DOROTHEA MOVES BETWEEN THE ROAD AND MEMORY, BETWEEN WHAT SHE WANTS AND WHAT WATCHES HER. A FIGURE BUILT FROM CONTRADICTIONS, LIKE THE OLD BEATNIK IDOLS WHO WANTEDEVERYTHING, CONVINCED THEY HAD IT, REACHING FOR IT WITH WILD DEVOTION. “MAD ONES, MAD TO LIVE, MAD TO TALK, DESIROUS OF EVERYTHING AT THE SAME TIME.” DOROTHEA IS ONE OF THEIR GIRLS. NOT THE MUSE, NOT THE SHADOW — THE ONE WHOWRITES HERSELF.
WE SEE HER WANDER THROUGH LANDSCAPES FLOODED WITH LIGHT AND NOISE, WRAPPED IN A KIND OF LUMINOUS NAIVETÉ THAT STILL FALLS OVER HER LIKE A THIN VEIL. SHE IS A SONG TURNED INTO A BODY.

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ANIMUS EXPLORES OUR EVERYDAY ROUTINES — THE REPETITION OF PATTERNS OVER TIME, THE WEIGHT OF HABIT. AN INVESTIGATION DRIVEN BY OBSERVATION AND CURIOSITY, AIMING TO CAPTURE THOSE INVOLUNTARY BEHAVIORAL PATTERNS THAT SHAPE OUR SOCIETY. A NEED TO FIND ONE ANOTHER IN ORDER TO EXIST IN UNITY.

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MOVEMENT, COLOR, AND THE BODY INTERTWINE IN THIS EDITORIAL THAT EXPLORES THE INTERSECTION OF CONTEMPORARY DANCE, FASHION, AND PHOTOGRAPHY. THE COMPOSITION UNFOLDS IN VIBRANT URBAN LOCATIONS, WHERE COLOR, TEXTURE, AND ARCHITECTURE ENGAGE IN DIALOGUE WITH THE FIGURE, CREATING VISUAL SCORES. THE SERIES FEATURES PIECES FROM THE COLLECTION BY SUSHCHENKO, CREATED BY RUSSIAN DESIGNER NATALIA SUSHCHENKO, WHO COMBINES TECHNOLOGY AND TEXTILE ART TO CRAFT GARMENTS WITH STRONG IDENTITY: PSYCHEDELIC PRINTS, UNUSUAL VOLUMES, AND SUBTLE DESIGN DETAILS THAT
ENHANCE THE VISUAL EXPERIENCE












DESIERTO DE PLATA EXPLORES THE TRANSFORMATIVE POWER OF MUSIC AND DANCE WITHIN THE EVERYDAY LANDSCAPE OF THE CITY. SET AGAINST SUNLIT STREETS AND RESIDENTIAL FACADES, DISPARATE LIVES CONVERGE THROUGH MOVEMENT, COLOR, AND SHARED RHYTHM. WHAT EMERGES IS A COLLECTIVE PULSE — VIBRANT, GROUNDED, AND CARRIED BY A SENSE OF JOY THAT FEELS BOTH INTIMATE AND COMMUNAL.

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CALLED EXPLORES THE MOMENT WHEN AN INNER CALLING BREAKS INTO THE EVERYDAY—WHEN MOVEMENT BECOMES A NECESSITY AND DANCE REVEALS ITSELF NOT AS A CHOICE, BUT AS A VOCATION. SET IN REAL OFFICE SPACES SHAPED BY ROUTINE AND CORPORATE ARCHITECTURE, THE BODY BEGINS TO DEVIATE FROM THE NORM. THE SERIES SHIFTS THE FILM’S UNIVERSE INTO A MORE EDITORIAL LANGUAGE, TENSIONING THE FORMAL AND THE ORGANIC WITHIN AN AESTHETIC WHERE RETRO AND FUTURISTIC ELEMENTS COEXIST, AND THE BODY FINDS ITS OWN WAY TO ANSWER THE CALL.
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Between hangovers, nightlife, and desire, two bodies drift through a city that never seems to sleep. The party becomes a refuge, and intimacy emerges between taxis, smoke, and dim lights. An emotional ride where pleasure, escape, and vulnerability collide without asking permission. A story about getting lost in order to feel alive again. A photographic series by Nicolás Clausen, taken from the music video Impredecible — Cardelino, directed by Fernando Sotelo.

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THE IMAGES CONSTRUCT A FRAGMENTED, RAW AND AESTHETIC PORTRAIT OF A FIGURE THAT SEEMS TO SAY: “THIS IS WHO I AM — DON’T LOOK AT ME TOO MUCH.” “ROSE NEVERMIND” IS A VISUAL CHRONICLE OF RAW ENERGY, URBAN INTENSITY AND MARGINAL ALLURE. INSPIRED BY THE GRIT OF 90S MUSIC VIDEOS AND CLUB CULTURE, THIS WORK OFFERS A DIRECT VISUAL READING — UNFILTERED, UNAPOLOGETIC.


















Deliciously Gone portrays a woman alone, surrounded by objects that seem to hold the remains of a dreamed life. Through gestures of seduction, humor, and fragility, the protagonist constantly reinvents herself within a world shaped in her own image. The everyday becomes theatre,memory blends with fantasy, and illusion takes form. A sensitive piece about solitude, self-staging, and the art of dreaming life.A photographic series by Nicolás Clausen, taken from the dance-theatre piece Deliciously Gone, choreographed by Nadine Gerspacher and performed by Camille Lejeune.


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