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Wunderkammer

N.20 of October 15th, 2015

Cristina Morozzi

Editorial by

The Wunderkammer is the shrine of wonders. It is a phenomenon typical of the 1500’s, even if its origins go back the medieval period. It was widespread up to the 1700’s as a box of scientific and artistic curiosity and was collected by those private enthusiasts who were lovers of eccentric objects. Starting from a modern Wunderkammer, we present to you other contemporary wonders, to underline that gift of creative people to elicit wonder with their skilled works and pieces. When Jean Cocteau asked how one becomes famous, the Russian ballet dancer Vaslav Nijinsky replied, “Astound me”. Thus it is that even if we don’t have fame as our goal, we want to leave some sign of our passing, and we therefore propose to you in this series, objects and works capable of astounding, beginning with an Aretina Wunderkammer.

Cristina Morozzi

Editor-in-chief
editor@themoodboarders.com/old

The Wunderkammer is the shrine of wonders. It is a phenomenon typical of the 1500’s, even if its origins go back the medieval period. It was widespread up to the 1700’s as a box of scientific and artistic curiosity and was collected by those private enthusiasts who were lovers of eccentric objects. Starting from a modern Wunderkammer, we present to you other contemporary wonders, to underline that gift of creative people to elicit wonder with their skilled works and pieces. When Jean Cocteau asked how one becomes famous, the Russian ballet dancer Vaslav Nijinsky replied, “Astound me”. Thus it is that even if we don’t have fame as our goal, we want to leave some sign of our passing, and we therefore propose to you in this series, objects and works capable of astounding, beginning with an Aretina Wunderkammer.
Editor-in-chief
editor@themoodboarders.com/old

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The Moodboarders is a glance into the design world, which, in all of its facets, captures the extraordinary even within the routine. It is a measure of the times. It is an antenna sensitive enough to pick-up on budding trends, emerging talents and neglected aesthetics. Instead of essays, we use brief tales to tune into the rhythm of our world. We travelled for a year without stopping, and seeing as the memory of this journey has not faded, we have chosen to edit a printed copy. We eliminated anything episodic, ephemeral or fading, maintaining a variety of articles that flow, without losing the element of surprise, the events caught taking place, and the creations having just bloomed.