeter-squared paper. Martin Szekely chose to use a material commonly found in construction, birch plywood, which he cut and hollowed out to create a plank-shaped box.
TOLUCA ÉDITIONS candida höfer - les grands transparents
Antoine Volodine’s setting is the empty and dilapidated haunts of the Pavillhao da Bienal in São Paulo, a world confined by a deaf silence where terror and manipulation are the order of the day. Photographs of Oscar Niemeyer’s buildings – taken during one of Candida Höfer’s recent visits to Brazil – are the inspiration behind this author of fiction’s world where soldiers “nine or eight centuries before the global revolution” are set to the test of a higher power. The text is broken up into seven modules of equal thickness, each forming lines of perspective inspired by the photographs of Candida Höfer. In places the text is superimposed by a grid of millimeter-squared paper. Martin Szekely chose to use a material commonly found in construction, birch plywood, which he cut and hollowed out to create a plank-shaped box.
TOLUCA ÉDITIONS candida höfer - les grands transparents
Antoine Volodine’s setting is the empty and dilapidated haunts of the Pavillhao da Bienal in São Paulo, a world confined by a deaf silence where terror and manipulation are the order of the day. Photographs of Oscar Niemeyer’s buildings – taken during one of Candida Höfer’s recent visits to Brazil – are the inspiration behind this author of fiction’s world where soldiers “nine or eight centuries before the global revolution” are set to the test of a higher power. The text is broken up into seven modules of equal thickness, each forming lines of perspective inspired by the photographs of Candida Höfer. In places the text is superimposed by a grid of millimeter-squared paper. Martin Szekely chose to use a material commonly found in construction, birch plywood, which he cut and hollowed out to create a plank-shaped box.
+
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
TOLUCA ÉDITIONS thomas ruff - two women
Here Ingo Schulze makes use of a first-person narrative to blend reality and fiction. Again the German writer reveals his talent for making the apparent banality of everyday life speak of the great ruptures of contemporary history. East Germany’s oppressive regime is evoked, for example, by means of a mere anecdote—a few words exchanged between a Parisian restaurant owner and a poet from East Germany. Thomas Ruff opts for a similar process, invoking politics but from the sidelines. In an exchange with Philip Pocock dating from 1993, Thomas Ruff declares that his portraits make explicit reference to police surveillance in West Germany during the violent decades of the sixties and seventies. The Japanese architecture agency Atelier Bow Wow has chosen to assign a separate casing for each of the three series of portraits by Thomas Ruff, with each volume forming the archetypal shape of a house with a saddle roof. An Urushi black lacquer has been applied to the surfaces of the three modules. Each section of the polyptyque with Ingo Schulze’s text running through is printed in a different colour, colours taken from Thomas Ruff’s photographs, and shaped in line with our archetypal design of a peaked roof.
+
 TOLUCA ÉDITIONS yutaka takanashi - no one
In the style of a supernatural tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text follows the outlines of geometric shapes in gray and copper, influenced by traditional Japanese fabric designs.
 TOLUCA ÉDITIONS yutaka takanashi - no one
In the style of a supernatural tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text follows the outlines of geometric shapes in gray and copper, influenced by traditional Japanese fabric designs.
 TOLUCA ÉDITIONS yutaka takanashi - no one
In the style of a supernatural tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text follows the outlines of geometric shapes in gray and copper, influenced by traditional Japanese fabric designs.
 TOLUCA ÉDITIONS yutaka takanashi - no one
In the style of a supernatural tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text follows the outlines of geometric shapes in gray and copper, influenced by traditional Japanese fabric designs.
 TOLUCA ÉDITIONS yutaka takanashi - no one
In the style of a supernatural tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text follows the outlines of geometric shapes in gray and copper, influenced by traditional Japanese fabric designs.
 TOLUCA ÉDITIONS yutaka takanashi - no one
In the style of a supernatural tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text follows the outlines of geometric shapes in gray and copper, influenced by traditional Japanese fabric designs.
 TOLUCA ÉDITIONS yutaka takanashi - no one
In the style of a supernatural tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text follows the outlines of geometric shapes in gray and copper, influenced by traditional Japanese fabric designs.
 TOLUCA ÉDITIONS yutaka takanashi - no one
In the style of a supernatural tale, Michel Bulteau leads us through the meanderings of a certain Monsieur Poussière (Mr. Dust). His hands deep in his coat pockets, he ventures through the outskirts of Tokyo, entering deserted houses–photographed in great detail by Takanashi and acquainting us with their objects. The photographs with their ever-present absence of human beings, set to the erring steps of Monsieur Poussière plunge us into an almost metaphysical atmosphere. The text follows the outlines of geometric shapes in gray and copper, influenced by traditional Japanese fabric designs.
+
TOLUCA ÉDITIONS malick sidibé - 4 fonts cardinaux
The photographs chosen for this current publication are particularly representative of the main subject explored by Malick Sidibé: the youth of Bamako. We are in the decade of the 60’s-70’s and Bamako’s youth is grouped around clubs inspired by the idols of the twist, of rock or French pop music. They are easily recognized by their outfits, the particular tip of their hats or their cigarettes. The photographs inspired Matthieu Messagier to write four poems, using great flexibility of rhythm and conceived from a single sentence, carried by the sonic energy of the twist and the Bolofon Dogon. Each poem follows the outline of soft, overlapping shapes. By putting emphasis on the ellipsis and transparency, Andrea Branzi chose to express all the poetic force of the Blister.
TOLUCA ÉDITIONS malick sidibé - 4 fonts cardinaux
The photographs chosen for this current publication are particularly representative of the main subject explored by Malick Sidibé: the youth of Bamako. We are in the decade of the 60’s-70’s and Bamako’s youth is grouped around clubs inspired by the idols of the twist, of rock or French pop music. They are easily recognized by their outfits, the particular tip of their hats or their cigarettes. The photographs inspired Matthieu Messagier to write four poems, using great flexibility of rhythm and conceived from a single sentence, carried by the sonic energy of the twist and the Bolofon Dogon. Each poem follows the outline of soft, overlapping shapes. By putting emphasis on the ellipsis and transparency, Andrea Branzi chose to express all the poetic force of the Blister.
TOLUCA ÉDITIONS malick sidibé - 4 fonts cardinaux
The photographs chosen for this current publication are particularly representative of the main subject explored by Malick Sidibé: the youth of Bamako. We are in the decade of the 60’s-70’s and Bamako’s youth is grouped around clubs inspired by the idols of the twist, of rock or French pop music. They are easily recognized by their outfits, the particular tip of their hats or their cigarettes. The photographs inspired Matthieu Messagier to write four poems, using great flexibility of rhythm and conceived from a single sentence, carried by the sonic energy of the twist and the Bolofon Dogon. Each poem follows the outline of soft, overlapping shapes. By putting emphasis on the ellipsis and transparency, Andrea Branzi chose to express all the poetic force of the Blister.
TOLUCA ÉDITIONS malick sidibé - 4 fonts cardinaux
The photographs chosen for this current publication are particularly representative of the main subject explored by Malick Sidibé: the youth of Bamako. We are in the decade of the 60’s-70’s and Bamako’s youth is grouped around clubs inspired by the idols of the twist, of rock or French pop music. They are easily recognized by their outfits, the particular tip of their hats or their cigarettes. The photographs inspired Matthieu Messagier to write four poems, using great flexibility of rhythm and conceived from a single sentence, carried by the sonic energy of the twist and the Bolofon Dogon. Each poem follows the outline of soft, overlapping shapes. By putting emphasis on the ellipsis and transparency, Andrea Branzi chose to express all the poetic force of the Blister.
TOLUCA ÉDITIONS malick sidibé - 4 fonts cardinaux
The photographs chosen for this current publication are particularly representative of the main subject explored by Malick Sidibé: the youth of Bamako. We are in the decade of the 60’s-70’s and Bamako’s youth is grouped around clubs inspired by the idols of the twist, of rock or French pop music. They are easily recognized by their outfits, the particular tip of their hats or their cigarettes. The photographs inspired Matthieu Messagier to write four poems, using great flexibility of rhythm and conceived from a single sentence, carried by the sonic energy of the twist and the Bolofon Dogon. Each poem follows the outline of soft, overlapping shapes. By putting emphasis on the ellipsis and transparency, Andrea Branzi chose to express all the poetic force of the Blister.
TOLUCA ÉDITIONS malick sidibé - 4 fonts cardinaux
The photographs chosen for this current publication are particularly representative of the main subject explored by Malick Sidibé: the youth of Bamako. We are in the decade of the 60’s-70’s and Bamako’s youth is grouped around clubs inspired by the idols of the twist, of rock or French pop music. They are easily recognized by their outfits, the particular tip of their hats or their cigarettes. The photographs inspired Matthieu Messagier to write four poems, using great flexibility of rhythm and conceived from a single sentence, carried by the sonic energy of the twist and the Bolofon Dogon. Each poem follows the outline of soft, overlapping shapes. By putting emphasis on the ellipsis and transparency, Andrea Branzi chose to express all the poetic force of the Blister.
+
TOLUCA ÉDITIONS milagros de la torre - troubles de la vue
This is the first time Milagros De La Torre has approached the field of color photography. For a whole year the artist kept a record of the different bruises – accidental she points out – she detected on her body. She opted for close-up framing in order to reinforce their plastic quality. What they form appears to be sensual and abstract landscapes. Echoes of such a landscape resound in José Manuel Prieto’s text which describes the private love of someone whose sight is diminishing—the metaphysical disorder that comes with his infirmity. We called upon Pierre Charpin because we felt he would be most apt at entering into dialogue with the artist and the author, being particularly sensitive to the metamorphic quality of their language. The casing is made up of two shells in molded plastic that are fitted together with magnets. The text flows in an oblong shape that requires a circular reading–especially fitting to the nature of José Manuel Prieto’s prose.
TOLUCA ÉDITIONS milagros de la torre - troubles de la vue
This is the first time Milagros De La Torre has approached the field of color photography. For a whole year the artist kept a record of the different bruises – accidental she points out – she detected on her body. She opted for close-up framing in order to reinforce their plastic quality. What they form appears to be sensual and abstract landscapes. Echoes of such a landscape resound in José Manuel Prieto’s text which describes the private love of someone whose sight is diminishing—the metaphysical disorder that comes with his infirmity. We called upon Pierre Charpin because we felt he would be most apt at entering into dialogue with the artist and the author, being particularly sensitive to the metamorphic quality of their language. The casing is made up of two shells in molded plastic that are fitted together with magnets. The text flows in an oblong shape that requires a circular reading–especially fitting to the nature of José Manuel Prieto’s prose.
TOLUCA ÉDITIONS milagros de la torre - troubles de la vue
This is the first time Milagros De La Torre has approached the field of color photography. For a whole year the artist kept a record of the different bruises – accidental she points out – she detected on her body. She opted for close-up framing in order to reinforce their plastic quality. What they form appears to be sensual and abstract landscapes. Echoes of such a landscape resound in José Manuel Prieto’s text which describes the private love of someone whose sight is diminishing—the metaphysical disorder that comes with his infirmity. We called upon Pierre Charpin because we felt he would be most apt at entering into dialogue with the artist and the author, being particularly sensitive to the metamorphic quality of their language. The casing is made up of two shells in molded plastic that are fitted together with magnets. The text flows in an oblong shape that requires a circular reading–especially fitting to the nature of José Manuel Prieto’s prose.
TOLUCA ÉDITIONS milagros de la torre - troubles de la vue
This is the first time Milagros De La Torre has approached the field of color photography. For a whole year the artist kept a record of the different bruises – accidental she points out – she detected on her body. She opted for close-up framing in order to reinforce their plastic quality. What they form appears to be sensual and abstract landscapes. Echoes of such a landscape resound in José Manuel Prieto’s text which describes the private love of someone whose sight is diminishing—the metaphysical disorder that comes with his infirmity. We called upon Pierre Charpin because we felt he would be most apt at entering into dialogue with the artist and the author, being particularly sensitive to the metamorphic quality of their language. The casing is made up of two shells in molded plastic that are fitted together with magnets. The text flows in an oblong shape that requires a circular reading–especially fitting to the nature of José Manuel Prieto’s prose.
TOLUCA ÉDITIONS milagros de la torre - troubles de la vue
This is the first time Milagros De La Torre has approached the field of color photography. For a whole year the artist kept a record of the different bruises – accidental she points out – she detected on her body. She opted for close-up framing in order to reinforce their plastic quality. What they form appears to be sensual and abstract landscapes. Echoes of such a landscape resound in José Manuel Prieto’s text which describes the private love of someone whose sight is diminishing—the metaphysical disorder that comes with his infirmity. We called upon Pierre Charpin because we felt he would be most apt at entering into dialogue with the artist and the author, being particularly sensitive to the metamorphic quality of their language. The casing is made up of two shells in molded plastic that are fitted together with magnets. The text flows in an oblong shape that requires a circular reading–especially fitting to the nature of José Manuel Prieto’s prose.
TOLUCA ÉDITIONS milagros de la torre - troubles de la vue
This is the first time Milagros De La Torre has approached the field of color photography. For a whole year the artist kept a record of the different bruises – accidental she points out – she detected on her body. She opted for close-up framing in order to reinforce their plastic quality. What they form appears to be sensual and abstract landscapes. Echoes of such a landscape resound in José Manuel Prieto’s text which describes the private love of someone whose sight is diminishing—the metaphysical disorder that comes with his infirmity. We called upon Pierre Charpin because we felt he would be most apt at entering into dialogue with the artist and the author, being particularly sensitive to the metamorphic quality of their language. The casing is made up of two shells in molded plastic that are fitted together with magnets. The text flows in an oblong shape that requires a circular reading–especially fitting to the nature of José Manuel Prieto’s prose.
+
URBANSCREEN 320° licht
The ‘320° Licht’ installation of URBANSCREEN uses the cathedral like beauty of the Gasometer Oberhausen as the starting point for a fascinating game with shapes and light. Within a radius of 320 degrees graphic patterns grow and change on the 100-meter high inside wall of the Gasometer. The observer experiences the interplay between real and virtual space, in which the Gasometer seems to dissolve into its own, filigree structures and yet finally always reverts to its clear shape. ’320° Licht’ is achieved with kind project support from Epson Germany. With approximately 20,000 square meters of area played upon, the installation is among the world’s largest and technically most sophisticated interior projections - interconnecting 21 powerful projectors to one projection screen. 
URBANSCREEN 320° licht
The ‘320° Licht’ installation of URBANSCREEN uses the cathedral like beauty of the Gasometer Oberhausen as the starting point for a fascinating game with shapes and light. Within a radius of 320 degrees graphic patterns grow and change on the 100-meter high inside wall of the Gasometer. The observer experiences the interplay between real and virtual space, in which the Gasometer seems to dissolve into its own, filigree structures and yet finally always reverts to its clear shape. ’320° Licht’ is achieved with kind project support from Epson Germany. With approximately 20,000 square meters of area played upon, the installation is among the world’s largest and technically most sophisticated interior projections - interconnecting 21 powerful projectors to one projection screen. 
URBANSCREEN 320° licht
The ‘320° Licht’ installation of URBANSCREEN uses the cathedral like beauty of the Gasometer Oberhausen as the starting point for a fascinating game with shapes and light. Within a radius of 320 degrees graphic patterns grow and change on the 100-meter high inside wall of the Gasometer. The observer experiences the interplay between real and virtual space, in which the Gasometer seems to dissolve into its own, filigree structures and yet finally always reverts to its clear shape. ’320° Licht’ is achieved with kind project support from Epson Germany. With approximately 20,000 square meters of area played upon, the installation is among the world’s largest and technically most sophisticated interior projections - interconnecting 21 powerful projectors to one projection screen. 
URBANSCREEN 320° licht
The ‘320° Licht’ installation of URBANSCREEN uses the cathedral like beauty of the Gasometer Oberhausen as the starting point for a fascinating game with shapes and light. Within a radius of 320 degrees graphic patterns grow and change on the 100-meter high inside wall of the Gasometer. The observer experiences the interplay between real and virtual space, in which the Gasometer seems to dissolve into its own, filigree structures and yet finally always reverts to its clear shape. ’320° Licht’ is achieved with kind project support from Epson Germany. With approximately 20,000 square meters of area played upon, the installation is among the world’s largest and technically most sophisticated interior projections - interconnecting 21 powerful projectors to one projection screen. 
URBANSCREEN 320° licht
The ‘320° Licht’ installation of URBANSCREEN uses the cathedral like beauty of the Gasometer Oberhausen as the starting point for a fascinating game with shapes and light. Within a radius of 320 degrees graphic patterns grow and change on the 100-meter high inside wall of the Gasometer. The observer experiences the interplay between real and virtual space, in which the Gasometer seems to dissolve into its own, filigree structures and yet finally always reverts to its clear shape. ’320° Licht’ is achieved with kind project support from Epson Germany. With approximately 20,000 square meters of area played upon, the installation is among the world’s largest and technically most sophisticated interior projections - interconnecting 21 powerful projectors to one projection screen. 
URBANSCREEN 320° licht
The ‘320° Licht’ installation of URBANSCREEN uses the cathedral like beauty of the Gasometer Oberhausen as the starting point for a fascinating game with shapes and light. Within a radius of 320 degrees graphic patterns grow and change on the 100-meter high inside wall of the Gasometer. The observer experiences the interplay between real and virtual space, in which the Gasometer seems to dissolve into its own, filigree structures and yet finally always reverts to its clear shape. ’320° Licht’ is achieved with kind project support from Epson Germany. With approximately 20,000 square meters of area played upon, the installation is among the world’s largest and technically most sophisticated interior projections - interconnecting 21 powerful projectors to one projection screen. 
URBANSCREEN 320° licht
The ‘320° Licht’ installation of URBANSCREEN uses the cathedral like beauty of the Gasometer Oberhausen as the starting point for a fascinating game with shapes and light. Within a radius of 320 degrees graphic patterns grow and change on the 100-meter high inside wall of the Gasometer. The observer experiences the interplay between real and virtual space, in which the Gasometer seems to dissolve into its own, filigree structures and yet finally always reverts to its clear shape. ’320° Licht’ is achieved with kind project support from Epson Germany. With approximately 20,000 square meters of area played upon, the installation is among the world’s largest and technically most sophisticated interior projections - interconnecting 21 powerful projectors to one projection screen. 
URBANSCREEN 320° licht
The ‘320° Licht’ installation of URBANSCREEN uses the cathedral like beauty of the Gasometer Oberhausen as the starting point for a fascinating game with shapes and light. Within a radius of 320 degrees graphic patterns grow and change on the 100-meter high inside wall of the Gasometer. The observer experiences the interplay between real and virtual space, in which the Gasometer seems to dissolve into its own, filigree structures and yet finally always reverts to its clear shape. ’320° Licht’ is achieved with kind project support from Epson Germany. With approximately 20,000 square meters of area played upon, the installation is among the world’s largest and technically most sophisticated interior projections - interconnecting 21 powerful projectors to one projection screen. 
URBANSCREEN 320° licht
The ‘320° Licht’ installation of URBANSCREEN uses the cathedral like beauty of the Gasometer Oberhausen as the starting point for a fascinating game with shapes and light. Within a radius of 320 degrees graphic patterns grow and change on the 100-meter high inside wall of the Gasometer. The observer experiences the interplay between real and virtual space, in which the Gasometer seems to dissolve into its own, filigree structures and yet finally always reverts to its clear shape. ’320° Licht’ is achieved with kind project support from Epson Germany. With approximately 20,000 square meters of area played upon, the installation is among the world’s largest and technically most sophisticated interior projections - interconnecting 21 powerful projectors to one projection screen. 
+
+
GRAPHICS INTERCHANGE FORMAT matthias brown
+
GRAPHICS INTERCHANGE FORMAT cursor
+
+
GRAPHICS INTERCHANGE FORMAT eye color
+
ZAHA HADID citco
ZAHA HADID citco
ZAHA HADID citco
ZAHA HADID citco
ZAHA HADID citco
ZAHA HADID citco
+
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.
AMNESTY INTERNATIONAL X COARSE freedom candles
The Freedom Candles will be auctioned for eight days beginning on 19 April 2014. One candle will be released every hour for 30 hours. All proceeds from the candles will go towards Amnesty International’s work to defend and promote human rights. Amnesty International is a global movement with more than three million supporters, members and activists in over 150 countries and territories who campaign to end grave abuses of human rights. To read more about Amnesty International’s work on human rights issues including torture, the arms trade and human trafficking, please visit: www.amnesty.org. Thank you for sharing and bidding for a good cause.