Coeval Magazine

Fabio Cherstich works with opera and keeps asking what the form is made of. Sound, bodies, a room, a length of time. He rearranges those elements and leaves the music where it is. What he returns to are the conditions of a performance: who is watching, from how close, and what else is going on around them.

Much of the work happens outside the theatre. Streets, archives, museums, public buildings. In those places the audience stands near enough to see a singer breathe, and the setting does its own work, from the acoustics down to whatever the room was used for before.

on the printed Issue 3 of COEVAL Magazine.

Interview by

Photography AGF
Styling Ariel Câmara Bretas
Styling Assistant sofiiaberetta

A conversation with Thomas Subreville ILL-STUDIO on perception, context, and aesthetic fatigue, originally published in Coeval Issue 2.

‘The Whyte House’ is Ian Fleming’s invention: a Las Vegas casino-hotel introduced in his James Bond novels and later brought to the screen in ‘Diamonds Are Forever’ where it served as billionaire Willard Whyte’s paranoid glass fortress - a character transparently modelled on Howard Hughes, who was by then running the Desert Inn economy from a penthouse in blackout curtains.

‘The Whyte House’ is a speculative document of a speculative place: a photograph of a photograph of a lie.
The hardware of manufactured desire, running without a user. That is what this series is about, not absence, not atmosphere, but the thing underneath: escalators, slot machines, mirrored corridors, a piano in the dark, all of it still running after the people left, or possibly before they arrived. You walk through it waiting for the punchline.

Concept and Art Direction Tom
Image Direction SGB — Studio Gui Boucher
Image Production Retina
Words Cleo Altmann

‘WE USED TO BE FOREVER PARTNERS’ by Daniel Roché, part of COEVAL Magazine SS26 the “FRAGILE” Issue 3

Photography Daniel Roché
Styling Davide Andreatta
Model Luc¡a at monster mgmt
Make-up Manuela Balducci at Walter Schupfer Management
Hair Styling sergio sorbello at BLEND MANAGEMENT
Casting Director Vittorio Vanzulli
Post Production nittygritty.berlin
Styling Assistant alicia🕷️
Special thanks to villarezzonico

Founder and Creative Director Donald Gjoka
Editor-in-Chief and Fashion Director Davide Andreatta
Art Direction Simone Conforte and at

Noémie Ninot is interested in the way gestures, habits, and rituals are transmitted until their origins disappear. Femininity appears in her work as something learned over time, gradually becoming familiar enough to seem natural.

Photography, sculpture, video, and installation provide the framework for a practice centred on behaviours that often pass unnoticed. Motherhood, beauty rituals, seduction, and the everyday act of being looked at become recurring subjects. Masks, prosthetics, make up, and wigs reveal how easily the body can be altered through performance and disguise.

Instead of observing these codes from the outside, Ninot adopts them directly. Mimicry becomes a method of working, repeated until the structures behind these behaviours begin to reveal themselves.

Ninot on the printed Issue 3 of COEVAL Magazine.

Interview by

Creative director, publisher, and self-taught researcher, Roberto Rigon (Roberto Rigon) has spent years turning technology’s blind spots into print. He reflects on data, democracy, and the value of thinking in decades.

Known to many as Fixer, learned his craft from YouTube tutorials and late nights online rather than a classroom, and that education still defines how he works today.

As creative director and co-founder of Capslock, an independent publisher probing technology’s ethical edges, and creative director of Espace Parallèle, a Paris venue built to hold fashion, art, music, and photography under one roof, he treats curiosity as a discipline rather than a mood.

In the conversation on COEVAL, he traces the philosophy behind both projects, from Capslock’s instinct to print what matters most on paper, a medium built to outlast the news cycle, to Espace Parallèle’s community-first approach, shaped in real time by trial and error.

Roberto Rigon

Interview by Donald Gjoka

‘5 ROOMS’ a special cover story with ALAINPAUL, part of COEVAL Magazine SS26 the “FRAGILE” Issue 3

Photography Enrique Villaluenga
Styling Davide Andreatta
Models Camille Jansen at SYSTEM Agency, Lonneke te kloese at Next Management Paris, Delfina at +3458
Make-up Yulya Zalesskaya
Hair Styling Yoan Lopez
Casting Director Liv Tendlarz
Producer anna!!
Line Producer LAURIN SCHULER
Photo Assistant
Styling Assistant Valentina Bisco

Founder and Creative Director Donald Gjoka
Editor-in-Chief and Fashion Director Davide Andreatta
Art Direction Simone Conforte and at

Lucy Dodd puts raw material at the heart of what she makes. Pigment, mineral, plant extract, peat, sea residue, and living organisms act directly on the canvas, pushing the work forward from the inside.

She works across painting, sculpture, and installation, letting each piece take shape through the behavior of what it is made from. Stains pool, sediment settles, color disperses, layers gather, and the surface keeps a record of every step, so the final image grows out of repetition, chance, and steady transformation.

Alchemy, mythology, astronomy, and ecology run through her work as interwoven ways of knowing. Bodies, landscapes, and histories surface through constant exchange, staying fluid rather than locking into one fixed story.

on the printed Issue 3 of COEVAL Magazine.

Interview by Una Gjerde

‘FIGURE STUDY’ by Joseph Kadow, part of COEVAL Magazine SS26 the “FRAGILE” Issue 3

Photography Joseph Kadow
Styling Lea Wilbrand
Talent Mila
Make-up Gillian Campbell
Hair Styling Anastasiia (Nastya) Tymoshchuk
Set Design antoine jouguet
Casting Director
Creative Production
Post Production Elsa Van Daalen
Photo Assistant Anna Vosse
Styling Assistant David Gaydev

Founder and Creative Director Donald Gjoka
Editor-in-Chief and Fashion Director Davide Andreatta
Art Direction Simone Conforte and at

Monica Mays considers reproduction as a condition that runs throughout her practice. Industrial remnants, fragmented bodies, and structures of containment recur in her sculptures, addressing the relationship between visibility and concealment, violence and preservation. Repetition, translation, and duplication appear as mechanisms connected to systems of extraction and control rather than formal devices alone.

In ‘Pulgar’, developed at Matadero Madrid, these ideas are placed in dialogue with the history of the building. Formerly a slaughterhouse and later a detention facility, the site introduces another dimension to the exhibition, where exposure, concealment, and institutional management remain closely connected.

mónica mays on the printed Issue 3 of COEVAL Magazine.

Interview by Una Gjerde