NNC V WORLD ART MAGAZINE 2021 October 2021

art magazine October 2021 September selection

Impressions of Autumn #9 - Carleton Tree

cover by Ian Turnage-Butterbaugh collective 19 The Foshay

Impressions of Spring #1 - Loon Tree

vISIT his PAGE ON OUR WEBSITE:

EDITOR’s...

Also this month, art has amazed, kidnapped, dazzled, stunned, regenerated us!

Look carefully at each image and get to know the artists we publish.

Our magazine is a bridge between you and art ...

I’ve never met artists who bluffed.

The artist is always sincere in his production.

He/she/them may have more or less talent but * intent is always in good faith.

Valentine

Enjoy!

interview collective

monica de mitri collective 18

froso papadimitriou collective 19

monica de mitri challenge 2018 interview Collective 18 Photo Courtesy Amalia Di Lanno

Tell us about your artistic work: why do you do it, what do you want to express, if you have a precise style and a specific technique or change them in every project. A day without painting for me is a wasted day, I feel happy when I can spend time in the company of art. It’s a part of me. My paintings are all made in paper and acrylic colors installed on canvas. I’m in love with this material because it’s incredible, it’s natural, it’s ductile, can be very strong but also very soft, it’s so elegant and you can shape it as you want. Paper is congenial material to me: it is moldable, flexible and ductile in my hands, that’s why I love it. But I do not use only noble papers, I love to recycle, in a perspective of sustainability. Industrial waste products that are recovered, cut, painted, molded and installed on canvas in abstract compositions that give a new life to the material, giving it an aesthetic dignity, starting from the cutting of paper, which for me must be rigorously realized by hand, as the beginning of the artistic gesture.

Within which mood of art, you place your artwork? We live in an age where it is difficult to isolate oneself from the constant noise that is with us in our everyday life. Social networks that are increasingly invading our lives, we are continually bombarded with information arriving by night and by day: a flood of words, facts, emotions and screams. For this reason I find it important to create a sort of “parallel universe” where I can regenerate myself, where surviving the distractions becomes a daily exercise. The world of my internal silence is built on the slow pace of a manual work that reflects a need for order and precision. However, although the internal parameters of the work seem to obey the compositional necessity of their elements, when confronted with a concrete idea exhibition space, it is necessary to seek a different way, by breaking out of defined limits, thus suggesting a potentially unlimited expansion, breaking the previously too limiting rigors of balance. So in these works of mine I create a kind of «plot» always different, that connects to the environment and involves it. I love my perfect little universe where every element finds its precise place.

events, for me one of the most popular and active is in Milano. That’s why I decided I should be a part of it. Last year I participated in the selection for the Frattura Scomposta Contemporary Art Magazine.

After having passed the selection I was welcomed into their community. They are partners in many important national and international organizations such as the Biennale in Venezia, Google Cultural Institute, the Macro in Roma, WopArt Fair, Freize Art Fair etc.(http://www.fratturascomposta.it/resto_ sito/index.html) What’s a typical day in Monica’s life? Every day I divide myself between my work as an organizer of artis-tic events (with a Cultural Association in my city) and my work as an artist. Feeling free to create, without impositions and obligations, is very important for me because, loving the artworks as I do, very much, I don’t like being forced to do anything that does not satisfy me fully. I also love cooking and therefore every day I dedicate part of my time to this pleasure of life.

Travelling for art, for example for personal exhibitions or for other art exhibitions, you want to see? Do you like to see others’ art? I think it is very important to keep abreast of what ishappening in the art world, for this reason every time I can, I visit exhibitions and museums. I constantly follow the pages of many art galleries, art magazines, collectors and curators on social networks. This is because, although I do not always like what they publish, I think it is important to always be curious about the work of others. Travelling is also important to open your mind and to meet people from all over the world, it helps you to grow.

Where are your favorite places or themes where you can find inspiration for your work? My favorite place for inspiration is London because everytime I go back to this city it’s like going home to my house. It’s a strange and incredible feeling. In London there are a lot of amazing places where I can find inspiration like the Tate Modern, the Victoria and Albert Museum, the British Museum and more, but also the Brick Lane and Brixton areas and many more. I also love Venice by night, Rome and Milano, Amsterdam and lot of Could you tell us something about the art in your places in France, all these places inspire me. country? Is there an active artistic community? Have you studied art or are you self-taught? I studied Are you part of it? In Italy art is everywhere, we art in my city. I think it’s one of the best schools you have a lot a very important can attend, it opens your mind and helps you form museums and monuments and each city has an character. artistic community that organizes exhibitions and

Do you remember the first artistic work you did? Yes, the first painting that I made was in red acrylic and gold leaf, realized on package paper. It was very different from the works I make now, it had no three- dimensionality but it was all about color contrasts.

What do you think about social networks and the web about art and artists? Social networks to web are important, I would not have known about you if I had not had an Instagram page, but they must be used with intelligence. Unfortunately more and more often I see that in museums people only look at artworks through their mobile phones, they do not understand the importance of what they are looking at. Too many just worry about taking the perfect picture to post on so-cial media. Moreover, the fact of being too visible inevitably leads to the works being copied by people who have few ideas. But as I al-ways say to my friends they can copy the artwork but not the crea-tivity.It would be right to publish also the artworks of lesser known artists, instead you often see the same images of the same paintings published in tens of different pages and the result is mo-notonous.

You have organized exhibitions in the past. How does it feel to involve others in your art? I have exhibited in Milan, Forlì and Mantova (the city where I live). I have also attended private events where I have had to talk about my work to small groups of art lovers. I must admit that part of me finds it very interesting to study the reactions of the public to the art-works and to answer their questions. The other part of me though feels anxiety, I’m shy and sometimes I struggle to speak in public, but I understand that encounters with artists help people to better understand their works. I often love to start meetings using music, for example the track taken from the Piano Concert #2 op.102 track 2 Andante di Dmitri Shostakovic (https://www.youtube.com/watch?v=JlMHjo7Jwhk) explains better than many words what I feel as I create. By choice I do not assign a title to the paintings as I do not like to limit the imagination of the viewer, everyone must feel free to see what he prefers in my art-works.

What is your favorite artwork? Right now, my favorite painting was made two years ago. It’s the first one that I made that physically comes out from the limits of the canvas, creating an interaction with the surrounding space.

If you could show off your artwork anywhere in the world, where would you choose? I would like very much to exhibit in London or in Milano because they are the two of my favourite cities that most inspire me for my work… If you have to dream, dream big, that’s why I would like to realize an enormous installation for the turbine hall at the Tate Modern.

Are you reading a book at the moment? There is one book you have on your reading list? I love books, and right now I’m reading Jussi Adler-Olsen’s fifth book. I love bookstores, snooping around shelves, feeling the scent of the printed paper, touching books. I can’t use a kindle, I still prefer paper.

Is there a famous contemporary artist, that you want to report? And an artist who is not famous but who you like and whose artistic research do you share? The contemporary artists that I love most are Yayoi Kusama a fantastic and visionary woman, Mark Rothko whose paintings have always managed to thrill me, and the Russian collective AES+F whose video installations for me are pure poetry.

You have been contacted by No Name Collective Gallery and did not know what kind of project we would have made: are you happy to trust us? Yes, you have proved to be professional and serious, and then I don’t know how to explain it but I still have faith in people and I felt that I could trust you. I look forward to meeting you soon.

We ask for a small fee for the selection of the magazine and our other calls (artistic residencies and art clashes) but for the artists, we have selected and which we will select every year then we work for free. What do you think about this thing? This shows your seriousness and your love for art,unfortunately in the world of art you often risk findingpeople interested only in money. The small registration fee you ask is only after the works are admitted to the selection.

CONTACT

Monica de mitri http://monicademitri.it

www.instagram.com/modemi_art Facebook: Monica de mitri art

Collective 18 NNC VWorld https://www.nonamecollectivegallery.co.uk/monicademitriitaly

I was born in Milano, I studied Art and obtained my diploma at the School of Art in Mantova. I live and work in Mantova where in ‘90 I started my creative career. In 2000 I opened a Studio to present my works to curator, architects and customers. My art do not pretend to be a high values and ideals herald, indeed to me art has to be ac-cessible and close to everyday life. I think objects have a souls. I am only a tool that helps them emerge.

EXIBITION: 2018 September – Trend Scouting for La Biosthetique Paris 2017 May – Solo Exibition, Art Gallery Cubo Studio in Mantova 2016 May – Collective, Mantova Creativa 2015 May – Collective, Mantova Creativa 2014 May – Collective, Mantova Creativa 2013 June - Solo Exhibition, Art Gallery Lubiam in Milano 2012 May – Collective, Mantova Creativa 2010 April – Solo Exibition, in Forlì BIBLIOGRAPHY: 2019 January – La Voce di Mantova, Daily Newspaper 2018 Dicember – Art Magazine Frattura Scomposta 2018 July – 7 Corriere Della Sera, Weekly Magazine 2018 June – NoNaMeCollective Art Magazine, Art Magazine 2018 May – DarteMA, Website of Art and Culture 2017 Dicember – La Nuova Cronaca di Mantova, Weekly Magazine 2017 March – Create Magazine, Art Magazine SOCIAL NETWORKS: 2019 February – RatedModernArt, Instagram 2017 April - GNMH Avard Kim Jung Hwi Art Curator Korea, Instagram 2017 March – Sophie Gunnol Art Curator Miami FL, Instagram

interview collective 19

Froso Papadimitriou Collective 19

Tell us about your artistic work: why do you do it, what do you want to express, if you have a precise style and a specific technique or change them in every project.

I create because somehow I have too, its a bit compulsive. Not nessecary all of it is good but is the process of making that satisfies me. I experiment with multiple art forms mainly painting drawing, and installations, however, I have also created work in other disciplines such as sculpture, video, performance and craft; these are usually theme specific work for certain projects. Through my art practice I am interested in creating a platform of discussion about the level of criticality we really apply to the norms we live within, such as social expectations, trends, traditions, beliefs and socio-political relations. My aim is to explore and open a dialog about our isolation from public involvement, whilst we operate amidst a bombardment of networks and social platforms. Through my personal experiences, observations and research I collect narratives that illustrate the above points and create symbolic and allegorical work to questions them. One of the main materials I use for my work is thread, which has become you could say my signature. I am very interested in the parallelism of threads and fabric to the individual person and society. In my artworks individual lives take the form of threads, which stems from the ancient Greek mythology of the three fates (Moires), where Clotho unravels the thread of someone’s life, Lachesi measures it and Atropos cuts it. These threads become tangled together and form clusters and structures, which represent assemblies of people and society’s symbiotic character. With this clusters I create images that address certain socio-political issues and invite the viewer in an open-ended discussion. My work does not offer answers or take sides, instead it becomes a terrain for thought and discourse.

Within which mood of art you place your artwork?

Probably grumpy if that was available ahahaa. I think my work has a bit of an activist character, since it criticizes and questions our society, however it does not support or condemn a certain idea or belief but rather tries to create a discussion without foreseeing the outcome. It’s more about cultivating a thought and rather suggesting a solution.

Sometimes very direct other times with a hint of sarcasm and symbolism, my work is more about invoking reaction rather than provoking it.

Could you tell us something about the art in your country? Is there an active artistic community? Are you part of it?

Although I am from Greece, I became an artist in UK, specifically in London where I studied and have been living for the past 14 years. London is an international art hub, where artists and art venues/institutions, collectives alternative space exist in every corner. However, year by year London is changing and it has become hard for artist to lead a sustainable life without some short of part time or full-time job. Gentrification has been pushing artist to the outskirts of London and many artists I know have moved to smaller cities or other countries in order to continue investing time to their practice. Nevertheless, London is still the place that everything can be possible when it comes to art. www. nonamecollectivegallery.co.uk London There are numerous artists’ collectives and art communities and many times people belong to more than one and cross collaborate. I’ve been in few collectives myself, such as Collaborative Art; along with artist Jonathan Bradbury we founded the collective, collaborated with more than 80 artists and we were running a gallery space in the Topolski Century museum in South Bank from 2010 until it relocated in 2013. 7 th Layer collective, a brief collaboration with another 6 artists, where we run few events together. The Exchange, which was an alternative bookstore for independent publications inside Brunswick East café in Dalston in collaboration with artist Natasha Bacon who was the founder. We collaborated with more than 120 artist and collectives, running events and exhibitions and selling the books for the artists free of any commission. I was also a resident artist at Beckenham Place Mansion studios, London UK and was part of a very nice artist community there too. I have been part of the extensive global network of artists collaborating with the Minesweeper Collective, a community art co-operative and screen-printing studio initially in Deptford and now located in New Cross. In addition, I am part of the Global Village Artists Network, founded by curator Jeroen Van Paassen and have collaborated with him and a number of very talented artist in many occasions. Chrome art is another large artists’ community I am member of, founded by Javier Melian. http://minesweepercollective.bigcartel.com/history https://www.facebook.com/groups/185971291499099/ https://www.facebook.com/groups/1684606591780937/ What’s a typical day in Froso life?

There is no typical froso day at the moment I have to admit. I am half way in my one-year sabbatical leave from www. nonamecollectivegallery.co.uk London my work in London and for the first time I am daring the freelance life. Every day can be different depending on what I am on working and where I am located.

Traveling for art, for example for personal exhibitions or for other art exhibitions you want to see?

Do you like to see others’ art?

I definitely use art as my excuse to travel, whether that’s and exhibition I am taking part in, a collaboration project or a residency. Meeting new people, experiencing new places with locals, exchange ideas, see other people art, create new collaborations; it’s just great!

Where are your favorite places or themes where you can find inspiration for your work?

Everywhere

Have you studied art or are you self-taught?

I have studied graphic design, mograph and illustration in Greece and then got a BA in Fine Arts and a Master’s degree in Arts Policy and Management in London.

Do you remember the first artistic work you did?

A racoon I drew with the help of my mum when I was in primary school.

What do you think about social networks and the web about art and artists?

I am not sure what I think of them; they kind of remind me the drama masks of Thalia (the laughing one) and Melpomene (the sad one). Social networks can be very beneficial because as they allow artists to bypass the wellorchestrated art world of galleries, dealers and its politics and show their work to a wider audience. They also give people the chance to see art that is outside the ‘now trending’ in the art world. On the other hand, the question is what is the real value this exposure has to an artist? Also, what are the criteria which give a worthwhile exposure, considering the time invest in, especially when you are working with/against an algorithm, programmed to measure your work’s merit with the engagement you have within the platform. Which also brings the question of the quality of art that goes out there. I personally haven’t cracked the code yet, an while I get my guilty satisfaction with every new ‘like’, as an artist I find social platforms time consuming and unhealthily addictive; yet again if you learn how to use them as a tool, they can potentially be beneficial.

Could you talk to us about the idea of your project?

One project I am working at the moment stands between art and craft. By exploring the idea of art and functionality, in the Bauhaus approach of artist becoming a maker, I have ventured on to a more commercial and aesthetic route than the rest of my artwork, which is a very new experience for me. All started with an experiment 2 years ago, when I was looking for a material to paint on, which could maintain transparency while being flexible to manipulate. From that discovery and the suggestion of a good friend and fellow artist Sara Karin Fisher, ‘Istos Lights’ were born. ‘Istos Ligths’ are a series of unique table lamps, inspired by nature. The majority of the materials are eco-friendly and I also look into ways of incorporating recycling or upcycling in them too.

The lamps are hand painted and hand sewed in exclusive shapes. With every lamp I try to invent new ways of dispersing light and colour. Experimenting for me is equally pleasing as creating.

You have organized exhibitions in the past. How does it feel to involve others in your art?

Organizing an exhibition for me is like creating an artwork with the help of many very talented artists.

So far it has been a fulfilling experience. It is definitely demanding and character building yet in an enjoyable and fun way. Collaborating with other artist and sharing with them the experience and outcomes of our endeavors, is bonding and empowering for me.

What is your favorite artwork?

This is a difficult question. A paining that fascinated and haunted me at the same time, since I was a child, is by Andrea Mantegna ‘Saint Sebastian’ St. (1456–1459) now at Kunsthistorisches Museum

If you could show off your artwork anywhere in the world, where would you choose?

Showing your work in a major museum is a dream for almost every artist, and I am no different. However, if there were no limits as to where and how, I would have liked to have an artwork in every bus stop around the world so everyone, at least once in their lifetime, would see it.

Is there a famous contemporary artist that you want to report?

Yoshitaka Amano.

I would like to report him and writer Neil Gaiman for seducing me in getting involved with art.

And an artist who is not famous but who you like and whose artistic research do you share?

There are a lot of not so famous, artist who I respect and appreciate their work, picking one over the other is impossible. I would love to give you a list of artists that I love their work and their brains and whom I had the

privilege to collaborate with and looking forward for our next collaboration!

You have been contacted by No Name Collective Gallery and did not know what kind of project we would have made: are you happy to trust us? Hmmm interesting question. I suppose nowadays the question of trust is a bit ambiguous.

Hmmm interesting question. I suppose nowadays the question of trust is a bit ambiguous. Do we trust facebook with all of our personal data?

We ask for a small fee for the selection of the magazine and our other calls (artistic residencies and art clashes) but for the artists, we have selected and which we will select every year then we work for free. What do you think about this thing? I will not refer to your collective in my answer, as you demonstrated to me that you have integrity to what you claim to do. However, I am not in favor of a fee charged to the artists for applying to a call as by experience I have seen organizations using such tactics to generate profit in the expense of the artists’ struggles and hopes.

It is more understandable for me to pay a reasonable admin fee for participating in a project to cover the expenses if there is no other means for this project to be realized and by that I mean collaborations that we all chip in together to create something that will equally benefit us all. It is very unfortunate that nowadays there is a tendency from organizations to profit or/and run on artists funds, which effectively means that less privileged artists have fewer chances to show their work regardless their talent.

Froso Papadimitriou was born in Thessaloniki, Greece where she studied applied arts, illustration/sketching and graphic design. In 2006 she relocated to London to further her education, completing a BA (Hons) in Fine Art at Middlesex University and an MA in Arts Management and Policy, Curatorial and Educational pathway at Birkbeck University of London.

She has collaborated with national and international galleries and has also contributed to various publications in Taiwan, USA, Greece, UK. She has also been a resident artist are Beckenham Place Mansion studios, London UK. Her major shows include: • ‘Birthing a Better Future Art & Science’, group exhibition, Fitzrovia Chapel, London UK and Friends Meeting House, Brighton Fringe Festival, Brighton UK • ‘Kunst I’m Dialog’ ,group exhibition, Rathaus keller (Townhall) , Landshut Germany • APSF Asia Pacific Science Fiction Convention, group exhibition, Science and Technology Museum of Beijing China • ‘Singularity Festival ‘, group exhibition, Singularity Gallery, Guangzhou China • ‘Invisible…but omnipresent’, solo exhibition and panel discussion, Deptford Lounge, London • ‘DADA no DADA’, group exhibition, Refugees’ Museum, Thessaloniki Greece • ‘Tomorrow’s Child’, group exhibition at The House of Parliament London UK, campaigning in support of children’s’ mental health and wellbeing • ‘and with the marks on my hand I will tell you my story…Hajichi’, art residency and solo exhibition at Arcade Art studio & Space in Okinawa Japan.

• ‘Painting and Beyond’, invited by the National Taiwan Normal University to curate and participate in a group exhibition with artist such as Karin Ruggaber, Chih-Fen Tsai, Lanya Huang and ChingYao Chen amongst others, Taipei Taiwan • ‘Minesweepers’, Art Residency and group exhibition, La nouvelle Auberge de Jeunesse de Lille, Lille France • ‘Telephone: A Global Arts Experiment by Satellite Collective’ a New York based online project, for which her work was featured in the New York Times • ‘(Im)possible school book: As Found’, for which she contributed to a publication and live event at Tate Modern, London She is also the organiser and contributor of ‘Tracing my echo’, a travelling exhibition first presented at Tettix Gallery in Thessaloniki, which then journeyed to Zweigstelle Berlin Gallery in Berlin, One Year Gallery in Taipei, Taiwan and collaborating with artists such as Takahiko Suzuki, Eleanor Havsteen-Franklin, Ting-Ting Chen, Cecilia Mandrile and Hülya Küpçüoğlu . In addition, she also partnered with Brunswick East for The Exchange project, independent artists’ library and bookstore, collaborating with artists from around the globe, housing works from early career artists to artists whose publications may also be found in Tate Galleries London, Whitechapel gallery, V & A and MOMA New York.

Froso Papadimitriou

collective 19 contact www.instagram.com/froso_papadimitriou/ www.frosopapadimitriou.com

www.nonamecollectivegallery.co.uk/portfolio/froso-papadimitriou

september selection challenge 21 shortlist

Joao Vento Portugal

Igor Grigoletto Italy

Phoebe Ho uk

Noushin Delfani iran

Phil Scott uk

vivien sabel uk

katarina celebic Montenegro

augusto poderosi italy

Hermanni Pellinen Finland

Leonard Green uk

Special Guest September 2021

edited by Vanessa Rusci

ivan Borisov bulgaria

Portraits-knots

https://ivanborisov97.carbonmade.com/ Instagram: @ivan.borisov.5494

Portraits-knots

The idea that human beings are a collection of psycho-physiological nodes is known and exists as a generally accepted metaphorical view.

Viewed in this plane, man is a plexus of emotions, experiences, thoughts, beliefs and feelings. Elements that both build it and identify it. If these conditions together form and constitute ourselves, then they are the only possible connections with the people around us, with society and with the world as a whole. To paraphrase it, we can poetically claim that the umbilical cord of our social ties is common. Countless many threads woven into a rope. The qualities inherent in the rope correspond to human character and conditions. Their main inherent opposition, that between tension and calm, unites and characterizes them. Portraits - Nodes is an idea to create an image of a human protagonist through the formal reversal of the common meanings between the qualities of the node and man. Through the sculptural realization of the project “Portraits-nodes” the viewer’s attention is directed to the social dominance in society, which is manifested in the progressively crumbling (from the dynamics of the changing global world) problem of human identity

Born in Gorna Oryahovitsa, Bulgaria in 1997.

Education: 2012-2016 “National High School of Applied Arts” Tryavna, Bulgaria.

2019-2020 “ Brera Academy” Milan, Italy in the class of Professor Gianni Caravaggio.

2017-2020 “University of Arts and Design” Cluj-Napoca, Romania, Bachelor of Sculpture.

Exhibitions and participation: 2015 Symposium on sculpture, “Forma”-Tryavna, Bulgaria.

2017 Group exhibition in Galery” Nikola-Petrov”, Vidin, Bulgaria.

2019 Symposium on sculpture and painting Satu Mare, Romania.

2019 Group exhibition on sculpture Cluj-Napoca,Romania.

2020 Participation with a video performance in Atelier Plastelin Gallery, Sofia

women project is coming...

J DAVIES CURRENT ARTIST artist of the month

www.jay-davies.com

marian delgado

Collective 20

IMAGINARY GARDEN Width: 50cm, High: 50cm, Depth: 16cm. 2018

SILHOUETTE Width: 35cm, High: 52cm, Depth: 27cm. 2018

Pantónio Correia

julia Bezshtanko

Gamze Zorlu

selection September 2021 semi finalists

ania MOLYVIATIS

Etain O’Carroll

HUNG

NGUYEN DUC

challenge 2021

DAVID FEROCE

Vanessa Hocking-Creek

Rochelle Asquith

ANNA ZAKHAROVA

Istepan Obsidian Goekbas

LI aN LEE

Akshay bhoan

Mika Moret

Tillanye Stewart

paula rae Gibson

kan chi Poon

bing Hitchcock

NINA RASSEN

Fusako

Yamamoto

Ricky Bordoni

cHRIS VAN wALUM

Adrii Chahin

check out our calls and artists

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special guest

Each month we choose an artist and a project and publish them in our magazine for free.

Take part in our free calls.

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artist of the month

Each month we choose an artist and a project and publish them in our magazine for free.

Take part in our free calls.

Check out our website and participate

Art Curators Celine Flamboyant Valentine H.Hyman Vanessa Rusci Arthur Anders Karlsson

Cultural Art Project VWorld Art Project EUROPE All rights reserved.

Virtual Gallery VWorld art project From September 2019 : Business EU Manager Office: London, Rome.

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Editor in Chief Victoria Pagesour

art book back cover John bacon collective 20 Second backcover noemi safir collective 19

NO NAME COLLECTIVE LONDON - MAGAZINE - ART MAGAZINE © 2027 by No Name Collective Gallery VWorld Europe No Name Collective Magazine Mission Statement A challenge for artists.

Each month we select artists who will participate in the grand final of December 2021.

The winners will have space on our website, in our magazine and in our events.

In each issue an interview with two of our artists and the month’s selection.

We also dedicate a space to a special guest and artist of the month.

At the bottom you will find the artists of our Collectives currently represented.

Enjoy the reading!

We are looking for talent: candidates for the Challenge on our site.

NO NAME COLLECTIVE MAGAZINE - ART MAGAZINE © 2027 by No Name Collective Gallery VWorld

Pubblished by No Name Collective Gallery VWorld Europe (Issuu - Calaméo - peecho.com)