Boozed Things: A Story Of Intoxicating Folly By Enrico Caputo & Valerio Nico

 
 

photography Valerio Nico
creative direction and styling by Enrico Caputo
makeup by Greta Giannone
set design by Nour Choukeir  
AI by Chiara Kristler

top and skirt: GIANMARCO MUSSI
pants: VITELLI

shirt: stylist’s own

sweater: VITELLI
skirts: GIANMARCO MUSSI
shoes: MARSELL

sweater: VITELLI

LEFT
hoodie: GIANMARCO MUSSI
jacket: NEITH NYER
pants: GIOVANNI PORTA
shoes: ÇANAKU

top: MOTOGUO
skirt: VITELLI
pants: GIOVANNI PORTA
shoes: MARSELL
kneeler: STUDIO CROMATO

sweater: VITELLI
skirts: GIANMARCO MUSSI
shoes: MARSELL

top: MOTOGUO
skirt: VITELLI
pants: GIOVANNI PORTA
kneeler: STUDIO CROMATO

Intersect Art and Design Presents Intersect Palm Springs

Intersect Palm Springs, which ran from February 10-13, 2022, brought together a dynamic mix of more than 50 established and emerging contemporary and modern art and design galleries.

The Fair featured two Curated Spaces:

Good Vibrations, organized by Shana Nys Dambrot (Arts Editor, LA Weekly) and Hunter Drohojowska-Philp (Author, Rebels in Paradise: The Los Angeles Art Scene and the 1960s), offered an expanded view of geometric abstraction as it has evolved in Southern California from the 1950s to include the properties of light and the emotional and transcendent uses of color. Lorser Feitelson, Karl Benjamin, John Miller, Peter Lodato, Jim Isermann, Patrick Wilson, Dani Tull, Yunhee Min, Knowledge Bennett, and Jen Stark are among the artists to be included in this multi-generational show.

ZZyzx Redux, curated by Bernard Leibov (Director, BoxoPROJECTS), and presented with support from The Art Collective Fine Art Services, was inspired by that remote corner of the Mojave Desert which demonstrates the full cycle of modern Southern Californian desert history: from Indigenous trade route; to gold rush era federal fort; to railroad outpost; to a much hyped health resort; and finally an environmental research station. These cycles have spurred optimism, creative development, and new technologies as well as related aspects of dislocation, exploitation, and environmental damage. The exhibition looks at the sustainability of the current land rush in the local area through artworks both inspired by the attractant qualities of the region (light, space, architecture, nature, lifestyle) and those reminding us where history has taken us before. The exhibition includes work by artists Blake Baxter, Diane Best, Ryan Campbell, Gerald Clarke Jr., Sofia Enriquez, Kim Manfredi, Carlos Ramirez, Cara Romero, Aili Schmeltz, Ryan Schneider, Phillip K. Smith III, and Kim Stringfellow.

 

Tear by Richard Hudson. Presented by Michael Goedhuis at Intersect Palm Springs 2022 Focus on Form: Sculpture Garden

 

Focus on Form: Sculpture Garden provided a spotlight on sculpture at the entry to the Fair, featuring 18 large-scale works by such artists as Stephanie Bachiero (Peter Blake Gallery), Michael DeJong (New Discretions), Andy Dixon (Over the Influence), Tara de la Garza (bG Gallery), Richard Hudson (Michael Goedhuis), Robert Indiana (Galerie Gmurzynska), Dominique Labauvie (Bleu Acier), Robert Raphael (SITUATIONS), Alex Schweder (Edward Cella Art & Architecture), Jesse Small (Nancy Hoffman Gallery), Julian Voss-Andreae (HOHMANN), and Ben Allanoff.

Works from the Fair will be online at Artsy.net, Intersect’s exclusive online marketplace partner, through March 3, 2022.

Shrinking Away To Nothingness: A Review Of Francis Bacon's Man And Beast @ The Royal Academy Of Arts

 

Francis Bacon, Head VI, 1949
Oil on canvas, 91.4 x 76.2 cm
Arts Council Collection, Southbank Centre, London
© The Estate of Francis Bacon. All rights reserved, DACS/Artimage 2021. Photo: Prudence Cuming Associates Ltd

 

The Royal Academy presents Francis Bacon: Man and Beast, an impressive showcase of the Northern Irish artist. It reveals his unquestionable skill and craftsmanship as well as the infinitely dark depths of his imagination. 

Banished at sixteen from his Catholic family in 1926 for being openly gay, Bacon left Ireland for Berlin, then Paris until landing in London in 1929 to establish himself as an acclaimed artist. Exempt from military service in 1939 because of his asthma, Bacon spent time in London and Hampshire, surrounding himself with artists that included Lucian Freud. 

Walking through Man and Beast makes you ponder the shifting tides of post-war England and how it inspired individuals such as Joe Orton, the Kray Twins, Philip Larkin, and Bacon himself. Similar to Edvard Munch's Scream, Bacon’s work prompts an unsettling effect of synesthesia. Perhaps this is no surprise for an artist who strove to render the “brutality of fact.”

Profound and moving, his figurative works focus on the human form; crucifixions, self-portraits, and portraits of friends. Faces appear as if covered with nylon stockings, or cut away to expose the tendon and bone beneath; figures are reduced to a tiny space on the canvas, suggestive of being tortured in a shell, or shrinking away to nothingness.  

Many of these images accompany the show's exploration into his unerring fascination with animals. Be it chimpanzees, bulls, dogs, or birds of prey, Bacon felt he could get closer to understanding the true nature of humankind by watching the uninhibited behavior of animals. We see carnality, appetite and decay, raw expression of anxiety and instinct through his anthropomorphic forms. From his Picasso influenced bio-morphs from the ‘30s, male heads isolated in rooms, or geometric structures in the ‘40s to animals and lone figures in the late ‘50s, Man and Beast highlights his existential approach to painting and why he presented his unique human forms the way that he did. Francis Bacon: Man and Beast is on view through April 17 @ The Royal Academy of Arts. Text by Lara Monro

 
 

Don’t Think Twice, It’s Alright: A Review Of Luncheon On The Grass At Jeffrey Deitch Gallery

 
 

Who said, “Painting is dead?” You’d be surprised to learn that this line was uttered by French painter Paul Delaroche in 1840 after seeing the first photographic image. Twenty-three years later, Édouard Manet painted his masterwork, Le Déjeuner sur l’herbe (1863), or Luncheon on the Grass, and modernism was born. Painting wasn’t dead, it was finally in dialogue with the zeitgeist. With Luncheon, Manet was deliberately trying to ruffle the feathers of the traditionally neoclassical establishment. Painted on a large canvas, a scale usually reserved for gods, mythic figures, and biblical representations, Luncheon was rendered with harsh, sometimes visible brushstrokes and a nearly hallucinatory depth of field. The background bather looks primordially copy and pasted, and the starkly illuminated female nude in the foreground, next to two formally dressed men, ambiguously gazes at the viewer with an uncertain contract of consent. Like Bob Dylan’s songbook, Luncheon has been covered and remixed ad infinitum, almost from the onset of the painting’s public unveiling. And now, three centuries after Manet shocked French society, more than thirty of today’s leading painters reinterpret this modernist asteroid in oil pigments at “Luncheon on the Grass— Contemporary Responses to Édouard Manet's Le Déjeuner sur l’herbe” at Jeffrey Deitch Gallery. The group exhibition is an electric vision of a new zeitgeist, a new cosmological panoply of race, gender, class and sexuality. Many of the paintings, like Ariana Papademetropoulos’ It Becomes Blurry In The Moment (2022), are so new they are virtually wet and hang with a particular urgent immediacy, like a song coming out of the speaker for the first time. Caitlin Cherry’s Mixed Clout Relationships—Feast of the Ass (2022), is a pornographic dreamscape of famous, full-frontal rappers and clout chasers depicted in a dark fragmentation of orgiastic bodies, like a fractured plasma screen television. Other recent paintings include 57-year-old Chinese painter Liu Xiaodong's Newcomers in the Village - Response to Manet (2021), which was painted on location in Changchun in Northern China and depicts a group of friends and collaborators. Newcomers, and also a work by rising artist, Dominique Fung, called Sans Les Mains (2022), offers a fresh and rare depiction of AAPI visibility along the white hegemonic power structures of modernism. There is also Vaughn Spann’s incredible Juneteenth on the grass—after lunch (2022), which features the artist’s double-headed figures with the bather almost lost in the large expanse of a bay as fireworks explode overhead. The oldest work in the show is by the late, French New Realist, Alain Jacquet—a silkscreen on canvas entitled Le dejeuner sur l’herbe (1964)—and depicts our nude muse in the foreground, our two fully-dressed men, and our bather in the background, but in the context of a typically midcentury constellation of saturated Ben Day dots and a crystalline blue pool that harkens Cannes or some other Provençal locale on a sizzling summer day. Then there is Somaya Critchlow’s dynamic and evocative Mr. Peanut!—The Picnic (2020-2021), a delicately small painting that is a grenade packed with the ammonium nitrate and TNT of racial undertones. Mr. Peanut, whose full name is the rather colonial sounding Bartholomew Richard Fitzgerald-Smythe and was created in the image of the slave owning plantation masters of the Virginian and North Carolina peanut farms, is pictured with his white gloves, monocle, and top hat cupping the breast and kissing a Black woman. But perhaps the most direct response to Manet’s modernist masterpiece comes from Iranian-born painter Tala Madani with her 15x12 inch oil on linen, entitled Pickled (2022), which features a turd swimming in a jar that is half filled (or is it half empty?) with urine—our bather is mysterious, fecal and anonymous—there is no gender, no race—thousands of years of art history boiled down to a single piece of shit in a mason jar. Luncheon on the Grass will be on view until May 7, 2022 at Jeffrey Deitch Gallery. text by Oliver Kupper

Autre Magazine and König Galerie Frieze Week Kickoff Dinner and Party At Desert 5 Spot In Hollywood

Starting off with a dinner in partnership with Tequila Casa Dragones at KA'TEEN (a conceptual take on ancient Yucatan Peninsula cuisine from Chef Wes Avila) , followed by an after party at Desert 5 Spot on the rooftop of tommie hotel, AUTRE magazine and Berlin-based König Galerie celebrated Frieze Week in Los Angeles to honor artist Ayako Rokkaku. photographs by Oliver Maxwell Kupper

Nocturnal Pilgrimage: Read Our Interview Of Designer Luca Magliano →

 
 


interview by Janna Shaw
photographs by Pavel Golik

I once dreamt of Luca Magliano. I had no idea what he looked like; he appeared veiled but in no way sinister. In one of Magliano’s earlier video presentations, a poem is recited, a sonnet with lines dedicated to each garment displayed. “Out of Saint Teresa of Avila’s Chanel coat I stole one dollar to gift to my golden Wagner jacket.” After this display of romance, I wandered about my own closet, singing praises sweetly and theatrically to my own favourite pieces. Something poignant to this act.

Luca Magliano’s self-titled fashion brand is described as “Quintessentially Italian” and “An Emotional Anthropology”. Since its establishment in 2016, the brand’s collections have unfolded as a personal reflection of the vast imagination of Magliano, who derives inspiration from the works of artists and filmmakers such as Luchino Visconti, as well as his own emotions, encounters, curiosities, and experiences. We spoke with the emerging designer about his FW 22/23 collection and his celebration of solitude and melancholia. We speak about his love for Italy and my love for Italians, we discuss sleep and what follows it. We don’t talk much about clothes. We decide to let those speak for themselves. Read more.

Tori Wrånes Presents Mussel Tears @ Shulamit Nazarian, Los Angeles

 
 

As a synesthete, a person with a condition of combining senses such as seeing color and form in sound and language, Tori Wrånes visualizes sound into a sculptural and physical dimension. This experience allows the artist to use sound to dictate the form of painting and sculpture and, in turn, she also visualizes objects through vocal projection. Mussel Tears premiers sculptures, paintings, sound, and performance together to evoke dream-like narratives, where the familiar becomes fantastical. The exhibition has developed from the artist’s ongoing observation of what she describes as “the quiet outcasts of society,” referring both to elements of nature and personal relationships. The works in the show visualize a sensory experience of the world.

Wrånes’ unique method of communication, using sound and form to convey primal emotions and truths, bypasses the structural hierarchies of language and rational thought. The result is a wide-ranging, experimental, and ritualistic practice that guides us outside of our known world. The works in Mussel Tears situates the self in relation to other beings, both human and non-human, and illustrates how our understanding of the world is constantly mediated by our own bodies. Throughout her practice, Wrånes sews together our senses, asking us to consider how we might privilege the overlooked in any form.

Tori Wrånes is on view now through March 12 @ Shulamit Nazarian 616 N La Brea Ave, Los Angeles.

Yuri Yuan Presents "The Great Swimmer" @ Make Room in Los Angeles

In the past year, Yuri Yuan has often dreamed about water. Sometimes she sees a sinking ship, sometimes in a quiet ocean. Often, she finds herself on a diving board, perched over a blue swimming pool. Yuan’s latest body of work is titled "The Great Swimmer" after Kafka’s fragment of the same title. These limpid canvases explore different aquatic landscapes, but they most often return to the landscape of the swimming pool, with its diving boards, tiles, and changing rooms. Yuan tapped into her memories of swimming lessons she took at age 13, having just moved to Singapore from China. These classes were a minefield of linguistic, bodily, and emotional alienation– not unlike the alienation expressed by Kafka’s swimmer.

"The Great Swimmer" marks a watershed moment in Yuan’s practice. Working in a consistently larger format, the works showcase the influence of cinematic narrative on the artist’s practice. Fascinated by the intricate visual constructions of filmmakers such as Wes Anderson and Wong Kar Wai, Yuan’s new works seek to understand the innate connections between narrative and aesthetics. "The Great Swimmer" also takes influence from the deep ultramarine palettes of the Italian Renaissance, as well as the figural masterwork of French Romantics such as Géricault. "The Great Swimmer" presents a narrative in two sets of fragments, hopping between visions of the internal and external, the literary and the cinematic, the real and the dream.

Yuri Yuan is on view now through February 12 at Make Room 5119 Melrose Ave, Los Angeles.

Spirit Of Ecstasy: The Beauty Of The First Try By Tristan Roesler

leather jacket: Versace
top: CELINE
mini skirt: Versace
heels: Versace

photography by Tristan Roesler
styling by Camille Franke
model Jee at Izaio Management
makeup by Sabina Pinsone
hair by Kosuke Ikeuchi
casting by Kyra Sophie, Olga Sikorska & Ananya
fashion assistance by Sarah Masche & Finn Schiffmann
photo assistance by Lewis Berninger

full look: MIU MIU
necklace: Swarovski
socks: Octobre
heels: Versace

 

full look: Balenciaga
earrings: Swarovski
shoes: William Fan

 

sunglasses: CELINE
earrings: Swarovski
dress: CELINE

full look: Hèrmes

dress: Loewe
shoes: Ganni

necklace: Swarovski
corsage: Mugler

Brian Wills Presents New Wall Works @ OCHI Projects In Los Angeles

 
 

In his first solo exhibition with OCHI Projects, Brian Wills presents twelve new wall works intentionally placed throughout both galleries. Building upon the artist’s unique visual vocabulary of thread, paint, and wood, Wills’ new work evokes experiential understandings of line, color, space, and object as he aligns his practice with minimalist abstraction, the subversive history of the monochrome, California Light & Space, and other art historical paradigmatic shifts. Singular strands of thread are delicately wrapped around wooden substrates, eventually creating surfaces that appear to vibrate and shift depending on available light, thread density, the architecture of the panel, and the motion of the viewer.

Wills is acutely aware of how a viewers’ brain will react to his work. The visual cortex interprets received visual data—color, motion, texture, and depth—precisely the fundamental properties that Wills engages. When exposed to pattern, the brain extrapolates as it habituates, for example when assuming that a vertical line of brown thread will repeat as it did thousands of times in a row—the works in OCHI Aux exemplify these principles. Deliberately skipped threads or a shift from warm to cool red thread are intended to reveal moments of intuition and intention, while indicating methods of construction. Expectations are constantly at play. Engaging with one’s own perception is always a gift, offering moments of joy, wonder, and self-reflection—in other words, investments in observation are rewarded handsomely.

Brian Wills is on view through March 12 @ OCHI 3301 W Washington Blvd Los Angeles.

First Look: Amor Corp Presents "Salon" A Curation Of Art and Design by Noemi Polo

AMOR CORP presents SALON, a site-specific collection of art and design curated by Noemi Polo in a domestic environment featuring works from both local and internationally established artists and collaborators. Set in a newly completed residential project by SCI-ARC grad collective, PENTAGON, this exhibition occupies Milwood Avenue, arguably one of the most architecturally relevant residential neighborhoods in both Venice and Los Angeles. On public view from Tuesday February 1st through February 14th, SALON features over 100 objects from more than 50 artists and collaborators- a collection resembling that of an imaginary persona that would potentially inhabit the home. Understanding PENTAGON’s focus on new, speculative approaches to building design, pragmatic inquiry into context and location, SALON plays as both a showroom and conceptual art exhibition, including works that are in direct conversation with the home’s unique design through their textures and forms. Notable artists include Jordan Wolfson, Gaetano Pesce, Cody Critcheloe and more. Race Service, as a partner in the exhibition, will showcase a rare NASCAR vehicle alongside a custom painted race car in the garage. Click here to make an appointment. Photos by Ed Mumford

Theodoulos Polyviou & Dakis Panayiotou Present Transmundane Economies @ Künstlerhaus Bethanien In Berlin

Bellapais Abbey, a ruin of a monastery in northern Cyprus built in the 13th century, is the subject of investigation for the site-specific virtual installation Transmundane Economies. A relic of many lives, following the different colonial periods over the centuries, the monastery went through changes, architectural but also cultural, organizational and operational.

Theo & Daki address the long-lasting shape-shifting history of Bellapais Abbey to discuss the codes and hierarchies that over the years have been established and inscribed on it. Starting from the architectural structure as well as the ceremonial use of the place while examining its narratives, liturgy and history, the artists speculate on the relation-ship between queerness, restoration and reinvention.

Visitors to the exhibition are immersed in the partial reconstruction — based on drawings by George Jeffrey from 1912 — of the Gothic refectory of the monastery by means of VR technology. Alternative paths and possible uses that deviate from colonial interventions of the past, become free and accessible in this way. The virtual architecture, which in its digital translation appears to be sacred, yet free of Christian intentions, in turn, exposes the socio-political fabrication of the monastery. Next to this conceptual grounding, by virtually transposing the site into the gallery space, the artists turn the ruin into an event rather than an object, proposing in this way an alternative to acquisition.

The Cypriot Orthodox Church exerts a strong influence on the political affairs of the island and participates in the instrumentalization of the national collectivity, often through the superintendence of gender and sexuality by claiming to protect the Greek Cypriots from ‘the ethnic other’ as described by Nayia Kamenou in her text Sexuality, Gender and Nationhood in Cyprus and hence exploiting the country’s postcolonial milieux. The queer community on the whole island is therefore not only subjected to marginalization based on their sexuality but all the processes of identity formation that constitute their bodies; race, class and gender. Transmundane Economies is an offer to discuss mechanisms of inclusion and exclusion, and think of the potentiality of any place to transcend its own physicality and hence escape its embodied ideological charge and power. Writer Jazmina Figueroa has been commissioned to arrange a sound piece for the installation.

Transmundane Economies is on view through February 6 @ Künstlerhaus Bethanien Kottbusser Straße 10
10999 Berlin.

Unique To The Unison: Read Our Interview Of Taboo Founder Kenny Eshinlokun →

 

Photograph by Agustín Farías

 

In the fall of 2020, Kenny Eshinlokun launched her creative agency, Taboo, to create world class projects that transcend audiences and industry borders. After working for a decade in the marketing and music industries, she saw the need for artists to build meaningful, long-term partnerships with brands that truly care about their creative endeavors. Through Taboo, she has built a global cohort of creatives and brands that are committed to giving back to their communities and building relationships that are rooted in genuinely shared visions. Autre caught up with the Eshinlokun to talk about the inspiration for starting her own agency, the meaning of true allyship, and the future of Taboo. Read more.

Bedtime Stories In A Mental Asylum: Get In Bed With Tobias Spichtig →


interview by Janna Shaw
photographs courtesy the artist

When was the last time you stood up on a mattress, off-kiltered, aware of your balance, or lack thereof?  When was the last time you jumped on a bed with friends? When was the last time you jumped on a bed with strangers?  When was the last time you played childhood games? Cuddled in a group clad in coats and cloaks? Watched a couple kissing horizontally? Were read a bedtime story late into the evening, with snow falling gently outside?  

The KW Institute of Contemporary Art in Berlin is hosting Die Matratzen, a week-long exhibit by Tobias Spichtig, with a nightly changing cast of poets and text-based artists reading their works aloud to an audience perched upon mattresses and sheets, sourced from friends and various collaborators of the artist.

Over the course of Spichtig’s installation, the mattresses are lived in and take on new forms, shifting from their original placement, absorbing the shapes and sounds of their dwellers and run-uponers. In one corner of a mattress, a tiny faded blood stain. Next to it, a rip from a Balenciaga heel, courtesy of that evening’s impromptu game of Tag. The sheets themselves have a collective abstract quality to them, marred with scuffs, prints, and static marks of movement. On view from above, the blocks of foam and springs morph into a perfectly assembled jigsaw puzzle, spanning the full space in its entirety, corner to corner. From here, one can clearly see that the work does not consist of objects in a room, it is the presence and experience of the guests that are on top of them that complete the work. It is an interactive performance.

Janna Shaw spoke with Tobias Spichtig on his opening night of Die Matratzen after a kickoff reading with Karl Holmqvist. Read more.

Up In Space: An Upcycled Fashion Editorial By Esa Vokshi & Laura Voyelle

 
 

photography & production by Esa Vokshi
creative direction & styling by Laura Voyelle
photography assistance by Thien Hoa Dinh
makeup by Julia Bachmayer
talent by Laura Lundgreen

hoodie: Vintage Champion
t-shirt: By Human Hand
tights: stylist’s own
glasses: Gentle Monster
boots: F_WD

patchwork sweater: Melissa Kunz/Stress Studio
tights: stylist’s own
track bottoms: vintage Champion
shorts: Streetwise Gallery (reworked Nike bottoms)
glasses: Gentle Monster
balaclava: By Nenat
sneakers: Axel Arigato (recycled materials)

patchwork sweatpants: Streetwise Gallery
necklace: Oystersia
boots: F_WD

puffer jacket: Axel Arigato (recycled materials)
corset top: Streetwise Gallery (reworked Fila sweatshirt)
skirt: Streetwise Gallery (reworked Nike top)
boots: F_WD

puffer jacket: Axel Arigato (recycled materials)
glasses: Gentle Monster

puffer jacket: Axel Arigato
necklaces: Oystersia

hoodies: vintage Nike
cuffs: Streetwise Gallery
necklace: Oystersia
sneakers: Axel Arigato

puffer jacket: Axel Arigato (recycled materials)
tights: stylist’s own
military pants: By Nenat
cuffs: Streetwise Gallery
shoes: CAMPERLAB

Drowning In Black Gold: Read Our Interview Of Evita Manji →

 

shirt: Sportmax
top: Matoguo
glasses: Gentle Monster
necklace: Chanel via Vestiaire Collective

 

interview by Caroline Whiteley
photography by Matias Alfonzo  
art direction and styling by Camille Pailler 
set design by Matt Bianchi 
casting by Alter Casting 
hair by Tina Pachta 
makeup by Nikolas Paroutis 
nails by Camilla Inge

Evita Manji is an Athens-based artist and vocalist who implements their carefully constructed practice of sound design into live shows and productions. In addition to founding the independent music label, myxoxym, they have collaborated with numerous artists across various media. Their most recent release is a compilation of international artists with all proceeds going to ANIMA, a non-profit association active in the field of ecology, with its main activity being the nursing and rehabilitation of wild animals in their natural environment. One of their recent singles, OIL/TOO MUCH addresses the toxic effects of crude oil extraction on the planet and its inhabitants as well as the exploitation of its laborers. A process akin to drowning and being burned alive simultaneously. Read more.

Sustainability As Emotion: Niko June By Axel Swan

Odorico with Niko June ceramic stool

photography by Axel Swan
art direction by Niko June
casting by Simone Drost

“Good objects are such that they give power to an attitude, which treats sustainability not as a science, but as emotion.”

In the fall of 2021, photographer Axel Swan traveled to Copenhagen to shoot portraits of some of its unique inhabitants in collaboration with Niko June, an emerging sustainable brand that emphasizes craftsmanship, DIY, and the spirit of inclusivity. The series takes aim at the deep intimacy of its subjects and their everyday lives across the city and its boroughs. 

Elinor with Niko June Eros Torso Vase

Niko June Studio Vase & Emilie seated on Niko June P-L 01 Chair

Maria with Niko June P-L 02 Stool and P-L 01 Chair

Noa with Niko P-L 02 Stool & Eros Torso Vase

Rasmus with Niko June Studio Candleholder

Johannes with Niko June Eros Torso Vase