Studio Folder

Italian Limes at @fordfoundationgallery as part of ‘Humid Traces,’ an exhibition curated by Federico Pérez Villoro (@federicoperezvilloro ) that explores “the ways in which bodies of water are turned into borders in the context of rising temperatures and extreme weather events.” The show “brings together a group of artists from around the globe whose work addresses the tactical use of water to reinforce artificial divisions of space. In doing so, they produce evidence on the violent effects of technologies used to control migration.” • Honoured and moved to be part of such a carefully curated show, and exhibiting alongside Susan Schuppli (@susan_schuppli ), Archivo Familiar del Río Colorado (@archivofamiliar_riocolorado ), Dele Adeyemo (@dele_adeyemo ), Natalia Lassalle-Morillo (@natalialassallem ), Zishaan A Latif (@zishaanalatif ), Caio Reisewitz (@caio_reisewitz ), Marisa Srijunpleang (@marisasri_ ), and Leonel Vásquez (@leonel_sound_artist ). A big thank you to the Ford Foundation Gallery, and in particular Lisa Kim, Jamie Kulhanek, Mary Escalante, and everyone involved in the production and setup of the show. The identity and beautiful visual design are by @other_means . • On view until June 20, 2026. Ford Foundation Gallery, New York, NY, USA. • Installation photos by Sebastian Bach. Photos 4, 5, and 6 are from the projection mapping and setup documentation. Italian Limes photos are by Delfino Sisto Legnani (@delfino_sl ). • #italianlimes #humidtraces #fordfoundation #noborders

For the Winter 2026 issue of Mousse Magazine, we collaborated with Forensic Architecture on the visualisation of a series of data from the Cartography of Genocide platform. Covering a timeline from October 2023 to October 2025, the data collected by FA documents the extent of Israel’s assault on the Gaza Strip—an unfathomable series of atrocities that emerges through a pattern of systemic violence and destruction against all aspects of civilian life in Gaza. While the online platform is being continuously updated by the FA team, the Gaza Atlas presents a snapshot of 24 months of data combining spatial time series, satellite images, open-source evidence, footage from FA’s investigations, GPS tracks, and positional records from the Global Sumud Flotilla. The Gaza Atlas proposes an “understanding of the genocide as a vast multiplicity, composed of thousands upon thousands of intersecting acts and incidents”. From Forensic Architecture’s introduction: “We chose to exclude the borders of the Gaza Strip from our renderings of it, as we understand the borders to be in themselves a form of violence imposed on this southwestern coastal part of Palestine. Instead, it is through the dense plurality of datapoints, each one representing a different atrocity, that Gaza’s geographical contours and imposed borders materialize.” The publication of the Gaza Atlas on Mousse 94 is accompanied by an extended conversation between Nour Abuzaid, Elizabeth Breiner, and Eyal Weizman. • The full PDF of the Atlas, alongside the opening conversation, is available for download at forensic-architecture.org/programme/publications. • Gaza Atlas / Forensic Architecture: Elizabeth Breiner, Joshua Richards, Eyal Weizman / Mousse magazine: Barbara Casavecchia, Giulia Celuppi, Chiara Moioli, Francesco Valtolina / Thank you @rctngle for providing us with the data from the Global Sumud Flotilla tracker. • @forensicarchitecture @eyal_weizman @_elbr @globalsumudflotilla @moussemagazine

Some additional documentation and work-in-progress images from “Fragments of Democracy II,” a data projection on 3D-printed diagrams presenting a series of indices on press freedom in Italy. A synthetic and experimental gnomonic device that uses projection mapping to provide a narrative for collective reading. The project is the continuation of research initiated with “Fragments of Democracy”, a first series of data sculptures presented at Bundeskunsthalle in Bonn in 2024. • Fragments of Democracy II (video projection, 3D-printed elements, sound) / Design, Research, and Production: Studio Folder (Marco Ferrari, Elisa Pasqual, Silvia Cannella, Alessandro Quarta, Rachele Stagni) and Matteo Bettini / Sound Design: Simone Boninfante / Projection Mapping: Donato Renzulli / Commissioned as part of “Where to, from here?” (Earthrise 25 - Design for a Living Planet), curated by Vera Sacchetti / Circolo del Design, Torino, June 13–December 5, 2025. A big thank you to Sara Fortunati, Marilivia Minnici, Nicholas Sabena, Marta Della Giustina, and the whole team at @circolodeldesign . • @600mt @silwwia @rachelestagni @bonfeghen @donato.fwn @vsacchetti

Drawings, models, and in-progress photos of our exhibition design for @museo_munaf ’s Villa Ghirlanda: a modular system of vertical and horizontal structures, composed of wooden grids, paper screens, and magnets. Each wood element is cut from a single sheet of 18mm plywood on a CNC, assembled through interlocking joints, and anchored by a variable counterweight system, independent of the Villa’s floors, walls, or ceilings. A regular grid of nearly 1,500 magnets is sunk into the wooden frames, ready to hold the screens. The paper screens—a disposable layer that changes with every new exhibition—work both as scenography and as a medium for graphics, and can be replaced with other materials when needed. The magnets, housed in custom 3D-printed casings, provide both structural support and a distinctive visual pattern across all surfaces. • Drawing by Christina Garbi (@framed.x.scape ). • “Scenari Alpini. Paesaggi e Comunità di Lombardia,” the inaugural exhibition of the Museo Nazionale di fotografia at Villa Ghirlanda is curated by Matteo Balduzzi / Exhibition design: Studio Folder (Marco Ferrari, Elisa Pasqual, Samuela Borelli, Silvia Cannella, Christina Garbi, Alessandro Quarta) / Coordination: Francesca Minetto / Exhibition production and setup: Altofragile, Incastro srl / Graphic design: Studio FM Milano. • Museo Nazionale di Fotografia, Cinisello Balsamo February 1—May 3, 2026 • @museo_munaf @comunecinisellobalsamo @regionelombardia.official @altofragile_studio

Our exhibition design for Villa Ghirlanda @museo_munaf , as seen by Isabella Casiraghi (@isabellacasiraghi_ ), in the inaugural exhibition “Scenari Alpini.” A series of self-standing modular structures—walls, frames, tables, standards—designed for the newly opened rooms of the 17th-century villa and conceived as a provisional exhibition system ahead of the building’s permanent refurbishment, will be reused and reconfigured for upcoming exhibitions throughout 2026 and into 2027. • From the curatorial text of “Scenari Alpini” by Matteo Balduzzi: “The works on show engage with an alternative idea of the mountains, distinct from the spectacular and often stereotypical imagery promoted by tourism and social media. Conversing with inhabitants and non-human creatures, researching archives, poems and legends, the artists have traversed intermediate and ordinary landscapes untouched by mass communication.” • “Scenari Alpini. Paesaggi e Comunità di Lombardia” is an exhibition curated by Matteo Balduzzi, featuring newly commissioned works by Stefano Boccalini (@stefanoboccalini ), Chara Brambilla (@chiabra21 ) and Luca Mosso, Tomaso Clavarino (@tomasoclavarino ) and Luca Vigliani (@vigliani.luca ), Alessandro Dini (@ales.sandro.dini ) and Yirong Wu (@yirong_wu_ ), Alessandro Laita (@alelaita ) and Chiaralice Rizzi (@chiaralice_rizzi ), Francesco Merlini (@francescomerlini ), Benedetta Ristori (@b.ristori ), and Walter Niedermayr (@walterniedermayr ) / Exhibition design: Studio Folder (Marco Ferrari, Elisa Pasqual, Samuela Borelli, Silvia Cannella, Christina Garbi, Alessandro Quarta) / Coordination: Francesca Minetto / Exhibition production and setup: Altrofragile (@altofragile_studio ) / Graphic design: Studio FM Milano (@studiofmmilano ) • Museo Nazionale di Fotografia, Cinisello Balsamo February 1—May 3, 2026 • @museo_munaf @comunecinisellobalsamo @regionelombardia.official

Details from “Fragments of Democracy II,” a data projection on 3D-printed diagrams presenting a series of indices on press freedom in Italy, before and after the 2022 Italian general elections. Inspired by and referencing the display of information on architecture as a form of public literacy (like astronomical instruments embedded on buildings’ facades, that rely on sunlight to reveal changing data over time), this device explores the potential of projection mapping and 3D-printed geometry to provide a narrative to be interpreted and discussed. The project is the continuation of research initiated with “Fragments of Democracy”, a first series of physical data visualisations presented at Bundeskunsthalle in Bonn in 2024. • Fragments of Democracy II (video projection, 3D-printed elements, sound) / Design, Research, and Production: Studio Folder (Marco Ferrari, Elisa Pasqual, Silvia Cannella, Alessandro Quarta, Rachele Stagni) and Matteo Bettini / Sound Design: Simone Boninfante / Projection Mapping: Donato Renzulli / Commissioned as part of “Where to, from here?” (Earthrise 25 - Design for a Living Planet), curated by Vera Sacchetti / Circolo del Design, Torino, June 13–December 5, 2025. A big thank you to Sara Fortunati, Marilivia Minnici, Nicholas Sabena, Marta Della Giustina, and the whole team at @circolodeldesign . • @600mt @bonfeghen @donato.fwn @verasacchetti #studiofolder #datavisualisation #projectionmapping

Research materials, visual references, and early visualisations for “A Cartography in 25 Movements”—from figure skating manuals to dance choreographic scores, from failed attempts at automatic body tracking to the development of custom software for manual trajectory notation. • Image 1. A sketch showing the outline of “Olimpia delle Tofane,” the new men’s and women’s downhill runs for the 1956 Winter Olympics in Cortina d’Ampezzo. The starting point was set at 2,282 m a.s.l. From the Official Report of the 1956 Olympic Games: “It was a bad winter, and there was not enough snow […]. In spite of this, however, we found our runs magnificently covered with snow; but no one will ever really know just what a tour de force, or what efforts were involved in making up the deficiencies of nature! […] In the case of the Tofana, if anywhere, it might have been found necessary to move the starting and finishing points further up the slope. […] Nearly two years were needed to get this new run ready, as it crossed an area which could not be worked in wintertime. A notable quantity of rock was shifted, terrain levelled, and forest cleared.” 2. Excerpt from “Skating with Bror Meyer”, 1921 / 3. “A Cartography in 25 Movements,” backstage documentation by Marco Gambarè / 4. Lucinda Childs, “Melody Excerpt”, 1977: measurement tool devised to ensure the proportional accuracy of dancers’ pathways / 5. “A Cartography in 25 Movements”, screenshot from custom tracking software tool / 6. Composite page from Irving Brokaw, “The Art of Skating”, 1915 / 7, 10. Failed attempts at automated tracking with Adobe After Effects / 8. Cards designed by Lucinda Childs to assist the dancers as they learned the score and dancing movements for “Melody Excerpt” / 9. Backstage documentation by Marco Gambarè / 11. Lucinda Childs, series of sketches showing curved and linear pathways for “Melody Excerpt” / 12. Conversion of live tracks into vector trajectories / 13. Backstage documentation by Marco Gambarè. • “A Cartography in 25 Movements” is on show @gres_art_671 until February 8, 2026, as part of “FUORIPISTA. Art, Sport and Winter,” an exhibition curated and designed by 2050+.

Backstage at the making of “A Cartography in 25 Movements," October 22-23rd, PalaGhiaccio IceLab Bergamo. Spatial and climate data are re-interpreted beyond images and sketches through time and movement. We’re grateful for the dedication of the two skaters we had the privilege to work with, Filippo Clerici and Matteo Mandelli, who embodied the data and co-designed the choreography with us. • On show at gres art 671 until February 8, 2026, as part of “FUORIPISTA. Art, Sport and Winter,” an exhibition curated and designed by 2050+. • A Cartography in 25 Movements (data visualisation film with sound, 18’, loop) / Concept, Design, and Research: Studio Folder (Marco Ferrari, Elisa Pasqual, Matteo Bettini, Silvia Cannella, Alessandro Quarta) / Photography and Sound Recording: Nicolò Cunico / Sound Design: Simone Boninfante / Colour Grading: Giorgio De Marco / Camera Operators: Giovanni Bordignon, Pietro De Luchi / Production: Studio Folder, Nicolò Cunico/Adacmaster, IceLab, gres art 671 / Special Thanks: Federica Pesenti and Franca Bianconi (@icelab_official ), Francesca Arquati and Irene Zamboni (@gres_art_671 ). Typography: Ginto by @abcdinamo / Images 2, 3, 5, 9: Marco Gambarè / 2050+ (@_marcog , @2050.plus ). • #WinterOlympics #datavisualization #studiofolder

Installation views of “A Cartography in 25 Movements,” a film interpreting a century of spatial, historical, and climate data about the Winter Olympic Games through a figure skating choreography. Drawing from the traditional movements of this discipline and departing from its usual patterns, a skater traces geometries on ice by following a series of data prompts that are transformed into spirals, loops, curves, and trajectories. Behind the apparently harmonious performance of skating, the visualisation shows how the Winter Olympics have steadily expanded their geographical and environmental footprint—extending their spatial scale, broadening the altitude range where events take place, and following the accelerating patterns of average temperature deviation by depending almost entirely on engineered environments, artificial snow-making, and climate-control technologies. The film is on show at gres art 671 until February 8, 2026, as part of “FUORIPISTA. Art, Sport and Winter,” an exhibition curated and designed by 2050+. • A big thank you to Ippolito Pestellini Laparelli and Erica Petrillo for co-commissioning and trusting us with this work, and to the whole team @2050.plus for their support, enthusiasm, and participation along the way. Grateful for the time and dedication of the two amazing skaters we had the privilege to work with, Filippo Clerici and Matteo Mandelli, who interpreted the data and co-designed the performance with us. <3 to our amazing team @600mt @silwwia @quarta2445 @jegary_ @giovannibordignon @pietrodeluchi @bonfeghen . • A Cartography in 25 Movements (data visualisation film with sound, 18’, loop) / Concept, Design, and Research: Studio Folder (Marco Ferrari, Elisa Pasqual, Matteo Bettini, Silvia Cannella, Alessandro Quarta) / Photography and Sound Recording: Nicolò Cunico / Sound Design: Simone Boninfante / Colour Grading: Giorgio De Marco / Camera Operators: Giovanni Bordignon, Pietro De Luchi / Special Thanks: Federica Pesenti and Franca Bianconi (@icelab_official ), Francesca Arquati and Irene Zamboni (@gres_art_671 ). Typography: Ginto by @abcdinamo / Photos: Marco Gambarè, Paolo Biava. • #WinterOlympics #datavisualization #studiofolder

The catalogue we designed in 2024 for Massimo Bartolini’s 𝘋𝘶𝘦 𝘲𝘶𝘪 / 𝘛𝘰 𝘏𝘦𝘢𝘳 (Italian Pavilion, 60th International Art Exhibition, la biennale di Venezia) consists of two volumes. The colors of the publications mirror the walls of a room in the Pavilion where the work “Pensive Bodhisattva on a Flat” was displayed—painted in purple and green, two colors corresponding to the chromatic range of A and A-flat. The two volumes are identical in size, but while the catalogue takes a hardcover form, the reader adopts a more flexible, book-like structure suited for extended reading. They are held together by a cardboard band that covers two-thirds of the front covers, leaving each title visible. As in the Pavilion’s first publication—the guide—this bifrontal design recalls the possibility of experiencing the exhibition in both directions: either from the Pavilion’s entrance toward the Garden of the Virgins, or from the Garden back toward the entrance. Volume 1 𝘋𝘶𝘦 𝘲𝘶𝘪 / 𝘛𝘰 𝘏𝘦𝘢𝘳. 𝘈𝘳𝘵𝘸𝘰𝘳𝘬𝘴 Edited by Luca Cerizza, with texts by Carlos Basualdo, Luca Cerizza, Nina Eidsheim (@ninaeidsheim ), David George Haskell (@davidgeorgehaskell ), Philippe van Cauteren (@philippevancauteren ), and Francesca Verga (@francesca_verga ). Volume 2 𝘐𝘧 𝘖𝘯𝘭𝘺 𝘞𝘦 𝘏𝘢𝘥 𝘌𝘢𝘳𝘴. 𝘙𝘦𝘢𝘥𝘦𝘳 Edited by Luca Cerizza and Gaia Martino, with texts by Roberto Calabretto, Federico Campagna (@fedcampagna ) and Michelangelo Frammartino, Chandra Candiani, Viola Carofalo (@viola_carofalo ), Massimo Carpinelli and Vincenzo Napolano, Hythm L-Wrdny هيثم الورداني (@hythmwrdny ), Lucia Farinati and Claudia Firth, David George Haskell, Neelakshi Joshi, Brandon LaBelle, Federico Luisetti, Sara Mikolai (@sara_mikolai ), Pedro Oliveira (@pjliveira ), Veniero Rizzardi (@venierorizzardi ), Francesca Tarocco. • Editorial Coordination: Chiara Cecchetti, Gaia Martino, Carlotta Poli / Editorial Design: Studio Folder / Typography: Marfa @abcdinamo / Paper: @munkenpaper / Published by @quodlibet_edizioni / Video by @altopianostudio . • @labiennale @creativita_contemporanea @duequi.tohear ⁠ @lucacerizza @ga__.mar @alpha_bravo_charly @cat_barbieri @hotscorpions @gavinbryars #editorialdesign

Earlier this year, we collaborated with friend and artist Luca Trevisani on the study and production of 3D-printed masters for Kotikeye, a new series of clay-cast sculptures. The project began with high-resolution scans of human footprints preserved in fossilized mud from the Palaeolithic era, discovered in 1950 in the Grotta della Bàsura—part of the Toirano Caves karst system in Liguria, Italy. Working with Ignazio Lucenti, we developed digital models for the 3D-printed masters, which were then used to create silicone molds for the final clay castings. • The footprint analysis (images 2 and 5) shows an interpretive drawing of the track-bearing surface, originating from a digital terrain model based on a 1950s cast of a small area in the Bàsura cave’s lower corridor. The topographic profile includes contour lines and timing analysis of the visible tracks. • Analysis by Marco Romano (Sapienza University of Rome), Paolo Citton, Isabella Salvador (Museo delle Scienze, Trento, Italy), and Daniele Arobba (Museo Archeologico del Finale) / Photos by Benedetta Stefani (@maledetta.stefani ) / Renders by Studio Folder. • Kotikeye is a project by @lucatrevisani , promoted by @blu_breeding.and.learning.unit and supported by the Italian Council (13 edition, 2024).

Identity and exhibition design for “Against War. 7 Designers for EMERGENCY,” curated by Giulio Iacchetti at Triennale Milano, April 7–13, 2025. Seven designers—Riccardo Blumer, Sara Bozzini, Lorenzo Damiani, Marco Ferreri, Giulio Iacchetti, Donata Paruccini, and Paolo Ulian—present new and specially commissioned projects that question contemporary conflicts and imagine a possible future grounded in relationships, care, and responsibility. As part of the exhibition, we designed a map to visualize EMERGENCY’s care centers, where the organisation has provided care for victims of war since its foundation in 1994. The exhibition booklet presents texts by Giuliano Battiston, Giacomo Papi, and EMERGENCY. • Design and 3D printing by Studio Folder (Elisa Pasqual, Marco Ferrari, Valentina Orfeo, Gresi Balliu) / Prints by Grafix Milano (@grafixmilano ) / Photographic documentation by Eleonora Stevani. • @emergency.ong @triennalemilano @giulioiacchetti @battiston.giuliano @giacomo.papi @riccardo_blumer @sarabozzini @lorenzodamiani1972 @faraneto_marco_ferreri @paruccinidonata @paoloulian #emergency #againstwar #r1pud1a #graphicdesign #exhibition #studiofolder