Coeval Magazine

More than a year after his death, Coeval Magazine publishes a tribute to David Lynch by Enea Boccazzi. From his cinema it renders that fragmentary flow, that abstract and surreal destructuring, to help show how his work is branded in fire into the modus operandi of those who MAKE art.

Per Aspera, ad Episode 8. Twin Peaks: The Return.

David Lynch. An attempt to pay homage. More than a year after his death. Rendering black on white the obliqueness of that perturbing fragmentation, the decomposed stream of the psyche, that ran through us for over thirty years. Witness to a legacy: his works have branded the modus operandi of those who MAKE art.

The article is published on ‘s website, and Substack newsletter, under COiOTE’S FILM CRITIQUE.

Enjoy the read.

Words by

We were invited to take part in , and what we found was a city where innovation runs alongside a real attention to craftsmanship and tradition, the two blended into a clear sense of what comes next. Over a few days we moved through local brands, art galleries, ateliers and showrooms.

At Aalto University, students presented their collections. a public research university in the Helsinki metropolitan area, in Espoo, established in 2010 and known internationally for the way it brings together science, art, business and technology.

opened its headquarters and production departments to us, a chance to see the work up close and in real time. It was a rare look at process, and at the new collaborations the house is preparing. They have just turned 75.

We also visited the showroom and atelier of , the independent European eyewear brand founded in 2022 by Finnish designer Mika Matikainen and Canadian designer Alexis Perron-Corriveau, a high-end design studio dedicated to rethinking eyewear.

, which stocked copies of our Issue 1, gave us time in their store and workspace. VAIN is an interdisciplinary fashion label founded by artist and creative director Jimi Vain and CEO Roope Reinola.

of hosted a panel with , the Paris-based label founded in 2023 by designer Alain Paul and his husband Luis Philippe, joined in conversation by Taylore Scarabelli and Alexis Djouahra .djhr

We also spent time with , a Finnish knitwear designer and Aalto graduate based in Helsinki, whose practice moves between slow fashion, q***r theory and craft.

The closing night belonged to the Finnish Fashion Awards, where the prizes went to the houses, brands and innovators leading the field.

Helsinki gave us its best across innovation, fashion, music and food, experimental wherever it could be and openly invested in younger generations, which matters now more than ever. All of it set in an environment of remarkable natural beauty.

BRINANOVARA’s practice develops through accumulation rather than resolution. Working between painting and photographic translation, the duo constructs images that continuously overwrite themselves, where each gesture becomes residue for the next.

In their ongoing series ‘Searching For Collymore’, the self-portrait dissolves into a shared and unstable entity: a face that exists only through repetition, compression, and loss. Recognition remains partial, constantly slipping between figuration and disappearance.

on the printed Issue 3 of COEVAL Magazine.

Interview by 

‘Almost there’ by part of COEVAL Magazine SS26 the “FRAGILE” Issue 3

Photography
Model at
Make-up .balducci at
Hair Styling at

Styling
Casting Director
Nails
Hair Assistant

‘300120260820 - 10220261207’ by , part of COEVAL Magazine SS26 the “FRAGILE” Issue 3

Photography
Props Styling
Lighting
Color Correction
Lab

Founder and Creative Director
Editor-in-Chief and Fashion Director .materialism
Art Direction and at

Joan Horrach trained as a dancer but thought like a visual artist. Born in Palma de Mallorca, he arrived at a London ballet school at thirteen and spent the following years studying choreography at university, all while his real references, Lawrence Weiner, Bruce Nauman, Cindy Sherman, accumulated in a separate register entirely. The gap between where he was and what he was looking at eventually became the work itself.

The shift was not so much a rupture as a reorientation. Meeting Marina Abramovic in New York gave him the vocabulary to understand that performance could live inside the art world, not adjacent to it. From that point, his work began to take its own shape: durational actions, installation, photography, video. The body remained central, but the choreographic logic extended outward, into space, architecture, sound, and the sociology of shared silence.

His recent installation at Spazio Serra, Distorted Scenarios, arrived after a period marked by surgical recovery and personal loss. Three meniscus operations kept him in hospital waiting rooms. In those months, waiting ceased to be passive and became a subject.

Joan Horrachjoan

Interview by Donald Gjoka

Opera, in work, is not treated as a relic of the past nor as a genre in need of cosmetic renewal. It functions instead as a framework for bringing different temporalities, materials, and forms of attention into contact. Rather than redefining opera outright, he subtly shifts its parameters, testing what it can still do and how it can be experienced today. He resets the terms of encounter: how sound meets image, how space carries time, how attention is earned.

Many of his projects take place beyond the theatre, moving through streets, archives, museums, and public spaces. In these contexts, proximity replaces spectacle and decor, and participation replaces passive viewing.

on the printed Issue 3 of COEVAL Magazine.

Interview by

work takes reproduction as both structure and condition. Through industrial remnants, fragmented bodies, and systems of containment, her sculptures navigate the tension between visibility and concealment, violence and preservation.
Repetition, translation, and duplication are treated less as formal strategies than as operations embedded in systems of extraction and control.

The exhibition ‘Pulgar’, developed at Matadero in Madrid, foregrounds a similar set of constraints. The building’s history as a slaughterhouse and later detention site introduces a layered relation between visibility and concealment, exposure and management.

Interview by

‘The Casting’ by part of COEVAL Magazine the “FRAGILE” issue3

Styling
Models Ailara at .modelmanagement, Agnes at , Irina, Liza at
, Saehee at
Make Up and Hair Styling Anromori
Movement Director Leonardo D’Aquino
Set Designer .tv
Casting Director Ananya Nisbet at .agency
Photo Assistant
Styling Assistant
Make Up and Hair Assistant Abi Hutchinson
Set Design Assistant Luka Paulina Emde

Founder and Creative Director
Editor-in-Chief and Fashion Director .materialism
Art Direction and at