- Publisher
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
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MP _ ©EREN 00000001 _ MARIA.h264
Photography on screen, edited to a vaporwave reinterpretation of Ave Maria by composer @francesc.llompart.
The first piece is a video installation composed of thirty photographs looped over a vaporwave reinterpretation of the Ave María. What looks like prayer is, in truth, a global compulsion: heads bowed toward screens, not heavens. Elevates the mundane gesture of taking a photo into a choreographed act of devotion, bathed in green glitches and spiritual decay. It is not parody — it is lament.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
MP _ ©EREN 00000001 _ MARIA.h264
Photography on screen, edited to a vaporwave reinterpretation of Ave Maria by composer @francesc.llompart.
The first piece is a video installation composed of thirty photographs looped over a vaporwave reinterpretation of the Ave María. What looks like prayer is, in truth, a global compulsion: heads bowed toward screens, not heavens. Elevates the mundane gesture of taking a photo into a choreographed act of devotion, bathed in green glitches and spiritual decay. It is not parody — it is lament.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
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MP _ ©EREN 00000010 _ DEKA.log
Reinterpretation of two slabs of quartz and phyllosilicates laser-engraved with ten digital commandments, sculpted by @adria_galicia and @lanacronica
The second piece, the DEKA.log, consists of two laser-engraved stone tablets painted in acid green and gold. Ten violent commandments for a digital age are carved into their surfaces: “Make truth obsolete.” “Honour narcissism.” “Atomize your mind.” These aren’t rules — they’re diagnoses.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000010 _ DEKA.log
Reinterpretation of two slabs of quartz and phyllosilicates laser-engraved with ten digital commandments, sculpted by @adria_galicia and @lanacronica
The second piece, the DEKA.log, consists of two laser-engraved stone tablets painted in acid green and gold. Ten violent commandments for a digital age are carved into their surfaces: “Make truth obsolete.” “Honour narcissism.” “Atomize your mind.” These aren’t rules — they’re diagnoses.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000010 _ DEKA.log
Reinterpretation of two slabs of quartz and phyllosilicates laser-engraved with ten digital commandments, sculpted by @adria_galicia and @lanacronica
The second piece, the DEKA.log, consists of two laser-engraved stone tablets painted in acid green and gold. Ten violent commandments for a digital age are carved into their surfaces: “Make truth obsolete.” “Honour narcissism.” “Atomize your mind.” These aren’t rules — they’re diagnoses.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000010 _ DEKA.log
Reinterpretation of two slabs of quartz and phyllosilicates laser-engraved with ten digital commandments, sculpted by @adria_galicia and @lanacronica
The second piece, the DEKA.log, consists of two laser-engraved stone tablets painted in acid green and gold. Ten violent commandments for a digital age are carved into their surfaces: “Make truth obsolete.” “Honour narcissism.” “Atomize your mind.” These aren’t rules — they’re diagnoses.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000001 _ MARIA.h264
Photography on screen, edited to a vaporwave reinterpretation of Ave Maria by composer @francesc.llompart.
The first piece is a video installation composed of thirty photographs looped over a vaporwave reinterpretation of the Ave María. What looks like prayer is, in truth, a global compulsion: heads bowed toward screens, not heavens. Elevates the mundane gesture of taking a photo into a choreographed act of devotion, bathed in green glitches and spiritual decay. It is not parody — it is lament.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000011 _ P(R)AY
Hacked Point-of-Sale terminal (TPV) transformed into an ethereal printing machine of endless psalms created with ChatGPT.
The third is P(R)AY, a contactless payment terminal reprogrammed to print psalms when a phone is tapped against it. Generated by AI, each prayer is unique, synthetic, and printed on thermal paper — fragile, disposable, sacred. Devotion becomes transaction. The gesture of paying becomes liturgical.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000011 _ P(R)AY
Hacked Point-of-Sale terminal (TPV) transformed into an ethereal printing machine of endless psalms created with ChatGPT.
The third is P(R)AY, a contactless payment terminal reprogrammed to print psalms when a phone is tapped against it. Generated by AI, each prayer is unique, synthetic, and printed on thermal paper — fragile, disposable, sacred. Devotion becomes transaction. The gesture of paying becomes liturgical.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000011 _ P(R)AY
Hacked Point-of-Sale terminal (TPV) transformed into an ethereal printing machine of endless psalms created with ChatGPT.
The third is P(R)AY, a contactless payment terminal reprogrammed to print psalms when a phone is tapped against it. Generated by AI, each prayer is unique, synthetic, and printed on thermal paper — fragile, disposable, sacred. Devotion becomes transaction. The gesture of paying becomes liturgical.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000011 _ P(R)AY
Hacked Point-of-Sale terminal (TPV) transformed into an ethereal printing machine of endless psalms created with ChatGPT.
The third is P(R)AY, a contactless payment terminal reprogrammed to print psalms when a phone is tapped against it. Generated by AI, each prayer is unique, synthetic, and printed on thermal paper — fragile, disposable, sacred. Devotion becomes transaction. The gesture of paying becomes liturgical.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000100 _ TRACKSUITE & STOLE.jpg
Scarf in fluorescent acrylic. White cotton sweatshirt with fluorescent stitching by @sanja.saracevic
The fourth piece is a liturgical uniform: a white tracksuit with “PRAY” on the chest and “FOLLOW” on the back, accompanied by a fluorescent green scarf reading Modern Prayers. It’s both casulla and marketing drop — devotional wear for the influencer age. Here, the body is branding and ritual at once.
liturgy in five movements: modern prayers.
Music
Francesc Llompart
Programming
Beta Barcelona
Victor Ramírez
Javier Chavarri
Sew
Sanja Saracevic
Sculptor
Adrià Galicia
L’Anacrònica
Modern Prophet
Albert Buisian
Photographer
Manel Cano
Filmmaking
Forerosh
Retouch
Nerea Sorea
Typeface
NB International Mono
Psalms
OpenAI
The project asserts that we now live under a regime of technotheism: having moved from polytheism, where gods were metaphors for nature, to monotheism, where God was a projection of man, we now worship the technological objects we ourselves have created. Here, the sacred no longer transcends us—it is held in our hands, charged nightly, updated regularly.
With sharp visual language and conceptual precision, Modern Prayers constructs a liturgy of fractured faith, not to mourn the loss of the divine, but to trace its migration—asking not whether we still believe, but what our new gods look like.
-
MP _ ©EREN 00000100 _ HOMILY OF THE METRO PROPHET.mp3
Photography on screen with a homily by a metro preacher.
The first piece is a video installation composed of thirty photographs looped over a vaporwave reinterpretation of the Ave María. What looks like prayer is, in truth, a global compulsion: heads bowed toward screens, not heavens. Elevates the mundane gesture of taking a photo into a choreographed act of devotion, bathed in green glitches and spiritual decay. It is not parody — it is lament.
creative direction and filmmaking: memòries d’esparter.
Creative Direction
Eren Saracevic
Found Footage
Diana Escudero
Production
Diana Escudero
Climent Olives
Editor
Eren Saracevic
Typeface
Plantagenet Cherokee
We wanted to remember the history and praise all those elements and moments that have been experienced within this space. So, we collected found footage to share this story, to make a video as a compilation of memories.
documentary photography: sumō in ryogoku.
documentary photography: sumo in ryogoku.
documentary photography: sumō in ryogoku.
documentary photography: sumō in ryogoku.
documentary photography: sumō in ryogoku.
documentary photography: sumō in ryogoku.
documentary photography: sumō in ryogoku.
documentary photography: sumō in ryogoku.
co-direction: involut.
Filmmaker
Uri Fernandez
Eren Saracevic
Ferran Bretcha
Oriol Corsà
Director of Photography
Hugo Prats
Production
Producciones Rocafort
Rubens Pérez
Sergi Silver
Color Correction
Artic Pospo
Jaume Ponsa
Editor
Lucca Genua
Voiceover
Grey Trash
Creative Direction
Uri Fernandez
Head of art
Eren Saracevic
Art direction
Ferran Bretcha
Oriol Corsà
Graphic Design
Ferran Bretcha
Oriol Corsà
Copywriter
Josep Cabot
Sam Valiente
Marta Robledo
This permanent ambivalence with technology where we simultaneously experience positive and negative effects that generate a conflict of feelings and emotions has been visually transferred to the entire project.
In the same way that Bruno Munari created his fun supplement to the Italian dictionary in 1958, explaining the non-verbal communication of the Italian language, we have wanted to explain the modern world through our digital gestures that reflect how technology has become an extension close to the absurdity of human senses.
photography: involut.
Filmmaker
Uri Fernandez
Eren Saracevic
Ferran Bretcha
Oriol Corsà
Director of Photography
Hugo Prats
Production
Producciones Rocafort
Rubens Pérez
Sergi Silver
Color Correction
Artic Pospo
Jaume Ponsa
Editor
Lucca Genua
Voiceover
Grey Trash
Creative Direction
Uri Fernandez
Head of art
Eren Saracevic
Art direction
Ferran Bretcha
Oriol Corsà
Graphic Design
Ferran Bretcha
Oriol Corsà
Copywriter
Josep Cabot
Sam Valiente
Marta Robledo
This permanent ambivalence with technology where we simultaneously experience positive and negative effects that generate a conflict of feelings and emotions has been visually transferred to the entire project.
In the same way that Bruno Munari created his fun supplement to the Italian dictionary in 1958, explaining the non-verbal communication of the Italian language, we have wanted to explain the modern world through our digital gestures that reflect how technology has become an extension close to the absurdity of human senses.
co-direction: involut.
Filmmaker
Uri Fernandez
Eren Saracevic
Ferran Bretcha
Oriol Corsà
Director of Photography
Hugo Prats
Production
Producciones Rocafort
Rubens Pérez
Sergi Silver
Color Correction
Artic Pospo
Jaume Ponsa
Editor
Lucca Genua
Voiceover
Grey Trash
Creative Direction
Uri Fernandez
Head of art
Eren Saracevic
Art direction
Ferran Bretcha
Oriol Corsà
Graphic Design
Ferran Bretcha
Oriol Corsà
Copywriter
Josep Cabot
Sam Valiente
Marta Robledo
This permanent ambivalence with technology where we simultaneously experience positive and negative effects that generate a conflict of feelings and emotions has been visually transferred to the entire project.
In the same way that Bruno Munari created his fun supplement to the Italian dictionary in 1958, explaining the non-verbal communication of the Italian language, we have wanted to explain the modern world through our digital gestures that reflect how technology has become an extension close to the absurdity of human senses.
co-direction: involut.
Filmmaker
Uri Fernandez
Eren Saracevic
Ferran Bretcha
Oriol Corsà
Director of Photography
Hugo Prats
Production
Producciones Rocafort
Rubens Pérez
Sergi Silver
Color Correction
Artic Pospo
Jaume Ponsa
Editor
Lucca Genua
Voiceover
Grey Trash
Creative Direction
Uri Fernandez
Head of art
Eren Saracevic
Art direction
Ferran Bretcha
Oriol Corsà
Graphic Design
Ferran Bretcha
Oriol Corsà
Copywriter
Josep Cabot
Sam Valiente
Marta Robledo
This permanent ambivalence with technology where we simultaneously experience positive and negative effects that generate a conflict of feelings and emotions has been visually transferred to the entire project.
In the same way that Bruno Munari created his fun supplement to the Italian dictionary in 1958, explaining the non-verbal communication of the Italian language, we have wanted to explain the modern world through our digital gestures that reflect how technology has become an extension close to the absurdity of human senses.
documentary essay: souvenir, the 2020 issue.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Programmer
Alex Garcés
Writers
Miquel Segarra
Albert Xifra
Dalmau Oliveras
Pipo Virgós
Ramon H. Sosa
Typeface
Druk Bold
Mercury Regular
Print
The Folio Club
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary essay: souvenir, the 2020 issue.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Programmer
Alex Garcés
Writers
Miquel Segarra
Albert Xifra
Dalmau Oliveras
Pipo Virgós
Ramon H. Sosa
Typeface
Druk Bold
Mercury Regular
Print
The Folio Club
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary essay: souvenir, the 2020 issue.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Programmer
Alex Garcés
Writers
Miquel Segarra
Albert Xifra
Dalmau Oliveras
Pipo Virgós
Ramon H. Sosa
Typeface
Druk Bold
Mercury Regular
Print
The Folio Club
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary essay: ornithological study of the city of barcelona.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Writer
Eren Saracevic
Typeface
ITC Clearface
Print
The Folio Club
This project explains the city, just like a person, as a conglomeration of national, sexual, football, ideological and political identities that can be mixed together in many ways undermining our ability to define the "other" as a pre-configured entity.
Thus, we could say that this book is a satire and at the same time a documentary exercise on these last years, it tries to explain the diversity and plurality of identity of a city and it is also an invitation to look up and see how politics has transformed our urban and social environment.
documentary essay: ornithological study of the city of barcelona.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Writer
Eren Saracevic
Typeface
ITC Clearface
Print
The Folio Club
This project explains the city, just like a person, as a conglomeration of national, sexual, football, ideological and political identities that can be mixed together in many ways undermining our ability to define the "other" as a preconfigured entity.
Thus, we could say that this book is a satire and at the same time a documentary exercise on these last years, it tries to explain the diversity and plurality of identity of a city and it is also an invitation to look up and see how politics has transformed our urban and social environment.
documentary essay: ornithological study of the city of barcelona.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Writer
Eren Saracevic
Typeface
ITC Clearface
Print
The Folio Club
This project explains the city, just like a person, as a conglomeration of national, sexual, football, ideological and political identities that can be mixed together in many ways undermining our ability to define the "other" as a pre-configured entity.
Thus, we could say that this book is a satire and at the same time a documentary exercise on these last years, it tries to explain the diversity and plurality of identity of a city and it is also an invitation to look up and see how politics has transformed our urban and social environment.
documentary essay: ornithological study of the city of barcelona.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Writer
Eren Saracevic
Typeface
ITC Clearface
Print
The Folio Club
This project explains the city, just like a person, as a conglomeration of national, sexual, football, ideological and political identities that can be mixed together in many ways undermining our ability to define the "other" as a pre-configured entity.
Thus, we could say that this book is a satire and at the same time a documentary exercise on these last years, it tries to explain the diversity and plurality of identity of a city and it is also an invitation to look up and see how politics has transformed our urban and social environment.
documentary essay: ornithological study of the city of barcelona.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Writer
Eren Saracevic
Typeface
ITC Clearface
Print
The Folio Club
This project explains the city, just like a person, as a conglomeration of national, sexual, football, ideological and political identities that can be mixed together in many ways undermining our ability to define the "other" as a preconfigured entity.
Thus, we could say that this book is a satire and at the same time a documentary exercise on these last years, it tries to explain the diversity and plurality of identity of a city and it is also an invitation to look up and see how politics has transformed our urban and social environment.
documentary publication: souvenir, the china issue.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Programmer
Alex Garcés
Writers
Patrick Stasny
Ramon H. Sosa
Typeface
Druk Bold
Mercury Regular
Print
The Folio Club
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary publication: souvenir, the china issue.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Programmer
Alex Garcés
Writers
Patrick Stasny
Ramon H. Sosa
Typeface
Druk Bold
Mercury Regular
Print
The Folio Club
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary publication: souvenir, the china issue.
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary publication: souvenir, the china issue.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Programmer
Alex Garcés
Writers
Patrick Stasny
Ramon H. Sosa
Typeface
Druk Bold
Mercury Regular
Print
The Folio Club
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary publication: souvenir, the china issue.
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary publication: souvenir, the morroco issue.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Programmer
Alex Garcés
Writers
Laia Capdet
Ramon H. Sosa
Typeface
Druk Bold
Mercury Regular
Print
The Folio Club
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary publication: souvenir, the morroco issue.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Programmer
Alex Garcés
Writers
Laia Capdet
Ramon H. Sosa
Typeface
Druk Bold
Mercury Regular
Print
The Folio Club
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary publication: souvenir, the morroco issue.
documentary publication: souvenir, the morroco issue.
documentary publication: souvenir, the morroco issue.
documentary publication: souvenir, the morroco issue.
From the project Souvenir, the Morroco Issue.
From the project Souvenir, the Morroco Issue.
documentary photography and self-publishing: souvenir in brazil.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Programmer
Alex Garcés
Writers
Amanda Martínez
Ramon H. Sosa
Typeface
Druk Bold
Mercury Regular
Print
The Folio Club
So, Souvenir is not a weekly, monthly, quarterly or annual publication. It isn't a travel guide and does not intend to recommend places, hotels, bars or restaurants. Souvenir is an object that serves as a memory of the visit to a certain place. The tourist will remember a memorable vacation every time he looks at that object.
documentary publication: souvenir, the brazil issue.
documentary publication: souvenir, the brazil issue.
documentary publication: souvenir, the brazil issue.
documentary publication: souvenir, the brazil issue.
documentary publication: souvenir, the brazil issue.
documentary publication: souvenir, the brazil issue.
documentary publication: souvenir, the brazil issue.
documentary essay: nostalgia.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Translator
Jaume Vidal
Typeface
Dala Floda
Print
AGPO-GRAF
I grow up with the idea that Yugoslavia was an ideal of union and brotherhood, a real paradise, as it is a reality that belongs to the past, an idea that lives in the thoughts of people. Their paradise was humble, a national and autonomous economy, access to education and health care, open borders, safe jobs, free loans, good pensions and above all, peace. When the idea of socialism got broke in Europe, Yugoslavia broke with it.
That's why I did a broken book about the broken Yugoslavia, the broken relationships, the broken flags, the broken landscapes, the broken ideas, the broken people and the multicultural broken dream, that should remind us, that the irreparable past of some place can become the future of another.
Nostalgia was designed as a bet against a European Union without social democracy and its symbolic value is affected over time. This book was published in 2013, the departure from the UK, the referendum in Greece on the permanence or the growth of extreme right-wing and anti-europeanist movements in France, Spain, Germany, Netherlands, Austria, or Italy motivate this symbolic value to translate into real value. So, each time a member country leaves the European Union, the price of the book will be increased five euros.
documentary essay: nostalgia.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Translator
Jaume Vidal
Typeface
Dala Floda
Print
AGPO-GRAF
I grow up with the idea that Yugoslavia was an ideal of union and brotherhood, a real paradise, as it is a reality that belongs to the past, an idea that lives in the thoughts of people. Their paradise was humble, a national and autonomous economy, access to education and health care, open borders, safe jobs, free loans, good pensions and above all, peace. When the idea of socialism got broke in Europe, Yugoslavia broke with it.
That's why I did a broken book about the broken Yugoslavia, the broken relationships, the broken flags, the broken landscapes, the broken ideas, the broken people and the multicultural broken dream, that should remind us, that the irreparable past of some place can become the future of another.
Nostalgia was designed as a bet against a European Union without social democracy and its symbolic value is affected over time. This book was published in 2013, the departure from the UK, the referendum in Greece on the permanence or the growth of extreme right-wing and anti-europeanist movements in France, Spain, Germany, Netherlands, Austria, or Italy motivate this symbolic value to translate into real value. So, each time a member country leaves the European Union, the price of the book will be increased five euros.
documentary essay: nostalgia.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Translator
Jaume Vidal
Typeface
Dala Floda
Print
AGPO-GRAF
I grow up with the idea that Yugoslavia was an ideal of union and brotherhood, a real paradise, as it is a reality that belongs to the past, an idea that lives in the thoughts of people. Their paradise was humble, a national and autonomous economy, access to education and health care, open borders, safe jobs, free loans, good pensions and above all, peace. When the idea of socialism got broke in Europe, Yugoslavia broke with it.
That's why I did a broken book about the broken Yugoslavia, the broken relationships, the broken flags, the broken landscapes, the broken ideas, the broken people and the multicultural broken dream, that should remind us, that the irreparable past of some place can become the future of another.
Nostalgia was designed as a bet against a European Union without social democracy and its symbolic value is affected over time. This book was published in 2013, the departure from the UK, the referendum in Greece on the permanence or the growth of extreme right-wing and anti-europeanist movements in France, Spain, Germany, Netherlands, Austria, or Italy motivate this symbolic value to translate into real value. So, each time a member country leaves the European Union, the price of the book will be increased five euros.
documentary essay: nostalgia.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Translator
Jaume Vidal
Typeface
Dala Floda
Print
AGPO-GRAF
I grow up with the idea that Yugoslavia was an ideal of union and brotherhood, a real paradise, as it is a reality that belongs to the past, an idea that lives in the thoughts of people. Their paradise was humble, a national and autonomous economy, access to education and health care, open borders, safe jobs, free loans, good pensions and above all, peace. When the idea of socialism got broke in Europe, Yugoslavia broke with it.
That's why I did a broken book about the broken Yugoslavia, the broken relationships, the broken flags, the broken landscapes, the broken ideas, the broken people and the multicultural broken dream, that should remind us, that the irreparable past of some place can become the future of another.
Nostalgia was designed as a bet against a European Union without social democracy and its symbolic value is affected over time. This book was published in 2013, the departure from the UK, the referendum in Greece on the permanence or the growth of extreme right-wing and anti-europeanist movements in France, Spain, Germany, Netherlands, Austria, or Italy motivate this symbolic value to translate into real value. So, each time a member country leaves the European Union, the price of the book will be increased five euros.
documentary essay: nostalgia.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Translator
Jaume Vidal
Typeface
Dala Floda
Print
AGPO-GRAF
I grow up with the idea that Yugoslavia was an ideal of union and brotherhood, a real paradise, as it is a reality that belongs to the past, an idea that lives in the thoughts of people. Their paradise was humble, a national and autonomous economy, access to education and health care, open borders, safe jobs, free loans, good pensions and above all, peace. When the idea of socialism got broke in Europe, Yugoslavia broke with it.
That's why I did a broken book about the broken Yugoslavia, the broken relationships, the broken flags, the broken landscapes, the broken ideas, the broken people and the multicultural broken dream, that should remind us, that the irreparable past of some place can become the future of another.
Nostalgia was designed as a bet against a European Union without social democracy and its symbolic value is affected over time. This book was published in 2013, the departure from the UK, the referendum in Greece on the permanence or the growth of extreme right-wing and anti-europeanist movements in France, Spain, Germany, Netherlands, Austria, or Italy motivate this symbolic value to translate into real value. So, each time a member country leaves the European Union, the price of the book will be increased five euros.
documentary essay: nostalgia.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Translator
Jaume Vidal
Typeface
Dala Floda
Print
AGPO-GRAF
I grow up with the idea that Yugoslavia was an ideal of union and brotherhood, a real paradise, as it is a reality that belongs to the past, an idea that lives in the thoughts of people. Their paradise was humble, a national and autonomous economy, access to education and health care, open borders, safe jobs, free loans, good pensions and above all, peace. When the idea of socialism got broke in Europe, Yugoslavia broke with it.
That's why I did a broken book about the broken Yugoslavia, the broken relationships, the broken flags, the broken landscapes, the broken ideas, the broken people and the multicultural broken dream, that should remind us, that the irreparable past of some place can become the future of another.
Nostalgia was designed as a bet against a European Union without social democracy and its symbolic value is affected over time. This book was published in 2013, the departure from the UK, the referendum in Greece on the permanence or the growth of extreme right-wing and anti-europeanist movements in France, Spain, Germany, Netherlands, Austria, or Italy motivate this symbolic value to translate into real value. So, each time a member country leaves the European Union, the price of the book will be increased five euros.
documentary essay: nostalgia.
Editor
Eren Saracevic
Photographer
Eren Saracevic
Graphic Designer
Eren Saracevic
Translator
Jaume Vidal
Typeface
Dala Floda
Print
AGPO-GRAF
I grow up with the idea that Yugoslavia was an ideal of union and brotherhood, a real paradise, as it is a reality that belongs to the past, an idea that lives in the thoughts of people. Their paradise was humble, a national and autonomous economy, access to education and health care, open borders, safe jobs, free loans, good pensions and above all, peace. When the idea of socialism got broke in Europe, Yugoslavia broke with it.
That's why I did a broken book about the broken Yugoslavia, the broken relationships, the broken flags, the broken landscapes, the broken ideas, the broken people and the multicultural broken dream, that should remind us, that the irreparable past of some place can become the future of another.
Nostalgia was designed as a bet against a European Union without social democracy and its symbolic value is affected over time. This book was published in 2013, the departure from the UK, the referendum in Greece on the permanence or the growth of extreme right-wing and anti-europeanist movements in France, Spain, Germany, Netherlands, Austria, or Italy motivate this symbolic value to translate into real value. So, each time a member country leaves the European Union, the price of the book will be increased five euros.
