Publishing and Editorial. BOILER/ PORTFOLIO/ Publishing

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2 Publishing and Editorial

3 Boiler Magazine It all started at the turn of last century. Founded in London, boilermag.it was one of the first blogs about contemporary arts and it turned a paper magazine in 2002 with the HQ in Milan. The seminal publication lasted for two years and produced 7 issues and several events. The circus of life, The great escape, La notte, Eureka!, We are animals, VIVA! ITALIA, and the Super Neen Flip Book. We involved several curators and contributors including from Barry Neuman, Hans Ulrich Obrist, Massimiliano Gioni, Caroline Corbetta, Michele Robecchi, Andrea Viliani, Alix Browne. The legacy of Boiler is still spreading. In the past few years many other independent publishers raised their flag and created their own magazine or webzine giving to Milan an entirely new look and feel.

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10 Uovo In 2013, on the occasion of the tenth anniversary of Uovo Performing Atrs Festival, organized and promoted by our associates Uovo/MED Associazione Culturale, we published a coffee-table book, a desirable object with a unique, tailor-made shape. It was designed in collaboration with designer Fabrizio Radaelli.

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13 Uovo Socìetas Raffaello Sanzio Hey Girl! Superstudio Più Central Point, 2008 ph. francesco r affaelli Socìetas Raffaello Sanzio Tragedia Endogonidia di Romeo Castellucci IX Crescita Milano Superstudio 13 Studio3, 2004 ph. luca del pia Socìetas Raffaello Sanzio Ciclo filmico della Tragedia Endogonidia Cinema Gnomo, 2006 ph. luca del pia Xavier Le Roy Self Unfinished Superstudio Più, 2004 ph. katrin schoof William Forsythe Solo; Antipodes I / II; Suspense Triennale di Milano, 2012 ph. lorenza daverio

14 Glitches Mila Schön September 2010 Boiler Corporation Glitches Tommaso Garner essays Angelo Flaccavento MicheleD aurizio On the occasion of their flagship store opening in Corso Venezia 18, Milan, historical Mila Schön fashion brand hosted the vernissage of Glitches, an art project by Tommaso Garner with the collaboration of creative director Bianca Gervasio. We designed and published the catalogue book, where the purely creative processes of the artist overlapped the symbolic patterns and archive images of the Maison. The project was completed by a videoreworking by the same authors and dubbing by sound designer Gadi Sassoon.

15 Overground A project in partnership with Uovo and Fondazione Fotografia, Overground was born in 2009 from the collaboration between the contemporary theatre and performing arts scholars Lucia Amara, Adele Cacciagrano, Piersandra di Matteo and Tihana Maravić, and the photographer Luca Del Pia. The project has involved ten performers to explore the space of a show, focusing mainly on performance art. The book has a multidisciplinary approach, in order to perfectly fits the project s nature; it comprehends photography, performance art and critical writing. Each domain communicates with the others in its own language, yet each domain is open to interferences and shifts, detachments and overlaps.

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17 Giovane Italia Undici storie di nuovi calciatori italiani raccontate da: Violetta Bellocchio, Cristiano Cavina, Emidio Clementi, Paolo Cognetti, Giorgio Fontana, Massimo Gardella, Fabio Genovesi, Fabio Guarnaccia, Davide Musso, Francesco Pacifico, Alberto Piccinini. With photographs by Angelo Sindaco, Giovane Italia tells 11 stories of 11 young male and female soccer players, all united in the desire to become famous in the premiere league. The 11 tales were written by authors Violetta Bellocchio, Cristiano Cavina, Emidio Clementi, Massimo Gardella, Fabio Guarnaccia, Fabio Genovesi, Paolo Cognetti, Marco Missiroli, Davide Musso, Francesco Pacifico, Alberto Piccinini. The series of stories and pictures was exhibited at Nike Stadium Milan in July, 2010.

18 G i ova n e Ita li a I RACCONTI DI CALCIO Ovvero: come parlare di una cosa che appassiona miliardi di persone attraverso qualcosa che non appassiona quasi nessuno. di Tim Small In appendice a Litania di un arbitro¹ di Thomas Brussig, elegantissima novella sotto forma di confessione di un direttore di gara in crisi, si trova un breve articolo intitolato Il calcio. Nell articolo Brussig descrive un pensiero che tende a formarsi, prima o poi, nella mente di tutti gli amanti del calcio e della letteratura. Per la precisione, un pensiero che si forma quando si è costretti a fare un paragone tra la pochezza offerta dalle opere di narrativa calcistica e la roboante, mastodontica ricchezza della narrazione intrinseca nel calcio stesso. Chi ama veramente il calcio sa che il calcio è autosufficiente, dice Brussig. Il calcio non ha bisogno di libri sul calcio... Una storia su un giovane e povero immigrato che gioca a calcio per ottenere un riconoscimento sociale e che, giunto in finale, nel momento decisivo... No, non funziona. Funzionerebbe se fosse il racconto di una storia vera ma, per favore, basta con le storie inventate. La citazione mi piacque così tanto che trasformai le ultime tre parole (Le storie inventate) nel titolo di una rubrica (argomento: tutte le finzioni narrative legate al calcio, dai libri ai film ai videogiochi ai cartoni animati) che ho curato² nella primavera del Qualche mese dopo, mi trovo ad aprire l introduzione a questo volume riutilizzando questa citazione. Si vede che mi piace davvero tanto, potreste dire voi. E bravi simpaticoni, risponderei. In realtà la sto utilizzando per riassumere il processo mentale che mi ha portato alla cura di questa collezione. Il primo dubbio me l ha messo in testa proprio Brussig, un dubbio riassumibile in una singola parola: perché? Perché provare a unire calcio e narrativa? Il racconto ne sarebbe sempre uscito bistrattato, il suo raggio d azione ridotto, il suo potere sterilizzato. A mio modo di vedere le cose, lo sport è uno dei rari spazi in cui la narrativa conflitti, personaggi, trame, colpi di scena, catastrofi, catarsi si fonde con l azione corale, ininterrotta, naturale. E, soprattutto, ogni partita è anche un singolo capitolo che porta avanti migliaia di complicatissimi archi narrativi maggiori. In effetti, il paragone narrativo più appropriato non è quello tra la partita e il racconto, ma quello tra la partita e la puntata di una serie televisiva americana di qualità³. Un grande episodio di The Wire o Mad Men proprio come una partita funziona sia, 1. dal punto di vista del singolo racconto compiuto, con un inizio e una fine (il racconto / la partita); che, 2. dal punto di vista del singolo capitolo all interno di una stagione di dodici episodi (il racconto come capitolo di una storia più grande / la partita come parte della giornata), che, 3. dal punto di vista della singola stagione 4 5 Si fece pari a modo suo. A giugno, fu bocciato. A settembre, ricominciò il campionato, e ne fece tre la prima partita. Praticamente, non si fermò più. A metà campionato, dissi a mio padre che poteva pure risparmiarsi l abbonamento alla TV via cavo per seguire le partite del Bologna; avrebbe fatto molto prima a salire in bicicletta e a sedersi sulle tribune del nostro campo sportivo, se voleva vedere del buon calcio. Vincemmo il campionato. Ma la cosa più bella non fu la vittoria in sé. La cosa più bella fu che a un certo punto, direi più o meno a metà del girone di ritorno, quella magia che aveva addosso Dario dilagò nel resto della squadra. Ecco, una specie di contagio. Un epidemia; buona, però. Ad un tratto ci trascinò con sé; i suoi numeri improvvisi, i suoi passaggi che nessuno poteva immaginare, divennero naturali. Eravamo un motore ben lubrificato che girava senza alcun tipo di attrito. Tutto girava e si combinava alla perfezione. E come succede in un qualsiasi motore, sprigionavano una sorta di calore. Non so cos era. Immagino un misto di sudore, fiato corto e tacchetti che pigiano il terreno. O forse era semplicemente quella passione fino ad allora tutta sua, custodita nelle sue gambe, che all improvviso aveva trovato altri dieci amplificatori, che la irradiavano per il campo. Ci fu un momento, in cui la nostra squadra del quartiere Corticella, Bologna, Italia, era formata da undici brasiliani. E quando finivano le partite, prima di rientrare negli spogliatoi, guardavo Dario sorridere soddisfatto, la sua pelle scura lucidata dalla fatica, e mi stupivo che intorno a noi ci fossero le tribune oltre la recinzione, i tetti dei palazzi di dietro, il cielo nuvoloso di marzo sulla testa e l erba rinsecchita sotto i piedi, e non la risacca dell Oceano Atlantico, i battiti attutiti dei piedi scalzi sulla sabbia e la spiaggia di Ilheus, Bahia, che si allunga fino alla fine del mondo. 40 Lorem ipsum dolor sit amet, consectetur adipisicing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui officia deserunt mollit anim id est laborum. Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. Nemo enim ipsam voluptatem quia voluptas sit aspernatur aut odit aut fugit, sed quia consequuntur magni dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercitationem ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure reprehenderit qui in ea voluptate velit esse quam nihil molestiae consequatur, vel illum qui dolorem eum fugiat quo voluptas nulla pariatur? At vero eos et accusamus et iusto odio dignissimos ducimus qui blanditiis praesentium voluptatum deleniti atque corrupti quos dolores et quas molestias excepturi sint occaecati cupiditate non provident, similique sunt in culpa qui officia deserunt mollitia animi, id est laborum et dolorum fuga. Et harum quidem rerum facilis est et expedita distinctio. Nam libero tempore, cum soluta nobis est eligendi optio cumque nihil impedit quo minus id quod maxime placeat facere possimus, omnis.

19 Dieux Du stade Boiler partner Susanna Cucco was the Art Director of Dieux du Stade (Gods of the Stadium) calendars from 2003 to These best-selling publications feature erotic photographs of players from Stade Français, a Paris-based French rugby team and, more recently, of athletes from other clubs and sports. The photographers involved in the different editions were Matthias Vriens, François Rousseau, Carter Smith, Fred Goudon, Mariano Vivanco, Steven Klein, Peter Lindbergh, Tony Duran. Two books and several making of DVD were also released.

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22 Fa nto m PHOTOGRAPHIC QUARTERLY FIRST ISSUE SUMMER 2009 photographic quarterly ISSUE 04 - SUMMER CH CHF28.50 IT DE - A CH (TI) CHF27.50 ES - FR UK NL PHOTOGRAPHIC QUARTERLY ISSUE 03 - SPRING 2010 IT CH CHF DE - A CH (TI) CHF ES - FR UK NL PHOTOGRAPHIC QUARTERLY ISSUE 02 - WINTER 2010 IT CH CHF DE - A CH (TI) CHF ES - FR UK IT CH CHF DE - A CH (TI) CHF ES - FR UK PHOTOGRAPHIC QUARTERLY ISSUE 01 - AUTUMN 2009 A feast for your eyes at ARTBOOK.COM PHOTOGRAPHIC QUARTERLY ISSUE 06 - WINTER 2011 PHOTOGRAPHIC QUARTERLY ISSUE 07 - SUMMER 2011 FAnTOM - ISSUE 09 - SprIng 2012 photographic quarterly ISSUE 05 - AUTUMN 2010 PHOTOGRAPHIC QUARTERLY ISSUE 08 - AUTUMN 2011 photographic quarterly ISSUE 09 - SprIng 2012 Masao Moc Ve photograp ARTBOOK D.A.P. artbook-fantom-sp12.indd _Boiler_Cop.indd 1 Photograph by Matthew Sandager IT CH CHF DE - A CH (TI) CHF27.50 ES - Fr UK nl IT CH CHF28.50 DE - A CH (TI) CHF ES - FR UK NL CH CHF28.50 IT DE - A CH (TI) CHF27.50 ES - FR UK NL CH CHF28.50 IT DE - A CH (TI) CHF27.50 ES - FR UK NL Sa 4/13/12 2:01 PM Since its outset between Milan and New York in 2009, through the publication of a photographic quar terly and of a series of photobooks distributed in over 20 countries, Fantom has become a reference in the world of contemporar y visual culture. In 2012, after the publication of 10 issues run by Boiler Corporation, the printing of the magazine was discontinued as the project progressed to become a curatorial collective and an internet platform that carries on the investigation of the uses and abuses of photography as Fantom s original motto says, while it continues to edit and publish books.

23 Fantom Photographic Quarterly POP-UP RICCARDO PREVIDI ESSAY michael BÜhler-rose eye of the beholder The Materialization of Absence CHRISTODOULOS PANAYIOTOU by Denis Pernet Among the various themes that crisscross the work of Christodoulos Panayiotou (1978, Cyprus), one in particular seems to relate to the medium of photography: the representation of an absent object, and the emotions arising from that absence. In a number of works, the materialization of absence is manifested in redundant documentary gestures relying on the use of photographs, installations and videos, as well as slide projections, performances, posters advertising the performances and publications relating to the projects at hand. Absence, in Panayiotou s work, is a plural topic: from the absence of the beloved in Slow Dance Marathon to the body s absence in Untitled (2007) and Le fauteuil de Sarah Bernhardt (2008), and the absence of the represented object in Untitled (Act I: The Departure, Act II: The Island, Act III: The Glorious Return) (2007), The End (2009) and Wonder Land (2008). These works revolve around the emotions associated with the act of recalling and the memory work. The artist s practice interrogates our relationship to the past, and by extension to society, history (with or without a capital H), and the construction of identity. 25 FAN08_EOBT_buhlerRose.indd 10 23/11/ FAN08_EOBT_buhlerRose.indd 11 23/11/ PORTFOLIO EYE OF THE BEHOLDER KIRSTINE ROEPSTORFF MIKA NINAGAWA Liquid Dreams & Acid Bloom I would like for the viewer to feel free. It is boring to see things from only one point of view. Just like the word kawaii which has many meanings, contradictory messages are hidden under every aspect of life. Even though everything is destined to disappear, I take pictures simply because I want them to be everlasting. These photos were taken by films and then printed on photographic paper, so they are not digitally altered. It all comes down to the fact that I like those colors. The subjects I want to photograph just happen to be colorful. I do not look for motifs to take a photo of something colorful. I find things that i want to take a picture of, and they happen to be colorful. Small creatures like flowers and gold fishes intrigue me. It is not that I like them because they are small, but I rarely take pictures of creatures that are of large size. I tend to react to the beauty of things that are transformed by humans ego such as pet animals or flowers for appreciation Mika Ninagawa was born in 1972 and is one of her generation s most renowned Japanese artists. Since 1997, she has published photo books and produced television advertisements, cd covers and a music video, and directed Sakuran, a feature film which was presented at the Berlin International Film Festival Top right, pag 22 and pag 24: from the series Liquid Dreams Bottom right and pag 26: from the series Acid Bloom All images Mika Ninagawa, courtesy Galerie Priska Pasquer, Cologne/Tomio Koyama Gallery, Tokyo 24 26

24 Fantom Photographic Quarterly HANK WILLIS THOMAS eye of the BeholDer IRINA POLIN POP-UP 103 My Collection from the Show-Cases series, 2008, pigment print, cm 100 x 140. Image and courtesy the artist YANG FUDONG portfolio POrTFOliO lubri BY appointment only FranCeSCo ZanoT visits The CoLLeCTIon of erik kessels FranCeSCo ZanoT visits The CoLLeCTIon of erik kessels erik kessels is an art director, graphic designer, curator and publisher based in amsterdam. he s also a founding partner of communications agency kesselskramer (kesselskramer.com.) as well as its Dutch headquarters, kesselskramer runs kk outlet in London. This combined shop, agency and exhibition space opened in January of 2008, and is located in hoxton Square (kkoutlet.com.) kessels started collecting amateur photographs around 10 years ago, around the time he edited the first issue of the In almost every Picture series for kesselskramer Publishing (kesselskramerpublishing.com.) The agency s inhouse publisher now features a catalogue including numerous photobooks and the celebrated magazine Useful Photography. a photography collection in itself doesn t mean anything to me, kessels says. I see the pictures I gather as working material. I use them for publications and exhibitions. he s not searching for flawless pieces of art, but instead finds naivety inspiring, and mistakes worthy of celebration. Usually, family pictures are a form of propaganda, kessels continues. They try to sell families by making them look as good as possible. I look for errors that tell the truth and make a picture interesting. a selection from kessels collection is exhibited at Foam, amsterdam, under the title Album Beauty, from June 29th to october 14th FAN09_11_PORT_lubri.indd 64 24/04/ FAN09_01_BAO_kessel.indd 65 26/04/

25 Fantom Photographic Quarterly MAURIZIO ANZERI PORTFOLIO sandra kantanen PORTFOLIO INTERVIEW HANS-CHRISTIAN SCHINK Opening page 2/04/2010, 7:22 pm-8:22 pm, S W Left page top 2/26/2010, 7:54 am-8:54 am, S E ; bottom 2/21/2010, 6:43 pm-7:43 pm, S E Above 4/10/2009, 4:11 pm-5:11 pm, S E

26 Fantom Books/ Vedove Widows FANTOMBOOKS is the book series arising from FANTOM magazine. Carefully designed and printed, published in a limited number of copies, and distributed through the Fantom website - in the most sophisticated art and photography bookshops in the world and online - the first three titles in the series have gained critical praise and the first two sold out in a few weeks. Fantombooks #1, Vedove/Widows by Takashi Homma, was curated by Francesco Zanot and designed by Fabrizio Radaelli. It sprung from a commission of the Rapallo photofestival and is a small treasure and sight to behold: two soft cover books in a jacket, held together with an elastic band.

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28 Fantom Books/ Fiume Fantombooks #2, Fiume (River) by Guido Guidi, curated by Francesco Zanot and designed by Leonardo Sonnoli, is the result of a collaboration with Fondazione Malvina Menegaz per le Arti e le Culture, Castelbasso, Abruzzo, Italy.

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30 Fantom Books/ Al Lavoro! ISBN Fantombooks #3, Al Lavoro! by Charlotte Dumas, was curated by Francesco Zanot and designed by Fabrizio Radaelli. The project is the result of the cooperation between Andrea Botto and Francesco Zanot, respectively director and curator of the 5th Rapallo Fotografia Contemporanea, in 2011 at the Castello di Rapallo, Italy. Dedicated to examining contemporary photographic practice, RFC entrusted Dutch photographer Charlotte Dumas to document the subject of working dogs in the region.

31 Fantom Books/ Al Lavoro! Diva, 4 anni cane da corsa in Irlanda, ora in pensione Milano Diva, 4 years old racing dog in Ireland, now retired Milano Charlotte Dumas realizza fotografie di animali. È questo il soggetto principale che riproducono e il primo livello di lettura a cui si offrono. Soddisfano alcuni requisiti della cosiddetta fotografia naturalistica, rivolta all indagine delle caratteristiche morfologiche e comportamentali di una specie, ma trasferiscono questo iniziale riferimento all interno del sistema dell arte in cui si sviluppano e vengono presentate. Si tratta di un passaggio fondamentale, diretto al superamento della classica compartimentazione della fotografia per generi e funzioni. I precedenti più diretti di questo lavoro, d altronde, non hanno nulla a che fare con l universo dei cani o di altri animali domestici, ma sono da rintracciarsi nella grande tradizione del ritratto sociale. Qui ci sono il rigore progettuale di August Sander, per cui ognuno viene messo alla stessa distanza dallo stesso obiettivo e nella stessa posizione con lo scopo di ottenere la rappresentazione di una collettività, così come il pathos di Dorothea Lange, che riserva ad ogni soggetto il privilegio di un rapporto diretto e quello dell individualità. Charlotte Dumas takes pictures of animals. This is the principal subject of her photographs and the first level of reading they offer. They satisfy some of the requisites of so-called nature photography, which addresses the morphological and behavioural characteristics of a species, but subsequently move within the art frame of reference where they are developed and presented. It is a fundamental shift, designed to overcome the classic pigeonholing of photography into genres and functions. On the other hand, the most direct predecessors of this work have nothing to do with the world of dogs or other pets, but are to be found in the great tradition of social portraiture. Here we find the meticulous planning of August Sander, who places everyone at the same distance from the lens and in the same position, with the aim of achieving a portrayal of a community, and the pathos of Dorothea Lange, who gives every subject special treatment entering into a direct relationship with them and emphasising their individuality Mi sono sentito come un cane. Allora ho fatto questa I felt like a dog. So I made this sculpture, said Gia- scultura, ha dichiarato Giacometti dopo avere plasma- cometti after modeling the ragged contours of his to il profilo gocciolante del suo quasi-levriero nel almost-greyhound in It is paradoxical that one of È paradossale che uno degli autoritratti più riusciti del- the most accurate self-portraits in the history of art la storia dell arte non assomigli per nulla al suo autore. does not resemble its artist at all. In photography, on In fotografia, d altra parte, immortalare un animale sig- the other hand, to immortalise an animal means put- nifica mettere in pratica ogni volta una dinamica simile ting into practice a dynamics which resembles that of a quella dell autoritratto, con la differenza che a parteciparvi non è soltanto colui che scatta l otturatore, ma alternativamente ciascuno spettatore. Ciò che si legge nelle espressioni di questi cani, infatti, è soprattutto una proiezione del nostro pensiero. La loro eloquenza è, almeno in parte, quella di chi guarda. the self-portrait, with the difference being that those who participate are not just those who click the shutter but, by turns, each and every viewer. Indeed, what you can read in the expressions of these dogs is, above all, a projection of our thinking. Their eloquence is, at least in part, the eloquence of those viewing them. I ritratti di Charlotte Dumas esibiscono una forte carica di sensualità. Reggendosi su un impianto formale attentamente calibrato, fanno emergere la naturale armonia di una serie di corpi spontaneamente adagiati di fronte all obiettivo. È la logica del Manierismo: regola + licenza = bellezza. Charlotte Dumas portraits contain a great deal of sensuality. Supported by a carefully balanced formal structure, they reveal the natural harmony of a series of bodies which stretch out spontaneously in front of the lens. It is the logic of Mannerism: rule + licence = beauty

32 Edison / Pionieri Founded in 1884, Edison S.p.a. - part of EDF Group (Electricité de France) - is Europe s oldest energy company. On the occasion of their 130 years anniversary, we curated for them Pionieri/Pioneers, a traveling exhibition with archival and newly commissioned photographs telling the history of the company. We also designed and published the exhibition catalogue.

33 Edison / Pionieri 22 Edison tram carriage. Produced by Miani Silvestri & C. in 1895, 75 units. Between 1893 and 1916, Milan City Council entrusted Edison with the electrification and management of the urban tram network. Motrice tramviaria Edison. Prodotta dalla Miani Silvestri & C. nel 1895 in 75 esemplari. Dal 1893 al 1916 il Comune di Milano affida alla Edison l elettrificazione e la gestione della rete tramviaria cittadina.

34 Edison / Pionieri 52 Cividate Camuno hydroelectric Power Plant. Worker posing in overflow channel, Val Camonica, Brescia Centrale idroelettrica di Cividate Camuno. Operaio in posa nel canale fugatore, Val Camonica, Brescia Cividate Camuno hydroelectric Power Plant. Reinforcement of a discharge pipe, Val Camonica, Brescia Centrale idroelettrica di Cividate Camuno. Armatura di uno scarico, Val Camonica, Brescia Ettore Motta Summer Camp. Children in pool, Marina di Massa, August Colonia Ettore Motta. Bambini in piscina, Marina di Massa, Agosto Montecatini Edison Pavilion. Optical decorations in one of the exhibition rooms of the pavilion, designed by the brothers Achille and Piergiacomo Castiglioni. 45 th Fair of Milan, 9 th April Padiglione Montecatini Edison. Decorazioni optical in una delle sale espositive del padiglione progettato dai fratelli Achille e Piergiacomo Castiglioni. XLV Fiera di Milano, 9 Aprile Scais Dam, part of the Vedello hydroelectric Power Plant, Valtellina Diga di Scais, appartenente all impianto idroelettrico di Vedello, Valtellina 2013.

35 Edison / Pionieri 108 Ermanno Olmi, Edison employee from 1947 to For me Edison was the whole world. For us the company was not some entity quoted on the stock market; it was something we all experienced like one big family, and when we would meet there was always the sense of being part of a whole. Edison accompanied me for a long period of my life, and thinking back to it, I remember it as if it were my homeland. Ermanno Olmi, dipendente Edison dal 1947 al La Edison per me era il mondo intero. L azienda per noi non era un entità quotata in Borsa, era vissuta davvero come una grande famiglia, quando ci si incontrava c era il senso di essere parte di un tutto. La Edison mi ha accompagnato per un lungo periodo della mia vita, e se ci ripenso, la ricordo come fosse il mio Paese.

36 Rodeo 3 Euro N. 52 Novembre Dicembre 2008 / RoDeo italia. Distribuzione Me.Pe. Spedizione in a.p. -70% Milano / 3,00 euro Mensile di Moda e Cultura Contemporanea. ISSN x BEST OF 2008 Fotografia RAMAK FAZEL/ GERhARD RIChTER/ PETER BESTE Musica EUGENE MCGUINNESS/ ARABIAN PRINCE/ SERGIO RICCIARDONE Design FRATELLI CAMPANA Leggere TOMMASO PINCIO Calendario 2 POSTER DI PIN-UP Victoria! una BRAVISSIMA RAGAZZACCIA Rodeo was a fashion and lifestyle magazine. Boiler founder and CEO Massimo Torrigiani was the Editor-in-chief and developed several collaborations between the magazine and mainly fashion brands.

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38 Camera Nazionale della Moda Italiana Camera Nazionale della Moda Italiana (the Italian Fashion Council) is the main no-profit Association which promotes italian fashion through a series of initiatives, corporate events like Milano Fashion week and fairs. The Association represents all the highest cultural values of Italian Fashion. It aims at protect, co-ordinate and strengthen its image, both in Italy and abroad. Most of the major Italian brands such as Prada, Gucci, Armani, Versace, Marni, Costume National, Ermenegildo Zegna, Pucci, Etro are only few of the Association Members. The main focus of the project was to redesign CNMI web portal and produce new and engaging content that could elevate the site to a regular destination for fashion industry operators and enthusiasts. Boiler Corporation built a new information architecture, art directed all creativity for both web interface and relative content (positioning & tone of voice, editorial plan, collaborating with a network of exclusive international contributors).

39 Camera Nazionale della Moda Italiana CNMI site has been designed to both fulfill the need for a viable source of infos for the fashion industry operators and an engaging platform for constantly changing editorial content ranging from fashion to art, to design to lifestyle topics.

40 Camera Nazionale della Moda Italiana A series of interviews to a number of key industry people populate the site similarly to how a magazine would operate.

41 Camera Nazionale della Moda Italiana The quality of the iconography of the CNMI site has been greatly improved by adding illustrations next to traditinaly photography with the contribution of great artists.

42 Camera Nazionale della Moda Italiana We curated the CNMI s official Pinterest board, where we published a selection of the best detail shots from the catwalks of each designer included in the calendar of the seasonal fashion weeks.

43 Camera Nazionale della Moda Italiana Social Media strategy has also been curated by Boiler, via the creation of the official Instagram portal for CNMI and by establishing the editorial plan & team that has taken the page to be followed by 14,000 users in just 6 months.

44 Camera Nazionale della Moda Italiana Facebook page has also been updated with a fresh series of news completely integrated with the overall new CNMI digital platform.

45 Camera Nazionale della Moda Italiana In order to communicate all the new contents published on their website and social networks, we created periodical newsletter (daily during the fashion weeks, weekly and monthly) that CNMI could send to their data base made of members, journalists, PRs, buyers and audience.

46 UN MONDO NUOVO / ENNIO CAPASA Published by Bompiani in Semptember 2014, Un Mondo Nuovo (A New World) is a book written by fashion designer Ennio Capasa about his experience in Tokyo, where, while in his twenties, he lived from 1983 to 1986 and worked for Yohji Yamamoto before moving back to Italy to found his own brand CoSTUME NATIONAL, with his brother Carlo. Please click on the image to visit the website.

47 UN MONDO NUOVO / ENNIO CAPASA In December 2014 unmondonuovo-enniocapasa.com is launched together with an Instagram channel: an emotional and sensorial moodboard, a weekly update of multimedia contents connected to the chapters in the book that will expand Capasa s journey through inspirations and unpublished archive material. The project was designed by Boiler Corporation, that will also edit the online diary through its six months of activity.