Attitude #84: Enchantment

  •  In an edition dedicated to November and December, our intention was to bid farewell to 2018 bringing creative approaches to our pages that would transport us to especially idyllic universes, brimming with ‘Enchantment’.
    In fact, we would end up discovering projects that would seduce us, namely because of their distinctive essences: the combination of talent with an ability – evident to a greater or lesser degree – to lead us into imaginative realms of dream and fantasy.
    Our options were not conditioned by standardised or even rational criteria and this would end up leading us, namely, to the scenic and inventive environment of the Spaniard Lázaro Rosa-Violán (page 58); the harmonious architecture that blends with powerful landscapes, signed by the Mexican architect Diego Villaseñor (page 50); and to an exercise in reflection that the unsettling œuvre of Anish Kapoor (page 64) prompts us to do, particularly in what is the first individual exhibition in Portugal of the London-based Indian artist.
    Other languages and “formulae” of enchantment attracted our attention during the preparation of this edition. Often suggested by curious objects, small details, unusual compositions, apparently impossible combinations that nonetheless inspire a sense of astonishment, places that seduced us with some kind of special aura (difficult to objectively explain in words) among so many other contents that, in one way or other, took us aback.
    Or, in other words, enchanted us.
  •  In an edition dedicated to November and December, our intention was to bid farewell to 2018 bringing creative approaches to our pages that would transport us to especially idyllic universes, brimming with ‘Enchantment’.
    In fact, we would end up discovering projects that would seduce us, namely because of their distinctive essences: the combination of talent with an ability – evident to a greater or lesser degree – to lead us into imaginative realms of dream and fantasy.
    Our options were not conditioned by standardised or even rational criteria and this would end up leading us, namely, to the scenic and inventive environment of the Spaniard Lázaro Rosa-Violán (page 58); the harmonious architecture that blends with powerful landscapes, signed by the Mexican architect Diego Villaseñor (page 50); and to an exercise in reflection that the unsettling œuvre of Anish Kapoor (page 64) prompts us to do, particularly in what is the first individual exhibition in Portugal of the London-based Indian artist.
    Other languages and “formulae” of enchantment attracted our attention during the preparation of this edition. Often suggested by curious objects, small details, unusual compositions, apparently impossible combinations that nonetheless inspire a sense of astonishment, places that seduced us with some kind of special aura (difficult to objectively explain in words) among so many other contents that, in one way or other, took us aback.
    Or, in other words, enchanted us.
  •  In an edition dedicated to November and December, our intention was to bid farewell to 2018 bringing creative approaches to our pages that would transport us to especially idyllic universes, brimming with ‘Enchantment’.
    In fact, we would end up discovering projects that would seduce us, namely because of their distinctive essences: the combination of talent with an ability – evident to a greater or lesser degree – to lead us into imaginative realms of dream and fantasy.
    Our options were not conditioned by standardised or even rational criteria and this would end up leading us, namely, to the scenic and inventive environment of the Spaniard Lázaro Rosa-Violán (page 58); the harmonious architecture that blends with powerful landscapes, signed by the Mexican architect Diego Villaseñor (page 50); and to an exercise in reflection that the unsettling œuvre of Anish Kapoor (page 64) prompts us to do, particularly in what is the first individual exhibition in Portugal of the London-based Indian artist.
    Other languages and “formulae” of enchantment attracted our attention during the preparation of this edition. Often suggested by curious objects, small details, unusual compositions, apparently impossible combinations that nonetheless inspire a sense of astonishment, places that seduced us with some kind of special aura (difficult to objectively explain in words) among so many other contents that, in one way or other, took us aback.
    Or, in other words, enchanted us.
  •  In an edition dedicated to November and December, our intention was to bid farewell to 2018 bringing creative approaches to our pages that would transport us to especially idyllic universes, brimming with ‘Enchantment’.
    In fact, we would end up discovering projects that would seduce us, namely because of their distinctive essences: the combination of talent with an ability – evident to a greater or lesser degree – to lead us into imaginative realms of dream and fantasy.
    Our options were not conditioned by standardised or even rational criteria and this would end up leading us, namely, to the scenic and inventive environment of the Spaniard Lázaro Rosa-Violán (page 58); the harmonious architecture that blends with powerful landscapes, signed by the Mexican architect Diego Villaseñor (page 50); and to an exercise in reflection that the unsettling œuvre of Anish Kapoor (page 64) prompts us to do, particularly in what is the first individual exhibition in Portugal of the London-based Indian artist.
    Other languages and “formulae” of enchantment attracted our attention during the preparation of this edition. Often suggested by curious objects, small details, unusual compositions, apparently impossible combinations that nonetheless inspire a sense of astonishment, places that seduced us with some kind of special aura (difficult to objectively explain in words) among so many other contents that, in one way or other, took us aback.
    Or, in other words, enchanted us.
  •  In an edition dedicated to November and December, our intention was to bid farewell to 2018 bringing creative approaches to our pages that would transport us to especially idyllic universes, brimming with ‘Enchantment’.
    In fact, we would end up discovering projects that would seduce us, namely because of their distinctive essences: the combination of talent with an ability – evident to a greater or lesser degree – to lead us into imaginative realms of dream and fantasy.
    Our options were not conditioned by standardised or even rational criteria and this would end up leading us, namely, to the scenic and inventive environment of the Spaniard Lázaro Rosa-Violán (page 58); the harmonious architecture that blends with powerful landscapes, signed by the Mexican architect Diego Villaseñor (page 50); and to an exercise in reflection that the unsettling œuvre of Anish Kapoor (page 64) prompts us to do, particularly in what is the first individual exhibition in Portugal of the London-based Indian artist.
    Other languages and “formulae” of enchantment attracted our attention during the preparation of this edition. Often suggested by curious objects, small details, unusual compositions, apparently impossible combinations that nonetheless inspire a sense of astonishment, places that seduced us with some kind of special aura (difficult to objectively explain in words) among so many other contents that, in one way or other, took us aback.
    Or, in other words, enchanted us.
  •  In an edition dedicated to November and December, our intention was to bid farewell to 2018 bringing creative approaches to our pages that would transport us to especially idyllic universes, brimming with ‘Enchantment’.
    In fact, we would end up discovering projects that would seduce us, namely because of their distinctive essences: the combination of talent with an ability – evident to a greater or lesser degree – to lead us into imaginative realms of dream and fantasy.
    Our options were not conditioned by standardised or even rational criteria and this would end up leading us, namely, to the scenic and inventive environment of the Spaniard Lázaro Rosa-Violán (page 58); the harmonious architecture that blends with powerful landscapes, signed by the Mexican architect Diego Villaseñor (page 50); and to an exercise in reflection that the unsettling œuvre of Anish Kapoor (page 64) prompts us to do, particularly in what is the first individual exhibition in Portugal of the London-based Indian artist.
    Other languages and “formulae” of enchantment attracted our attention during the preparation of this edition. Often suggested by curious objects, small details, unusual compositions, apparently impossible combinations that nonetheless inspire a sense of astonishment, places that seduced us with some kind of special aura (difficult to objectively explain in words) among so many other contents that, in one way or other, took us aback.
    Or, in other words, enchanted us.
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