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F/W 2021 –– Issue N° 11

WALKING means traveling – going from one place to another. It also means advancing, improving, developing, innovating. The Walking Society is a virtual community open to everyone: to diverse social, cultural, economic and geographic backgrounds. Individually as well as collectively, it champions imagination and energy, bringing useful and positive ideas and solutions to better the world. In a simple and honest way.

CAMPER means peasant. The austerity, simplicity and discretion of the rural world combines with Mediterranean history, culture and landscape, all of which influence the brand’s aesthetic and values.

Our respect for tradition and for arts and craftsmanship anchors our promise: to offer useful, original and quality products, promoting diversity and with a keen intention of developing and improving them through innovation, technique and aestheticism. We seek a more cultural and human approach to business activity.

KYPROS is the third largest island in the Mediterranean. Situated at the door to the Middle East, its strategic position as a link between East and West has made it subject to invasions since the beginning of time. Its history is defined by social ferment and cultural stratification, contributing a confusing identity and a mystical essence to the island.

THE WALKING SOCIETY magazine contains words and images from people and landscapes belonging to this virtual community, who make the world progress and change. Our first issue launched in 2001; its theme was the island of Mallorca, Camper’s native home. The original series, which covered different regions of the Mediterranean, lasted four years and eight issues, ending in 2005. This 11th edition is a survey and discovery of an island with an intriguing chronology and complex archeology. This journey questions and debunks the mysteries of Kypros, exploring how the island has absorbed the influences of its foreign invaders without compromising its Mediterranean essence.

WALK, DON’T RUN.

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The creative scene and the local youth are extremely interconnected. Much of the creative talent on the island studied at some of the most renowned Arts universities in the UK, but have returned to the island after graduation, building their network and contributing to Kypros society.

Facing Turkey, Lebanon, Syria, and Egypt, the island of Kypros sits at the center of the furthest inlet of the Mediterranean sea, a geographic point where East meets West. The island’s topography resembles other areas of the Mediterranean: extensive vegetation, massive olive groves blanketing the crunchy sun-burned fields, and the tanned faces of its residents.

In Kypros, water is never far. Standing on top of the hill housing the archeological site of Kourion, one can gaze out at the sparkle of the sea as the light fades, magically intensifying the color palette of the surrounding environment.

A half hour away, a rocky beach sits silent, allowing the piquant wind to caress you against a peaceful background. They say Aphrodite was born here.

Deep greens, vivid blues, muted whites, and shades of yellow are the predominant hues painting the landscape. A touch of fuchsia can be seen here and there where rosebays have laid their roots. Ancient ruins reminiscent of an intricate past decorate Kypros, turning the island into an open air museum. The remains connect with the modern-day Greek heritage 7

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Due to the unsafe political situation, many Greek Cypriots received refugee status and fled to the UK. As a result, many of the new generations hold a British passport or come from mixed families. This blend of nationalities and diverse cultures laid the groundwork for the island’s thriving art scene.

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Orestis is a model and designer known for his distinct appearance and strong presence within the local fashion community. His work spans from jewelry to experimental knitwear, blending clothing and performance.

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permeating the southside, where proud blue and white flags can be seen flying overhead.

Myth and local culture thrive, juxtaposed to new age construction, as metallic skyscrapers stretch upwards, hovering over the dissimilar architecture in the cities of Nicosia and Limassol.

The persistent alternation between rural and urban, and the pressure between North and South, have molded Kypros into an unlikely place. Its intriguing identity, mix of people, and ambiguity create a whimsical atmosphere that is hard to replicate. Time feels suspended in Kypros, as if the cultural stratification and summer heat create somewhat of a hyperbaric chamber.

Geographically positioned in what would normally be considered the Middle East, Kypros was subject to a substantial history of domination for centuries: Venetians, Persians, Hellenic and Turkish powers, as well as 300 years under the Ottoman Empire, followed by the British.

Since the 1980s, Kypros continues to be split into two halves by a United Nation controlled buffer zone as a result of the escalating social 10

Twins F/W 2021 Camper for Kids Originally from Ukraine, Daria came to Kypros at a young age to escape the harsh realities of her home country. She is part of the large Eastern European community that saw Kypros as a land full of opportunities.

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Eleni is a half-British Cypriot fashion designer focused on sustainability and waste reduction.

Her work challenges mass production and supports local advancement by creating only what’s needed with deadstock materials locally handcrafted in Kypros.

tension between the two predominant ethnic communities inhabiting the country - the Greek Cypriots and the Turkish Cypriots - and the subsequent annexation of the Northern side to the self-proclaimed Turkish Republic of Northern Cyprus.

Walking along the green line in the southside of Nicosia is surreal. It is reminiscent of a movie set. Camouflaged sandbags stacked upon each other and colorful barrels protect the impassable border, while young soldiers patrol the area. On the other side, where Turkey rules, prayer time chants blast out of a nearby minaret. Lebanese, Syrian, Armenian, Greek, Turkish, Russian, and Bulgarian communities converge here, coexisting on this tiny island and making it their own.

ARCHAEOLOGICAL RESTORATION p.18 The tradition of archeology and its impact on the local society, discovered through excavation sites and the Cyprus Museum.

JOANNA LOUCA p.70 Modernity meets tradition in the studio of this master weaver. Read about how she pushes the boundaries and experiments with art.

NICOLAS NETIEN p.120 Nature is the center of Cypriot life.

This French bio-engineer is working to revive it and provide the island with a healthy environment.

ELINA IOANNOU p.40 A day with the Cypriot sculptor Elina Ioannou, discovering her world at the crossing of reality and depiction through her flattened sculptures.

URBAN GORILLAS p.82 Social engagement is crucial to Kypros.

In the neighborhood of Kaimakli, this organization aims to facilitate urban decoration with the help of its residents.

MYTH p.16,30,58,88,116,136 Korean illustrator Lulu Lin interprets the most famous myths from the island.

LEFKARITIKA p.52 In Kypros, traditional handicraft ties the island together. These pages unpack the importance of lace and embroidery.

CHRISTINA SKARPARI p.98 A researcher and designer with the aim to keep the tradition alive by linking rural and urban societies through a nomadic festival. Read about how she achieves it.

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Birth of Aphrodite According to Hesiod, Aphrodite was born near Paphos, on the southwest coast of the island. The story tells that she was generated from sea foam after the severed genitals of Uranus, the primordial God of the starry sky, was thrown into the water by his son and attacker, Cronus.

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Archaeological Restoration

The cultural stratification caused by the many historical incursions made archeology synonymous with Kypros. There is probably no other place in the world so small yet so rich in its past, with such diverse culture and archeological wealth. It’s everywhere. From the traditional handicraft services to the ancient Greek sites crumbling under the sun to the precious terracotta miniatures recalling the chronological history of the island.

Over time, Kypros absorbed the influences of the surrounding countries through its invaders.

At the same time, it developed its own distinct narrative. Its wealthy copper reserves allowed the island to resist decay, shaping and fueling its robust cultural heritage. For this, archeology is held dear and proudly by its residents.

They flaunt this treasure with passion. Under the burning sunlight, equipped with only a straw hat and a few tools, dedicated workers spend hours taking care of what is left of Kourion, a city-kingdom with roots in the Peloponnese.

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The ancient city-kingdom of Kourion is said to be founded by the Argives, the inhabitants of Argos in the Peloponnese.

Later, writers associated the city’s name with its founder, Koureas, son of the mythological king Kinryas. The surrounding area was developed long before the construction of the village, in the Neolithic era.

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These archeological workers scrape, cement, and repair the white bricks with the goal of preserving the immense value of this ancient architecture. A perfect column supporting what is left of a temple’s tympanum stands tall in the middle of an uncultivated field that has been dried by the summer heat.

Local archeology tells the story of a civilization that started in the Neolithic period and developed throughout the centuries, surviving foreign invasions.

Kypros’ stratified artistic wealth upholds its historical resilience.

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Video frames by Fele La Franca.

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With clear Hellenic influences, the island enhanced its storytelling skills through the creation of its own pottery and sculpture, favoring marble, clay, and solid gold. The discovery of almost perfect figurines allows for a truthful reconstruction of historical facts where scriptures fail.

Human figures are predominant. Initially handmade then mass-produced with molds designed by skilled artisans looking to fill an ever-increasing demand, these miniatures are testimony to the advanced society inhabiting the island at any stage of history. Widely cherished and revered by the local community, archaeology is a sturdy pillar of the local livelihood.

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The Salt Lake This Ottoman legend tells the story of a thirsty Dervish, who asks for a drink from an old woman’s vineyard after arriving in Larnaka, located in the southeast of Kypros. After being refused the drink, the Dervish curses the vineyard, turning it into a salt lake and transforming the woman into a rock. Exhausted and thirsty, the Dervish then dies and his hand turns into a carob.

Culinary tradition and local products are a huge part of Cypriot life. Dairy and fresh produce are the protagonists in local cuisine. Walnuts and almonds are always present, alongside honeydrenched treats and oily halloumi, Kypros’ most precious food. Greek Salads made of creamy feta and tangy coriander can be found on every menu. Smell, taste and history blend seamlessly together triggering a sense of mesmerizing satisfaction.

Arriving at the Larnaca Salt Lake, you are met by the same feeling of satisfaction.

Its sun-dried crystal surface, hard to the eye but soft to the touch, reflects the feeble light at dusk. It embraces the shadows of the surrounding vegetation while the minaret of the Hala Sultan mosque bounces off the lake. The thick trees cooling off the area filter the dormant sun. The atmosphere turns magical.

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Kypros’ culinary tradition has its roots in Greek culture. Local products are highly connected to Hellenic cuisine. Honey sweets, feta-loaded salads, and Mediterranean produce are the core of daily nutrition.

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Korallia is a multi-disciplinary artist using a variety of mediums to pay tribute to her homeland.

She is part of a generation of Cypriots who sought education abroad before returning to establish a local studio where creation can be explored freely.

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Stelios, known as Krimson, is an experimental music artist focusing on techno and electro music.

He is often found playing at local festivals and parties.

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The lake carries the same ephemeral beauty of an oasis in the middle of a sandy desert. A loud wind swishes through the palms and pines, offering a break from the hot and humid weather.

Layers of caked salt exposed by the lack of rain in summer sit upon black mud, practically turning the lake into quicksand. The clash between the pearly lake and the blue firmament is abrupt.

Here, the distinction between earth and air is clear. The picturesque atmosphere of the island permeates every corner.

Nature and architecture are never far from each other; intertwined, living together in the mundane, blurring the line between time, space, and humans.

Arriving at Elina Ioannou’s studio on the outskirts of Limassol, the adjacency of these elements to Cypriot life becomes evident. The beautiful journey leading up to her childhood home and studio is a testimony to the way structure and nature cohabit the island.

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Elina Iannou’s academic background in architecture seeps through her work in very evident ways. From choosing to employ limestone – an autochthonous material typically used for construction – down to her two-dimensional sculptural depictions, the artist interprets her surroundings by celebrating the local landscape through the manipulation of the mundane.

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Working alongside her father, one of the few stone carvers left on the island, Elina feels strongly about her Cypriot heritage and believes studying abroad allowed her to see the local lifestyle from an unbiased perspective.

Walking up to her studio is an intense experience. A carousel of candid sculptures escorts you up the pathway and stands out against the bright blue sky. In the midst of this dry patch of land, discarded art experiments lay unbothered under the hot sun.

Over the years your work has changed in shape and form but has remained tied together by similar subject matter. Mundane scenes and objects reign supreme in both your drawings and installations. How much is your work influenced by your surroundings?

I have a great fascination for domestic and everyday objects. They play an important role in my research. These scenes reveal a lot about ourselves.

How we, as human beings, function and coexist with space. These elements are obedient servants and silent witnesses of our obsessions.

Furniture, objects, and kitchen utensils, I believe, hold the testimony of our presence. They can be witnesses to our weaknesses and obsessions.

Our deepest secrets and unresolved

existential concerns exist within the most common discarded objects, the most ordinary everyday encounters, and the most fleeting moments.

Including this architectural language in my art allows me to step away from everyday life and observe it more objectively. Moreover, including architectural elements in my work allows me to remove perspective and depth.

Your work conveys chaotic precision, in the sense that the artistic elements tend to be very crowded and juxtaposed. Is this chaos a result of your upbringing in Cyprus, an island that has seen social unrest and been historically contended by so many different countries?

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"CHAOTIC PRECISION, THE FLATNESS OF THE PHYSICAL SPACE, AND STILLNESS OF TIME ARE SOME OF THE ELEMENTS THAT HELP ME TO DEAL AND NEGOTIATE WITH ALL OF THE ABOVE. A REMEMBRANCE OF AN ANCIENT AND RECENT STORY, THE OVEREXPOSED LIGHT, THE LONG SUMMERS, AND THE RESISTANT FLORA, WITH A RETURN TO THE TRADITIONAL MEDIUM OF SCULPTURE AND CARVING, IS MY ATTEMPT TO REVEAL THIS SOCIAL UNREST TO A SYMBOL".

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Fragments of sculpted pieces, found objects, leftovers, and found architectural ornaments are accumulated together. My crowded narratives, though, are often excluded from any desire, perspective, or gravity. Like fossilized moments trapped on the surface of the paper or petrified in the slabs of stone. It’s an attempt at coupling past and future, with solid volumes to alternate between relief and a tridimensional figure. I am, I observe, I exist somewhere in between this pending moment of this.

Why are you interested in removing tridimensionality from your work?

There is a very thin space between reality and depiction, reality and the essential. Flattening the image allows me to see the distinction between the two more clearly.

After training academically in France, you came back to Cyprus. How did that experience mold your view of life and what did it leave you with?

Initially, I wanted to stay in France but my parents convinced me to come back and then decide. Cyprus and France are very different countries.

When you are living somewhere, you do not see the peculiarity of the place because you are completely immersed in the experience. Living in France for such a long time, speaking the language, and hanging out with the locals permitted me to see Cyprus in a different light, and vice versa. Living outside your comfort zone allows

"I AM MY FATHER’S DAUGHTER, ONE OF THE LAST STONE CARVERS OF THE ISLAND AND A LUCKY INHERITOR OF A FULLY EQUIPPED STUDIO THAT TREATS STONE".

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Elina and her father share the same studio and tools.

She often employs his scraps.

Chaotic precision, the flatness of the physical space, and the stillness of time are some of the elements that help me deal and negotiate with all of the above. A remembrance of ancient and recent history, the overexposed light, the long summers, and the resistant flora, with a return to the traditional medium of sculpture and carving, is my attempt to reveal this social unrest to a symbol.

Peu Stadium F/W 2021 Ground F/W 2021

Peu Stadium F/W 2021

you to understand and see things in a clearer way. To observe ourselves in a more objective manner.

Has living abroad influenced your practice at all? If so, how?

Of course. Before leaving Cyprus, I didn’t know what contemporary art was. I don’t know what I was thinking about art. I believed art meant technical skills. But in France, I understood what art is.

In addition, transitioning into adulthood away from Cyprus, where we live in a cocooned familyoriented environment, like other Mediterranean countries, I learned that people can actually exist in a different manner.

Ancient vases are another element that can be often found in your practice. Are you interested in archeology? How big of a role does Cyprus’ history play in the choice of the shapes you include in your work?

Archeology is part of an aesthetic.

My pieces look archaic but at the same time, they are very modern. I use archeology as a study to understand our ancestors and how they were living. The use of Cypriot limestone localizes the work and alludes to the heritage of the island.

Everything can influence my work.

The engraved motifs are inspired by the local flora and they were also used in ancient pottery and art, so they become a sort of site-specific language. Archeology plays a big role in my work.

What can you tell me about your identity, and consequently work as an artist, in connection to your birth country?

I am part of the Mediterranean landscape, the golden and ochre colors, the prolific mixture of architecture and Cypriot customs, but at the same time a citizen of the world. I am also a daughter of my father, one of the last stone carvers of the island, and a lucky inheritor of a fully equipped studio that treats stone.

In my latest works, the autochthonous stone is the protagonist. This primitive “inhabitant” of the island, this humble material, in contrast to the fine finish of marble, is developed and praised. I am a devoted fan of where I live and I am grateful for all the inspiration that this island generously offers me.

How can art be a vessel for community aggregation on such a diverse island?

Art is a universal language. It can be read and understood by everyone.

Usually, it is used to communicate our fears and obsessions. One of the principal qualities of art is to soothe human fears. It is made by humans for humans. It addresses our worries so it is essential to human existence.

It doesn’t matter where a person is coming from—needs, fears, and fundamental concerns of life stay the same.

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Laborious, luxurious, and decadent in modern days, the Lefkara lace is one of the most important traditional handicrafts autochthonous to Kypros.

LEFKARITIKA

The Lefkara lace carries its own history and lives in the memories of the old women of the village who have been perfecting this meticulous embroidery for

decades. This communal practice bonds mothers, daughters, and neighbors in the semi-mountainous villages of Pano and Kato, carrying the influences of

the Venetian merchants passing through the island in the 15th century. At the Nicosia’s handicraft center, this peculiar embroidery technique is kept alive by Vera, a woman who has dedicated her life to teaching her knowledge to modern students and curious people alike. Vera can be found in the lace room, tools in hand, silently picking silk and linen cloths.

Some of her work took six months to complete.

Other more intricate pieces have taken up to three years. Her husband, on the other hand, has been using the internet to research and collect pieces of lace, bringing them back to Nicosia by contacting collectors. The extensive archive is made available to students and visitors alike, allowing them to learn about this beautiful ancient craft.

The Birth of Adonis Adonis was conceived from the incestuous relationship between Myrrha and her father Cinira, king of Cyprus, under Aphrodite’s curse.

After realising the identity of his lover, the enraged Cinira tried to kill his daughter, who managed to escape and beg the Gods to help her by transforming her into a myrrh tree. In the form of a tree, Myrrha gave birth to Adonis who was then found and raised by Persephone, the queen of the Underworld.

Nicosia is unique and different from any other city in the world. Its urban landscape suggests planners reunited and patched together cemented districts from an array of Middle Eastern countries. Shiny high-rises reach upwards alongside short, dusty buildings sporting large “For Sale” signs. Yellow colonial homes pop up here and there, their white columns recalling those of ancient Greek temples.

The dissimilar architecture of this city reflects its complex web of intermixed realities, the diverse people coexisting in its sparse neighborhoods, and the pressure surrounding the green line which divides it. Its walls are covered in simple graffiti and posters with bold messages. A sense of subdued resistance can be perceived evaporating off the alleys. Elderly shop keepers stare at passers-by with a blank expression, reluctant to their presence in the street.

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Walking around the city provides a singular experience, as retrograde visual displays and stuffy windows suggest business is stuck in time. Simultaneously, modern developments tell the story of a thriving economy and an in-demand real estate market.

Roads are unceremoniously cut by thick brick walls halting the passage to the other side of the island. Here, groups of juvenile soldiers patrol the area, giggling and cracking jokes as a way to pass time and boredom. Their naive smiles are quickly replaced by serious expressions as soon as anyone approaches their station.

The many multi-ethnic communities residing in the city mingle in the street speaking their own languages. The persistent contrast of old versus new, foreign and tradition, ignite Kypros’ ambivalence and its peculiar identity.

This uncertainty can be found in the work of most local artists.

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Ancient weaving techniques are revisited and reimagined inside the studio of Cypriot artist Joanna Louca. Entering her luminous workshop on the southern side of Nicosia, you are welcomed by rows of miscellaneous spools and fabric samples neatly arranged on metal shelves.

JOANNA LOUCA Inside, overwhelmed desks stacked full of woven experiments stand out against a backdrop of spindles wrapped with linen, cotton, and wool. Loaded wooden looms sit silent, ready to spring into action and turn Joanna’s patterns into reality. Evidence of her expertise hangs from the wall, draping down to the floor.

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With a degree from Goldsmiths College in London, Joanna Louca’s art is a bridge between tradition and the future.

Experimenting with 3M and neon nylon wires, the artist sets out to bring this old Cypriot tradition to the world through art exhibitions and commercial collaborations.

It seems like there’s an indivisible bond between Cyprus and the UK, possibly due to the history between the two islands. You lived in London for a long time before making Nicosia your home again. How has this duality influenced you?

Weaving is a particular method that connects historical movement and one of the oldest crafts on the island. Studying Cyprus’ traditional techniques thoroughly and with great respect is often the starting point of inspiration and reference for my work. Also, in this digital era, there is a need to preserve the tangible techniques and crafts that were once on the verge of extinction.

Living in London and being involved in the art scene, I had many opportunities to practice and apply my knowl-

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edge as a weaver for over a decade.

My freelance work offered me the experience to explore various ends of weaving and gradually the need to create my own atelier, my very personal language as an artist. The atelier works as an experimental laboratory, practicing construction techniques, articulating space, thought, and communication through weaving.

Coming back to Cyprus enabled me to set up my studio much easier, both in terms of space and the ability to find people that can work with crafts as assistants. I opened it in 2001 and it’s been growing since. Here I have been able to keep up with the pace I had in mind when leaving London.

Your work is deeply tied to the textile tradition of Cyprus, how do you connect to these ancient practices?

Weaving will always reflect our cultural values. The colors, patterns, and specific widths deriving from local tradition have been influencing my work massively. Innovative rather than traditional yarns, together with high-tech threads elaborated with traditional techniques, offer space for constant experimentation.

Weaving is composed of interwoven threads. The simple weave has layers upon layers, movement, and it flows in and out of space in a way that is hard to achieve through any other medium. This process of designing a pattern and translating it into a tangible cloth within these codes is what intrigued me to explore this craft and thoroughly study the technical aspects and possibilities it offers.

Do you feel like your studio acts as a temple of preservation for weaving techniques that are native to your home country? Is it your civic duty to pass them on to the next generations?

First of all, my studio is my temple.

It’s a place where I go and find my own peace of mind. Here I am able to connect all the information that I gather from outside and translate it into a textile.

At some point, I would like to offer people who love weaving the possibility to get better acquainted with the craft. I can already feel it now as I am still exploring with my own work and there’s still a lot to discover.

How are you able to keep your commercial work and artistic work separated? Or are they inevitably bound to each other?

The commercial work is my bread and butter. It enables me to go into the studio and experiment with my larger scale wall pieces, including work that is not commissioned for a specific space but will lead me to a new opportunity or idea.

"WEAVING IS A PARTICULAR METHOD THAT CONNECTS HISTORICAL MOVEMENT AND IS ONE OF THE OLDEST CRAFTS ON THE ISLAND".

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The process of weaving and looming is long and laborious. Has setting up your studio in Nicosia helped you better connect with this concept of slow life?

values. So, to answer the question, yes, I think they are very interlinked.

Because Cyprus is an island, it moves at a totally different pace from a very busy city like London. I find more time to focus and concentrate in my studio without any external disruption like an amazing exhibition to visit or locations that I would like to explore.

I am always inspired by what my eyes see in terms of the landscape we have here. The seasons are very clearly marked, especially summer with the brown and sepia hues and the very Mediterranean environment. I always find my color palette derives from there. Nature has always been an inspiration for me because I am very connected to it. Subconsciously the work follows the same direction.

With that said, of course, it is very important for me to travel frequently.

It’s a way to stay updated with what is going on in the textile and design world. I use Cyprus as a base to focus and meditate in my studio.

In your opinion, what is the relationship between the natural configuration and geographical positioning of the island and the artisanal traditions local to Cyprus?

If you look at the history of Cyprus, it’s an island with a very prolific production of silk and cotton. Locally, every village had its dedicated weaver with a loom where domestic fabrics and apparatuses would come to life.

As it is located in the Middle East and having such an important geographical location exposed Cyprus to various dominations. This phenomenon kept bringing in influences.

Being in the center of the Mediterranean definitely plays a role in Cyprus’ tradition. If you take ceramics and textiles, they are influenced by outsiders. However, we translated them in our own way, following our cultural

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How does your art pay tribute to the land?

What role does the tradition of weaving play in the community and how does it translate into what you do?

I believe weaving to be a very communal craft since, in order to achieve a distinct cloth, more than one person is needed. It includes someone growing the silkworm, someone spinning the yarn, another to sit and weave the fabric, and the embroiderer, who turns it into something else completely.

Personally, weaving is not a solo activity. In order to function, the workshop is not maneuvered only by me as a single craft person sitting behind the loom.

Moreover, practically, to set up the loom you need two or three people working on it at the same time. It has a circular effect.

"MY STUDIO IS MY TEMPLE. IT’S A PLACE WHERE I GO AND FIND MY OWN PEACE OF MIND. HERE I AM ABLE TO CONNECT ALL THE INFORMATION THAT I GATHER FROM THE OUTDOORS AND TRANSLATE IT INTO A TEXTILE".

Each thread, each weave, each pattern tells a story. As the artisan and artist behind the piece, what do you wish to evoke in the viewer?

Each piece is connected to a profound state of mind, a feeling, a vision, a human interaction. All these are translated on a tangible surface that can be read and translated according to the viewer’s very own personal

experiences. I always want to evoke a feeling in the viewer, a memory, a sentiment.

The loom itself is a tool, but the handwoven textiles produced represent the interplay of sophisticated concepts and manual skills held by the artist. Textiles act as a tangible expression of shared cultural meaning that communicate and represent cultural values and aesthetics.

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Urban If folk tradition is revived in the studio of Joanna Louca, space, people and community meet in Kaimakli, a quiet neighborhood located in the northeast of Nicosia, home to the Urban Gorillas - an organization dealing with the notion of public space.

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Engaging with locals on different levels and capacities, their mission is to trigger artistic intervention and to facilitate the participation of the various ethnic groups living within the diverse district’s limits.

Movement and the interaction with the urban landscape shape their practice and essence. Migrants and the unheard voices of marginalized locals are the focus of their festivals and multi-disciplinary events.

Maria and Elisabet are part of the same dance group. Their practice spans from jazz to contemporary dance, as well as capoeira. They use their body to engage with space and create beautiful performances.

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They strive to visually transform underutilized spaces while familiarising people with public areas and reviving the habit of gathering in squares.

Dance performances are often the focal point of their festival and act as a way to materialize the concept of interaction between body and space. The intermixing of various disciplines creates a kind of poetry in space.

Hard to document on film, the work done by Urban Gorillas emphasizes the idea of social engagement while creating a new aesthetic to improve their neighborhood.

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Kaimakli is a quiet neighborhood in the north of Nicosia renowned for its village-like look. Disrupted by the buffer zone, it houses a variety of communities and refugees from all over the region.

Pygmalion and Eburnea According to Ovid, the history of Pygmalion and Eburnea started when the legendary king of Kypros carved a beautiful ivory statue of a woman. Madly in love with the result of his work, Pygmalion slept next to the sublime craft every night, hoping it would come alive.

On the occasion of the ritual festival in honor of Aphrodite, he begged the goddess to humanize the statue so he could marry her. Aphrodite agreed and he could finally marry the now-human Eburnea. From their union, Paphos was born, giving name to the town famous for its temple dedicated to Aphrodite.

Art in Kypros is integral to social advancement and integration, therefore, the success of its symphonic orchestra comes as no surprise. The Cyprus Youth Symphony Orchestra was established in 1987 with the aim to provide kids with the chance to train academically and develop their skills to become professional musicians.

Exceptionally talented, dedicated youth from the age of 9 to 26 meet to compose vigorous melodies, focusing on advancing the local musical heritage and fortifying the island’s cultural impression on the world. At the same time, through their active social media accounts, they provide light-hearted entertainment to people across the globe. Kids of different ages, communities, and walks of life are trained to become superb composers.

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Apollonas is only a teenager but has already composed a symphony that has been performed by the main orchestra and is regularly played at their concerts.

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Panayotis plays the trumpet and lives in a quiet residential neighborhood forty minutes outside of Nicosia.

Twin sisters Anastasia and Katerina play the same instrument: the French horn. Aside from the official performances set up by the symphony, they often participate in local cultural events and charity performances.

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Fotis is dedicated to his violin; he’s been mastering his craft since he was a child.

Now he’s an integral part of the Kypros Youth Orchestra thanks to his talent.

Borrowing from the country’s traditional music heritage, the violin plays a pivotal role in the orchestra, followed by wind, brass and percussion ensembles. Each group is experienced in both classical and contemporary music to satisfy the most demanding listener.

The three ensembles - strings, brass, and percussion - come together with a roster of 25 selected performers in order to create powerful symphonies that enchant and mesmerize the audience at the Pallas Theatre in Lefkosia and various cultural events. The small theatre can be found in the center of the cultural soul of Lefkosia, the old town, acting as a force towards the urban revitalization of the area.

Revitalization is a keyword when it comes to the rural villages in the outskirts of urban centers like Nicosia, Limassol, and Lefkosia.

The nomadic practice of Christina Skarpari, a creative director and researcher, links active city dwellers with farmers and countrymen through Xarkis, a shifting festival celebrating art, craft, and people.

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CHRISTINA With strong ties to Phyti, a tiny village known for its embroidery tradition, Christina Skarpari uses her research and practice to rediscover her heritage and connect with the rural communities inhabiting the villages spread across the island’s mountains.

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As a full-time creative director and teacher at Central Saint Martins in London, Christina is interested in reshaping the social narratives around the interaction between hyper capitalistic systems and self-sustaining traditions.

Motivated by the need to dismantle the detached sense of “Other” that permeates Cypriot culture, Christina launched the Xarkis Festival in 2013 to mobilize and unite the diverse communities living on the island.

What’s your connection to the island and how does the relationship with your nationality influence your identity? How has it influenced you to operate in a nomadic way?

I was born and raised in Cyprus as a Greek Cypriot. To a certain degree, a part of my brain has normalized the national division we live under. The other side is trying to be conscious of the fact that we are a multitude of things. I have been trying to be more aware of Hellenocentrism and disrupt it in some ways.

I grew up hearing about my parent’s rural life in their village and how they lived closer to nature, agriculture, and animals. I never had the chance to experience it. Up until my early 20s, I was quite detached from that concept and my only experience of

rural living was in more touristic villages.

It all happened by accident, by being curious, when I started doing basketry eight years ago. Something quite intuitive led me to want to experience villages and see how people live and what it is that makes their lifestyle and values different from mine.

Your practice is deeply entrenched in tradition, rituals, and human interaction through the exchange of knowledge and craft-making techniques. How do these disciplines help foster community and how important is it to create such dialogue in a place like Cyprus?

When I think of community, I envision people coming together from

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The decadent village of Phyti still thrives on the tradition of embroidery. Here, two families keep the craft alive by supplying the lace museum with traditional and experimental cloths.

Christina works closely with these village communities to keep the centennial craft flourishing by linking rural societies with established artists from Nicosia.

Only 80 people are left in Phyti. Due to the recent decrease in tourism and the need for diverse employment, the village risks disappearing soon.

both ‘traditional’ rural and ‘nontraditional’ urban settings, or humans forming communities periodically and shifting between fixed ones, to co-create not only tangible things but also values and ideas.

I think that such practices, when offered through fluid communities, can strengthen feelings of belonging and cultural identity.

Such interactions carry a lot of weight and can create an alternative paradigm for places like Cyprus.

I aim to bring people from different walks of life together, strategize,

relationships and try to be inclusive.

The challenge is always to remember why you are doing this and that it’s not just about you. When we are talking about community, we should not be talking about them and us, but talk more about “we”.

What can new generations learn from older folks on the island? What have you personally learned in this journey?

In heritage communities, locals typically have a closer relationship with raw materials and nature at large. By honing our relationships with those who represent aspects of

"I AIM TO BRING PEOPLE FROM DIFFERENT WALKS OF LIFE TOGETHER". and collaboratively work towards the resilience of this sector. In this way, communities are explored through commoning; working inclusively with others, and coming together in difference.

You operate at a grassroots level to help tradition (artisans) and innovation (designers) come together and build relationships. How can these initiatives help create a sustainable livelihood for the locals?

I think sustainability can be sought after if we create more mutual

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heritage, I believe we can learn how to move towards progressive, inclusive, and ecologically conscious futures, in both rural and urban settings.

For instance, we can explore how rural heritage and related practices are tied to ecological living, and how we can embody elements of related values, practices, and lifestyles in our everyday realities and in an evolving context.

Beyond ecological sensitivity, object-based and making values of traditional practices, there are other

intangible values associated which are also important to maintain. These values include mindfulness as part of well-being, empathy, collaboration, and community. These values are important, especially as we are living in times where we are becoming all the more distant from each other.

The problem with traditional heritage however is that it is often recognized and defined by those who are in positions of power, and thus a topdown approach is often ingrained in its concept.

I’m interested in disrupting such models and finding ways to celebrate and highlight the value of everyday ‘folk’. I seek to create an equitable dialogue based on mutually beneficial collaborations, with people like Mrs. Theano and Diamando from Phyti, people like Domna in Koilani, Eleni, and Pambos from The Cyprus Handicraft Service in Nicosia, Nikos and Xenis from Polystypos, and so on.

The key thing I’ve learned is that time here is essential. It is critical to preserve and revitalize practices that are endangered, especially as the people who work as agents of heritage become older and fewer, and as we witness limitations in existing support mechanisms.

Speaking of the Xarkis Festival, what moved you to start this event?

How did you go about organizing it and how is it perceived by the community?

I first started immersing myself in crafts heritage and rural ways of living in 2013. At the same time, the

world was experiencing the climax of the economic crisis. It began as a social experiment to see how we can look at things like sustainability and self-sufficiency while living in a hyper capitalistic environment and be happy with what we have.

It started as a self-organised celebration with the help of many volunteers as we had almost no funding.

I initially went to visit different villages to identify what could be a good starting point. I then started meeting locals and engaging in conversations to try and find mutual grounds. Subsequently, I brought people I knew from the art world to join in this endeavor. In the beginning, a lot of people weren’t sure it was going to work. But it happened and it was great! It wasn’t the most organized thing, of course, it was very DIY. We had no idea how to organize a festival, but our heart was in the right place and the values were there.

How does your academic career translate into your community work and vice versa?

I feel extremely lucky to have both an academic career and work with communities as they feed off each other. In the BA course that I am teaching at Central Saint Martins in London, I ask the students to respond to global issues. This year we are focusing more on the environmental crisis but looking at it through a social lens by identifying the fact that class, economic status, and location all have a part to play and it’s not all neutral.

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Chryso is one of the few halloumi makers left on the island. She keeps her recipe secret.

Alongside honey and olive oil, halloumi is one of the main exports of Kypros.

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"WHEN SPEAKING ABOUT COMMUNITY WE SHOULD NOT BE TALKING ABOUT THEM AND US BUT TALK ABOUT IT AS A WE".

The other course I teach is a MA on design for social innovation and a sustainable future.

One of the benefits of this course is that it has students working on their own thesis in different parts of the world.

Therefore, it provides a more thorough view of global issues.

So my experience working on a small island that is European by law (but not so much geographically) is really helpful because not only can I direct students but I can also learn from their experiences in other contexts which are often even more difficult.

Do you think art has the power to improve things in Cyprus and other countries with intricate pasts and histories?

Humans have the remarkable capacity to relate to each other if they are given the time, space, and resources to do so.

I think that art, design, and craft-making not only have the power to improve things but when explored through socially engaged and responsive approaches, they can transform relationships and situations, especially in places that are marked by rather turbulent pasts like Cyprus.

By getting to know each other and ‘the other’, sharing stories, lived experiences, and practices, we can reduce the gaps that have been engendered over time, create new bonds and co-exist better.

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Leaving Phyti and wandering through the hilly rural landscape of the island, amongst the olive groves, the shaved barley fields, and buoyant palm trees, a solitary church appears in the wild. With no roof and few side walls left, Agios Sozomenos sits alone in the middle of a silent valley, where the contrast between sky and soil is stark.

Once upon a time, the now deserted village consisted of a timeworn, abandoned house, a standalone parapet, and an incomplete cathedral. Nowadays, the peaceful area fosters the reproduction of a local venomous snake called a fina.

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The Aya Napa sea monster A mysterious sea monster, known as The Friendly Monster by local fishermen, is said to inhabit the coast of Ayia Napa, a town in south-east Cyprus. Often linked to the mythical Scylla, the monster is depicted in what is left of the mosaics in the House of Dionysus, a 2nd century AD Roman villa located in Paphos.

Finas can be found throughout the island’s abundant vegetation and uphill villages. They inhabit the dry soil of the island, threatening the local farmers while also constituting an integral part of Kypros’ ecosystem.

Put at extreme stress by the alarming rise in temperature and lack of rain, Kypros’ agriculture has been a significant part of its economy for centuries, supporting a rural society that lives on the edge of industrialization.

High-quality raw honey, olive oil, and other regional delicacies are the backbones of the island’s subsistence.

Their production goes hand in hand with the tendencies of the rural society inhabiting the isolated mountain burgs, where archaic production techniques are employed to contribute to the community.

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NICOLAS NETIEN

After leaving France and skipping through an array of countries, bio-engineer Nicolas Netien found a home in Cyprus when called to work on a project on the United Nations buffer zone almost eight years ago. Here, following permaculture principles, he was able to develop a special formula for growing the healthiest olive trees in the world.

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Working through the unshakable bond linking humans and nature in a place like Cyprus, Nicolas’ current project gives back to an overexploited land that has been damaged by climate change and poor environmental policies.

Holding bees’ wellbeing at the forefront, the sustainable farm he’s currently building produces high-quality honey with the help of a master beekeeper operating in juxtaposition with a diversified flora.

What brought you to Cyprus and how long have you been living here?

I came to Cyprus in 2013 to work on a project in the United Nations buffer zone. I was hired to design an agroecological olive farm from scratch. We planted 40 hectares of land following permaculture principles.

The Atsas olive grove you worked on and mentioned above, won a record for the healthiest oil in the world.

How was it possible to achieve this?

The trick to creating a healthy farm is the nutrition of its plants — just

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like humans. If you provide complete nutrition, you will have a better immune system. To have good nutrition, there needs to be synergy with the microorganisms living in the soil. If you create a good ecosystem in the soil then the tree will have access to the elements needed to create a superior product.

Permaculture is more than an agricultural technique, it’s a philosophy. It allows you to live in symbiosis with the environment rather than using it for its crops and produce.

Now, eight years later, you are working on a similar, yet much more ambitious project — The Bio-Solea sustainable farm. How did it start and what is the goal behind it?

The idea behind the project came to the owner of the land, Cristosantos Agiyanis, in 2012.

He purchased ten acres of land with the aim of regenerating the area and bringing livelihood to Galata, the area where the farm sits. During the pandemic, he sort of got stuck here and decided to start building it out. We are just at the beginning.

The ultimate goal is to build biodiversity and consequently create environmental resilience.

We have been very dedicated and committed to making this happen.

Some of the plants on the land are not autochthonous, like the pine trees, and they are a liability because they are a fire hazard. They were brought by foreigners for building purposes and now we have to deal with it.

to come to be inspired and learn to know, respect, love, protect and live in harmony within the natural world.

We have an environmental impact, we are increasing the biodiversity of the area. We are decreasing fire risk because we have fire management.

We are increasing the capacity of the ground to retain water so we are creating water and climate resiliency.

Our team is driven by the love of nature, the desire to protect and restore our environment and its biodiversity. We create an example for a sustainable economy and fresh dynamics for our region.

What role does nature play in the life of the residents of Cyprus?

Nature is never far, both physically and mentally. Most Cypriots are no more than a generation or two away from the traditional rural life and they have a strong attachment to their family's village and fields.

We are trying to speed up the growth process of the plants by engineering our own compost, specifically tailored to each one of them. Each plant is different and requires different nutrition.

It is also easy to enjoy very different landscapes here, on the same day you can be playing in the snow in the mountains and swim at a beautiful beach. Also, Cyprus has the most diverse soil ecosystem in the world.

How will it enrich the local community and pave the path for the new generations of Cypriots?

What has this island provided you with that your home country did not?

We are working with nature to create productive agro-ecosystems that yield high-quality products. Healthy for the people and beneficial for the environment, while holistically creating spaces for all generations

There is an expression that goes “No one is a prophet in their own country”. It’s the local people who gave me the opportunity to work on the meaningful projects I have been a part of so far.

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"THE ULTIMATE GOAL IS TO BUILD BIODIVERSITY AND CREATE ENVIRONMENTAL RESILIENCE".

How connected are you with the local community? Does your job rely on the expertise of local farmers or is it more of an exchange?

We are very implanted in the local community as most of our staff comes from the surrounding towns.

Everyone knows us. It’s a small place.

The mountain villages of Cyprus have been forsaken. So we are helping the community grow in a sustainable way.

Once the farm is completed, we will open more jobs and employ more people from the community. We will be providing food and sustenance to 150 people living on the farm at all times just with the produce we grow and the products we are able to manufacture. They help us, we help them. It’s an exchange.

You are working on opening educational centers for the youth,

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where they can learn about the environment, biology, and ecosystems as well as a botanical garden.

Will these research centers organize programs to fortify the integration of the different communities living on the island?

In order to successfully build an educational center like we are planning, you need to socialize and get acquainted with the rest of the people out there and find ways to connect the communities and make them interact. It’s one island with many different communities.

Everybody is welcome. Here the only real border is the sea.

Moreover, any program aimed at understanding nature needs to teach compassion and how to love and respect the environment as a whole, you also need to live in peace with the people.

"NATURE IS NEVER FAR, BOTH PHYSICALLY AND MENTALLY. MOST CYPRIOTS ARE NO MORE THAN A GENERATION OR TWO AWAY FROM THE TRADITIONAL RURAL LIFE AND HAVE A STRONG ATTACHMENT TO THEIR FAMILY'S VILLAGE AND FIELDS".

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Honey is left unfiltered at Bio-Solea. The production process is entirely organic and sustainable thanks to the farm’s ethical beekeeping practices.

A trip through Kypros leaves a sense of incomplete satisfaction. Its abundant heritage sticks to memory without being overwhelming.

It triggers a hunch for more.

Its bold sepia hues, the sweetness of its superb honey, its complex, stratified THE WALKING SOCIETY

civilization seem to escort the traveler through the centuries all at once. The chilled, slowed down atmosphere brings them back to the present, reminding them of where they are: a Mediterranean island.

KYPROS

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The Pentadaktylos Mountains and the Giants According to a legend the Pentadaktylos Mountains were born millions of years ago, when the world was populated by giants. During a squabble, one of the giants threw a handful of stones at his opponent, missing him and landing on the hillside, forming the limestone ridges now known as Five Fingers because of the shape recalling a clenched fist.

Edition & Creation Alla Carta Studio Brand Art Director Gloria Rodríguez Magazine Photography: Olgaç Bozalp Illustrations: Lulu Lin Copywriting: Naomi Accardi Production: Hotel Production P.26-27 Video frames by Fele La Franca Videos Director: Fele la Franca Editor: Claudio Di Trapani Dop: Andrea Nocifora Music: Dirt O'Malley Special thanks to Maria Anaxagora Constantinos Economides Cyprus Youth Symphony Orchestra Polys Peslikas camper.com © Camper, 2021

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