Listen to your hands is about how we can make a relationship with inanimate things in our domestic space, like furniture. How we connect to the furniture around us, how we experience and communicate with it.

It looks at the most sensitive of human senses,touch; it communicates a whole world of information to us and it explores how we can create a relationship to an object, a sort of dialogue, through touch.

It is a desk with drawers. A push of one drawer pulls out another as if in direct conversation with the action. A gentle closing of a drawer keeps the others intact thus communicating to us that we need to act with intention, we need to listen with our hands.

⊥

TRAMUNTANA is a film created exclusively for BULLETT’s Surreal Issue. César Pesquera partnered with Art Director Christian Lopez to elucidate the link between the famed Tramuntana wind, known for dramatically shifting in velocity and direction without warning, and a slew of mental disorders afflicting the land it blows through.

The film transports us to Cadaqués, a Catalonian fishing village in the north of Spain, to discuss the wind with its inhabitants and explore the land’s complex geology. The film features a blend of ethereal expositional footage and surrealist imagery, the result of which is part documentary, part surrealist manifesto.

⊥

“The first of eight“. Pues muriéndome de ganas me quedo de ver los siguientes siete. A partir de ahora o se me explican las cosas así de bonitas o paso de entender nada.

⊥

“He is a friend, and he is an unassuming hero. I also think the fact that he is both awkward and a shy newspaper reporter makes him like everybody else. And yet he has another identity, this larger-than-life superhero. Sometimes we feel like Clark Kent, and sometimes, if we are lucky, we feel like Superman.”

Christopher Reeves

⊥

Coggles has met and photographed over 1000 people for Coggles street style and now presents a series of films exploring the lives of some of these people.

⊥

This documentary is a humble exploration of the world of print, as it scratches the surface of its future. I consider this a work in progress. It is built upon interviews with individuals who are active in the Toronto print community and questions whether or not they expect to see the disappearance of the physical book within our lifetime. The act of reading a “tangible tome” has evolved, devolved, and changed many times over, especially in recent years. I hope for the film to stir thought and elicit discussion about the immersive reading experience and the lost craft of the book arts, from the people who are still passionate about reading on paper as well as those who are not.

⊥