Magazine

ISSUE 16- 2022 - MORREO ISSUE 23 MAY - JUNE 2022 FREE. ANDREA OLIVA

02 03 Seccion OD Sky Bar od-hotels.com Ella venía hacia mí con su sonrisa amplia, decidida y sincera. Yo me iba haciendo más pequeña con cada tramo que ella avanzaba. Demasiado cerca ya y sin ningún permiso, me abrazó, y me sentí incómoda. Su abrazo era fuerte, sincero y de una duración excesiva, muy poco políticamente correcto. ¡ME ENCANTÓ! She came towards me with her broad, determined and sincere smile. I was getting smaller with every step she took. Too close now and without any permission, she hugged me, and I felt uncomfortable. Her embrace was strong, sincere and too long, not very politically correct. I LOVED IT!

04 Sumario Fiesta & Bullshit y OD Group no se responsabiliza de las imágenes y opiniones vertidas por sus colaboradores. Queda prohibida la reproduccíon total o parcial de contenido sin previo aviso. DIRECCIÓN OD Group - CEO Marc Rahola Fiesta & Bullshit - CEO Teo Molina od-hotels.com fiestaybullshit.com ryans.es DIRECTORA MARKETING OD GROUP Silvia Aparicio DISEÑO GRÁFICO OD GROUP Álvaro González PUBLICIDAD (+34) 673 812 588 DISEÑO GRÁFICO REVISTA Josefa Calero Magazine@fiestaybullshit.com TRADUCCIÓN William McKenzie CONTACTO info@fiestaybullshit.com magazine@fiestaybullshit.com News Guillermo Lorca Ruta Gráfica Miss Melera Ocean Drive NFT Gallery Sónar Festival Andrea Oliva Hola Sundays! 5.0 Carmen Vidal Virgil Abloh Enter Salinas Stella Rahola Javier Ferreira b2b Diego Montiel Industrial Copera #Recortable Laboratorio Sonoro #18 08 010 020 026 029 036 038 050 054 061 070 074 082 084 086 ARTICLE PAGE 05

06 07 Seccion Photo: @mario_pinta - Awakenings

09 08 News

010 011 Interview by Silvia Aparicio The Yaksha party - 2017 (Oil on canvas, 180 x 300 cm). Uno mira al artista Guillermo Lorca e inevitablemente piensa que sus enormes obras barrocas no casan con un artista tan joven y tan del siglo XXI. Aquí, su primera maravillosa contradicción porque sí, el trabajo de este pintor chileno esconde muchas más: cercano, onírico, violento, inocente, incómodo, misterioso… Muchas capas, mucha imaginación y virtuosismo a gran escala. Bienvenido a su fascinante y complejo mundo. One looks at the artist Guillermo Lorca and inevitably thinks that his enormous baroque works do not suit such a young, typically 21st century artist. This is the first amazing contradiction about a Chilean painter whose works conceal many others; they are intimate, dreamlike, violent, innocent, uncomfortable and mysterious... There are so many layers as well as a lot of imagination and virtuosity on a grand scale. Welcome to his fascinating and complex world.

012 013 Interview ¿Qué querías ser de pequeño? Paleontólogo y estudiar a los Dinosaurios. ¿Te han influido los cuentos que leías de pequeño en tu imaginario pictórico? ¿Y los libros de tu madre, la escritora Beatriz García-Huidobro? Algunos cuentos me llamaban mucho la atención, pero estaba más influido por las ilustraciones, en especial las de “cuentos de antaño” de Perrault, ilustradas por Gustave Dor. Esas ilustraciones fueron fundamentales para todo mi imaginario futuro. Mi madre ha sido un soporte fundamental en mi formación, pero ante todo porque yo la veía pintar (era su hobbie cuando yo era chico), eso me llamaba mucho la Una canción para escuchar con tu entrevista. // A song to listen to with your interview. atención y también comencé a hacerlo. Además ella siempre me mostraba muchos libros de arte que me devoraba. Después de estudiar un año en la universidad decidiste ir a Noruega, ¿por qué Noruega?, ¿y por qué con el pintor Odd Nerdrum? ¿Qué aprendiste o desaprendiste de él? Fui a Noruega simplemente porque ahí vivía Odd, si hubiera sido otro país para allá me hubiera trasladado. Cuando vi su pintura por primera vez en una revista, quedé fascinado y pensé que él podía tomar discípulos como en la vieja escuela. No me equivoqué y así era, así que tuve la fortuna de poder aprender de él un tiempo. Creo que la lección más importante en mi estadía con Odd fue entender profundamente su entrega personal con su arte y como encontrar ese espíritu en uno mismo para desarrollar su propia obra. ¿Qué te inspira además de lo anteriormente mencionado? Muchísimas imágenes de grandes artistas de la historia, muchas cosas del interminable repertorio de la naturaleza, películas, ilustraciones, todo tipo de imágenes que me topo en distintos lugares. A veces me encuentro con alguna que evocan un sentimiento difícil de describir, tal vez algo similar a lo que asociamos con “la magia” de la infancia. Por otra parte, hay muchas otras sensaciones en las cuales las palabras no son un canal adecuado para expresarme y de ahí la necesidad de imágenes. The twins I - 2013 (Oil on canvas, 120 x 200 cm). What did you want to become when you were young? A palaeontologist who studies dinosaurs. Have the stories you used to read as a child influenced your artistic imagination? And the books of your mother, the writer, Beatriz García-Huidobro? Some stories really caught my attention, but I was more influenced by the illustrations, in particular Perrault’s “tales of yesteryear” illustrated by Gustave Doré. Those illustrations were fundamental in developing my entire future imagination. My mother has been a fundamental support in my education, but above all because I used to watch her painting (it was her hobby when I was a boy). That really attracted my attention and so I started to do it, too. What’s more, she always showed me loads of art books that I eagerly read. After studying for a year at university, you decided to go to Norway: why Norway? And why with the painter, Odd Nerdrum? What did you learn or unlearn from him? I went to Norway simply because Odd lived there; if it had been another country, I would have moved there. When I first saw his paintings in a magazine, I was fascinated, and I thought that he could accept disciples as they used to do in the past. I was not mistaken and that’s the way it was, so I had the great fortune to be able to learn from him for a while. I think that the most important lesson in my time with Odd was to gain a deep understanding of his personal commitment to his art and how to find that spirit in oneself to develop one’s own work. What inspires you apart from what is mentioned above? All sorts of paintings by great artists in history, many things from the endless repertoire of nature, movies, illustrations, all kinds of works of art that I come across in different places. At times I come across one that evokes a feeling that is difficult to describe, perhaps something similar to what we associate with “the magic” of childhood. On the other hand, there are many other sensations for which words are not an adequate channel to express myself, thus giving rise to artistic expression. The Enccounter - 2018/19 (Oil and acrylic on canvas, 210 x 230 cm).

014 015 Interview ¿Cómo es tu proceso de trabajo? Tengo múltiples referencias de imágenes que me han llamado la atención clasificadas. Las reviso y me ayudan a que surjan las ideas. Ahí boceteo y planeo la producción de fotos de referencia para armar la composición que será el modelo de mi pintura. De ahí en adelante el proceso pictórico no es muy distinto a cómo se hacía hace 400 años. Te comparan con grandes como Rembrandt, Velázquez, Rubens o Caravaggio. ¿Tú cómo te ves y cómo te gustaría que te vieran? Me siento más que agradecido de tales comparaciones. En relación a cómo me veo a mi mismo, no estoy seguro, la imagen que se tiene de uno mismo tiende a estar bastante distorsionada por múltiples factores. Sí soy consciente de que he logrado gran parte de las metas que me propuse de más joven y cuándo parar y observar con calma, eso me sienta muy bien. Con respecto a la pregunta de cómo me gustaría que me vieran, espero que me vean como alguien auténtico en relación a su arte y, de hecho, siento que es así. Tell us about your workflow. I have catalogued masses of references to paintings that have caught my attention. I review them and they help me to come up with ideas. After that, I sketch and plan the production of reference photos to put together the composition that will be the model for my painting. From that point on, the process of painting is not very different from how it was done 400 years ago. You have been compared to masters such as Rembrandt, Velazquez, Rubens, or Caravaggio; how do you see yourself, and how would you like to be seen? I am more than grateful for such comparisons. As far as how I see myself, I am not sure, the image that one has of oneself tends to be quite distorted owing to several factors. I am indeed aware that I have achieved many of the goals that I set for myself when I was younger, and when I stop and calmly observe, that feels really good. As far as the question of how I would like to be seen is concerned, I hope to be regarded as someone authentic in relation to their art: in fact, that is how I feel. The Healer - 2020 (Oil on canvas, 180 x 300 cm).

016 017 Interview Pregunta tonta: ¿Por qué eliges formatos tan grandes? La composición que planeo antes manda el formato, me gusta mantener las proporciones cercanas a la escala natural y muchas composiciones me exigen un formato grande. Pregunta inevitable: ¿Con qué estás ahora? ¿Algún proyecto nuevo? Estoy en proceso de cierre de futuras muestras y en un periodo creativo fructífero, armando varias composiciones y desarrollando ideas. Pregunta cotilla: ¿Con qué artista te gustaría cenar y por qué? (Vivo o muerto). Rubens, me hubiera encantado saber de primera fuente su forma de mirar la vida, ya que la suya me parece muy interesante. Hasta dónde sé era una persona muy disciplinada, carismática, pasional y culta (se puede ver en sus pinturas), pero además es sabido que era muy sociable, de hecho le asignaron misiones diplomáticas. Todo esto mientras maneja un taller con muchos ayudantes y trataba con todo tipo de cortesanos, me parece notable su capacidad pero en especial el contenido de sus obras, sería lindo conversar con él. Pregunta sin pensar: ¿Quienes son esas niñas y por qué muchas me miran fijamente? Pienso que son una parte de mi yo que se manifiesta con esa forma, son una suerte de espíritu antiguo, profundo y muy valioso, tal vez la personificación de una suerte de alma. Pregunta detalle: En el cuadro de La Curandera, el del gorila hay una manzana cayendo y en el cuadro de “The Enccounter” la chica pisa dos cabezas humanas y una es tu autorretrato. ¿Tienen estos detalles alguna explicación? La curandera se llama el primero y la manzana pienso que está ahí para mostrar la inquietud del gorila, que está botando cosas de la mesa en la que está sentado. En el caso de las cabezas, hay mucho para que el espectador lo interprete a su manera, la historia no la cierro yo. En ese cuadro de todas formas creo que hay un juego erótico entre el personaje de la chica sobre las cabezas, algún tipo de dominación. Little house of sweets - 2011 (Oil on canvas, 160 x 300 cm). A silly question: Why do you choose such large formats? The composition I planned beforehand dictates the format. I like to keep the proportions close to a natural scale, and many compositions require a large format. The inevitable question: What are you doing now? Any new project I am in the process of closing future exhibitions and in a fruitful creative period, putting together various compositions and developing ideas. A gossip question: Which artist, dead or alive, would you like to have dinner with and why? Rubens, I would love to have known firsthand the way he looked at life, since his perspective seems very interesting to me. As far as I know, he was a very disciplined, charismatic, passionate and educated person (you can see it in his paintings). However, it is also known that he was very sociable, in fact, he was assigned diplomatic missions. All this while he was running a workshop with many assistants and dealing with all kinds of courtiers. Not only does his talent seem remarkable to me, but especially the content of his works; it would be lovely to talk to him. A question without thinking: Who are these girls and why are so many of them staring at me? I think that they are a part of my being that manifests itself in that form; they are a kind of ancient, deep and very valuable spirit, perhaps the personification of a kind of soul. A detailed question: In the painting, La Curandera, the one with the gorilla, there is a falling apple, and, in the painting, The Encounter, the girl steps on two human heads and one of them is your self-portrait. What is the story behind these details? The first one is called the healer, and I think the apple is there to show the unease of the gorilla, who is throwing things off the table where he is sitting. In the case of the heads, there is much for the viewer to interpret in his own way: I do not close off the story. In any case, with that painting I think that there is an erotic game going on between the character of the girl on the heads, some kind of domination.

018 Interview En tus obras de “Esplendor en la noche” casi siempre hay animales pero más que como un bodegón de naturaleza muerta están más que vivas y tienen un toque onírico. ¿Cuánto de vida o muerte hay en tus obras? Intento equilibrarlas pero prefiero pensar que hay algo más de vida, aunque sea muy poco. Sexo, sangre, neblina, surrealismo, sueños, infancia, poder, belleza... ¿Qué palabra te representa más? (Añade o quita al gusto). TERNURA, VIOLENCIA, JUEGO, EROTISMO, COMPASIÓN, BELLEZA, MUERTE, MAGIA Y MISTERIO. ¿Día o noche, naturaleza o humanidad, amor o terror, violencia o ternura, interior o exterior? Está claro que te gusta la dualidad pero, ¿te gusta el equilibrio o lo encuentras aburrido para el arte o la vida? Es que el equilibro en las obras yo lo veo como algo entremezclado aparentemente aleatorio que busca de alguna forma equiparar distintas fuerzas que se contrastan. La dualidad me llama más la atención que el equilibrio en sí mismo. Cuando se trata de mi vida personal, el equilibrio sí lo encuentro importante y lo intento practicar a pesar de mis debilidades. Hablando de dualidad, ¿el futuro del arte es digital o siempre será más importante el arte físico? Pienso que van a convivir tal como ahora lo hacemos con otros ámbitos. Lo digital tiene terreno para crecer bastante mientras vayan mejorando las experiencias inmersivas, habría que ver qué pasa con eso, tal vez en el futuro no se pueda distinguir una de la otra. En tu caso parece que se rompe la regla del artista atormentado al que solo se valora después de su muerte, ¿crees que ha habido un cambio en este aspecto? Pienso que la mayoría de los artistas reconocidos lo fueron en vida, en especial si uno revisa los anteriores al siglo XIX. Pasa que han habido algunas historias trágicas que han llamado mucho la atención y nos quedan esos estereotipos. Ahora, de lo de atormentado no sé si me salvo. ¿Qué cambiarías del mundo del arte? El enfoque de lo que se comunica sobre el arte al mundo está en exceso asociado al dinero, récord de precios y esas cosas, y poco a la reflexión y otras variables, sería bueno algo más de contrapeso. In your works entitled Esplendor en la noche there are almost always animals, but rather than being like still life paintings of dead nature, they are more than alive, possessing a dreamlike touch. Howmuch of life or death is there in your works? I try to balance them, but I prefer to think that there is more life, even if it is very little. Sex, blood, mist, surrealism, dreams, childhood, power, beauty... What word represents you the most? (add or remove as you see fit). TENDERNESS, VIOLENCE, PLAY, EROTICISM,COMPASSION, BEAUTY, DEATH, MAGIC & MYSTERY. Day or night, nature or humanity, love or terror, violence or tenderness, interior or exterior? It is clear that you like duality but do you like balance or do you find it boring for art or life? The fact is that I see the balance in the works as something intermingled and apparently random that seeks in some way to equate different forces that are contrasted. Duality catches my attention more than balance in itself. When it comes to my personal life, I do find balance important, and I try to practice it despite my weaknesses. And speaking of duality, is the future of art digital or will physical art always be more important? I think they will coexist as we do now in other areas. Digital art has room to grow a lot as immersive experiences improve. We would have to see what happens with that; perhaps in the future, it will not be possible to distinguish one from the other. In your case, it seems that the rule about the way tormented artists are only recognised after their death has been broken; do you think there has been a change in this respect? I think that most of the recognised artists were so in life, especially if one reviews the ones prior to the 19th century. The thing is that there have been some tragic stories that have drawn a lot of attention and we are left with those stereotypes. Now, as far as the bit about tormented is concerned, I don’t know if I’m saved. What would you change about the art world? The focus of what is communicated about art to the world is excessively associated with money, record prices and things like that and very little with reflection and other variables: it would be good if that were more balanced. GUILLERMO LORCA GARCÍA HUIDOBRO B. Santiago, Chile, 1984. @guillermolorcagarcia linktr.ee/guillermolorca Actualmente puedes ver “Esplendor en la noche” en Moco Museum Barcelona hasta octubre del 2022. // Currently, you can see “Esplendor en la noche” at the Moco Museum in Barcelona up until October, 2022. 019 Man of the cats - 2015/19 (Oil on canvas, 340 x 450 cm).

El diseño del sonido de València es el primer estudio en adentrarse en toda la imaginería desarrollada en torno a la escena de clubs nacida en los años 80 en la ciudad de Valencia, que ya entrados los años 90 acabaría conociéndose a nivel popular como ‘Ruta del Bakalao’. Si bien al mencionarse toda esta historia se tiende a pensar en un primer momento en aspectos relacionados con lamúsica, lo cierto es que la parte gráfica y de diseño, en 020 Report A graphic route. buena medida olvidada, fue ampliamente importante. Especial mención de serigrafía de Armando Sivestre junto a su mujer Elisa Ayala, que desarrollaron gran cantidad de carteles de Barraca, Espiral entre las más destacadas. Paco Roca, Mariscal, Francis Montesinos, El Hortelano, Sento Llobell, RamónMarcos, EduMarín, Paco Salabert, Daniel Torres, Mique Beltrán, Micharmut, GonzaloMora... Son solo algunos de los artistas ampliamente The sound design of Valencia is the first study to delve into all the imagery that developed around the club scene that was born in the 80s in the city of Valencia, which by the 90s would end up becoming popularly known as ‘Ruta del Bakalao’. Despite the fact that when this entire history is mentioned, the first thing one tends to think about are those aspects related to music, the truth is that the graphic and design parts, which have been largely forgotten, were hugely important. Paco Roca, Mariscal, Francis Montesinos, El Hortelano, Sento Llobell, Ramón Marcos, Edu Marín, Paco Salabert, Daniel Torres, Mique Beltrán, Micharmut, Gonzalo Mora... Are just some of the highly relevant artists to this day who made posters for the Valencian venues throughout those years, during which the creative effervescence of the city on the Turia River was a hallmark of identity in the very midst of a hangover from a Francoism that was still very present. That is why this is a pioneering work in rescuing all this unprecedented artistic development from the stigma that—in its later stages— ended up affecting the social phenomenon of la Ruta. relevantes a día de hoy que desarrollaron carteles para las salas valencianas a lo largo de estos años, en los que la efervescencia creativa de la ciudad del Turia fue una seña de identidad en plena resaca de un franquismo todavíamuy presente. Es por ello que esta obra es pionera en rescatar todo este desarrollo artístico sin precedentes del estigma que en sus etapas tardías acabó afectando al fenómeno social de la Ruta. 021 “A lo largo de la década de los 80 y parte de la de los 90, floreció en Valencia una subcultura juvenil de ámbito local que recorrería un camino gradual desde lo minoritario hasta verse transformada en un fenómeno social de masas. Over the course of the 1980s and part of the 1990s, a local youth subculture flourished in Valencia that would follow a gradual path from something of minority interest to the point that it turned into a mass social phenomenon.

022 Report Bajo el difuso paraguas del término accidental Ruta del Bakalao, que acabaría definiéndolo, se desarrollaron numerosas disciplinas artísticas en un sentido particular, creativo e innovador. Si bien es probable que sean los aspectos relacionados con la música lo primero que acuda a nuestra mente en esta historia, lo que este trabajo pretende desentrañar es un sentido vagamente explorado y que bien merece ser puesto en valor. Under the diffuse umbrella of the accidental term Ruta del Bakalao, which was to end up defining it, several artistic disciplines were developed in a particular, creative and innovative sense. Even though it is likely that those aspects related to music are the first thing that comes to our mind in this story, what this work tries to unravel is a vaguely explored meaning that fully deserves to be given its place. “La muerte de Franco y el posterior proceso transicional insufló aires de renovación política y social a un país aislado durante décadas de su contexto. Franco’s death and the subsequent process of transition breathed airs of political and social renewal into a country that had been isolated for decades from its context. 023 Aunque pueda resultar sorprendente, fueron buena parte de los integrantes de la denominada Nueva Escuela Valenciana de cómic los que comenzarían a dotar de imágenes e identidad visual a este incipiente circuito todavía muy de minorías. En su materialización física, buena parte de la cartelería desarrollada a lo largo de esta primera década buscaría la innovación no solo en aspectos estéticos o conceptuales, sino también formales. Los modos de trabajo, en ocasiones cercanos a la pura artesanía, alumbrarían piezas de un valor artístico inconmensurable. Tras el desasosiego propio de la incertidumbre del cambio, y un coletazo final en forma de intento de Golpe de Estado, los años 80 se perfilaron como idóneos para una distensión paulatina. Fue el momento en que surgieron en paralelo numerosos movimientos juveniles a nivel estatal que reivindicaban la modernidad, sobre todo estética, como uno de los sellos de identidad que debía impregnar a un país en pañales democráticos. Esta explosión supuso, en el caso de Valencia, la génesis de una subcultura que encontró su espacio de desarrollo en clubs y discotecas. In its physical manifestation, a large part of the artwork developed over the course of that first decade would seek innovation not only in aesthetic or conceptual, but also formal terms. The working methods—that were on occasion close to pure craftsmanship—would illuminate pieces of immeasurable artistic value. After the restlessness that was typical of the uncertainty of change, and a final blow in the form of an attempted coup d’état, the 1980s presented themselves as ideal for a gradual relaxation. It was the moment when numerous youth movements emerged in parallel at the state level demanding modernity, above all in terms of aesthetics, as one of the hallmarks of identity that should infuse a country in its democratic infancy. In the case of Valencia, this explosion meant the birth of a subculture that found its space to develop in clubs and discos. Although it may be surprising, it was these artists who came to make up a large part of the members of the so-called New Valencian School of cartoonists who would begin to provide this nascent circuit—still very much a minority—with images and a visual identity. A GRAPHIC ROUTE ‘The sound design of Valencia’ Authors: Moy Santana y Antonio José Albertos Prologue: Paco Roca Cover design: Áusias Pérez Editorial: Barlin Books

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026 Interview Hello Miss Melera, a pleasure to have you at Fiesta&Bullshit. We love your music, but we have enjoyed you little on the island, what is your relationship with Ibiza? Thank you! That make me smile. I guess it started 10 years ago - exploring the island with friends and since the first moment I was in love. The vibe - food and the ever-changing horizons to watch. Love it and enough reasons to come back, at least once a year to relax. After visiting - I’ve been also invited to play several times - it all begun at KM5 – played at Heart and Dystopia Ushuaia a few years ago. Can’t wait to bring my music again .. How would you like your next time on the island to be? As long if possible! (laughs). You are Dutch. How is the electronic scene (melodic, deep, house) in your country right now? After such a long time of being locked down because of the corona regulations – we are finally open again. I’ve my fingers crossed this will be forever from now on. Overall, the scene is very diverse – with many sub genres and different styles, which is interesting and keeps it vibrant. New generations/new school artists? What do you think? What artists/labels are surprising you? New label “Inner Layers“ from Alex Preda – something new and exciting. His first release is absolutely a favourite of mine. Also – I’m a big fan of Jonas Saalbach’s “new” label Radikon. An adjective/word to qualify: Hernan Cattaneo: Charismatic. Guy J: Humble. Nick Warren: “Gezellig”. Eelke Kleijn: Allrounder. Olivier Weiter: Rockstar. In which cities/clubs/countries do you feel more comfortable in them? South America is one of my favourite continents. The vibe is always amazing and fans are so passionate - literally from the first to the last minute. What does Colourizon mean to you? Colourizon is my own concept and started 10 years ago as a podcast/radio show and not much later with events. I studied at the art academy and for me this is a way to combine art with music. I’ve always made pictures and artworks myself. During live events, movies showed as visuals are captured from my touring experiences. It’s a creative concept – it’s always excited to brainstorm about new ideas and it never stop – same as music. Tell us about your Colourizon events and radio show. How did they come about? Colourizon started as a monthly radio show when Proton USA asked me to host a show back in 2012. Not much later I started with events too. The name is a blend from two things that are very important for me in life. Colours and Horizons and when you combine these two its “Colourizon”. I always had an idea about visualizing horizons during my live events – this wasn’t and still isn’t an easy thing to achieve but until now always managed to do this and I’m looking forward to celebrate the 10th anniversary this year. How is your studio? How do you have it organized? Favorite Synthesizer? I’ve always been happy with my Komplete Kontrol Keyboard – Monkey Banana speakers – Moog Sub 37 CV - but I mainly use soft synths – like Omnisphere – Diva – Repro – Supboom bass... Who did you listen to growing up and do they influence your productions at all today? I’m an 80’s kid and I’m always in love with synthesizer sounds from the 80’s. I grew up with Genesis – Toto – Simple Minds for example - melodies are the key for me and I’ve always been driven and inspired by them. 027 FIRST PLACE WHERE YOU PLAYED? AZOTOD – DE MEERN - 2003 BEST CLUB EVER? DE MARKTKANTINE, AMSTERDAM. YOUR BEST SESSION WAS ON? DGTL 2014 – CLOSING SET. I STILL HAVE A BIG SMILE ON MY FACE WHEN I THINK BACK TO THIS MOMENT. THE BEST DJ YOU’VE EVER SEEN? I’M SORRY BUT CAN’T DECIDE. YOUR FAVORITE PLACE IN AMSTERDAM? ON MY BIKE THROUGH THE CITY DURING SUMMERTIME.

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030 Report In our virtual gallery on Cyber, everyone can visit the exhibitions from any mobile device, tablet, computer or even VR glasses where we show our NFTs in a fully immersive experience. Suspended in the sky, our new gallery “Altitude” is a modern gallery overlooking a horizon of clouds. Created by 0xWolfgang, the first metaverse architect to build on the Cyber platform. We continue to support local artists while acquiring artworks by international ones. The collection features pieces from Ethereumbased marketplaces such as Foundation, Rarible and Opensea, as well as on Hic Et Nunc and Objkt.com, based on Tezos. RARIBLE FOUNDATION HIC ET NUNC 031

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035 ODHotels NFT exhibitions -Lobby VR headsets. -Digital frames. -Hotel suite rooms takeover. Physical galleries -Pop-up exhibitions. -Museum collaborations. -Events. OceanDrive metaverseHotel Create our own land, digital OD Hotel, including NFT expos & digital interactions. Socialmediaandnft profiles launch Gallery 1.0 OceanDriveNFT Q3_2021 Q4_2021 Q1_2022 Gallery 2.0: Expansion GiveawayNFT Airdrop Regular art purchases Q2-Q4_2022 2024 -40 artwork capacity. -Local artist support. -First purchases & donations. Cointelegraph, Forbes, Yahoo Finance, Diario de Ibiza... Global gallery launch NFT Award MediaCoverage TourismInnovation Summit: Digital Innovation Finalists -120 artwork capacity. -Exclusive gallery rooms. -Augmented budget for artworks. 2023 034 Report

036 037 Report SÓNAR’S BEEN ONE OF THE MOST LOVED AND RESPECTED EVENTS IN THE CALENDAR. A MEETING POINT FOR MUSIC FANS AND INDUSTRY HEADS ALIKE. HERE’S THE LIST OF THE ARTISTS YOU JUST CAN’T MISS THIS YEAR. Nu Genea’s music sounds like a postcard from a faraway place: an esoteric collection of grooves, purpose built for sun-dappled dancefloors and blushing sunsets. Yet, in truth their breakout album “Nuova Napoli” is exactly what it says it is: a revival of the forgotten golden era of Naples funk, jazz and soul. Massimo Di Lena and Lucio Aquilina are master distillers, as much as they are freak musical talents. They’ve worked with the king of afrobeat, Tony Allen, and toured the world performing, collecting and listening, but what sets them apart is their ability to reduce all those inputs into something which sounds distinctly Neapolitan. Their jazzy funk is lithe and nimble, but weighted with more than a little of that expansive Italian spirit (whisper it quietly, but there’s a bit of prog to their sound). For their first appearance at Sónar, the duo will perform with a full live band, fleshing out the grooves of their catalogue and debuting new tracks under the Barcelona sun. Only once before has this happened... Back in December 2017, for a session broadcast on Rinse France. A meeting in the booth that will be music to the ears (literally) for lovers of indie-dance, dark electronica and space disco. On the one hand, Jennifer Cardini, a veteran of Parisian nightlife and resident Rex Club, while exploring the experimental sounds of electronica at the avant-garde Le Pulp: futuristic genres, acid and narcotic cuts, over-saturated nu-disco... And from there to stardom, becoming a regular at clubs like Panorama Bar and Fabric, and directing the creative platforms and labels Correspondant and Dischi Autunno. On the other hand, Perel, alias of Annegret Fiedler. Producer, vocalist, DJ and tamer of synthpop and new wave sounds, she was the first German name to be released on James Murphy’s seminal label DFA Records, before establishing herself in the Berlin underground, and becoming a regular for labels like Permanent Vacation and Cardini’s Correspondant. Her cosmic disco basslines, techno synths and ghostly chants will join Cardini’s record collection in what promises to be a dreamy, hard-to-forget dawn. Not many DJ’s can span the wide expanse between synthwave and the relentless percussion of Berlin techno. But Avalon Emerson isn’t most DJ’s. Raised under the wide open skies of Arizona and cutting her teeth as a promoter in the Bay Area warehouse party scene of the late 2000s before moving to Berlin, hers is an eclectic but laser focused approach to djing that unlocks all the utopian potential of the dancefloor, one psychedelic bassline at a time. The German electronic supergroup return from a four-year hiatus to grace the stage at Sónar 2022. Sascha Ring (Apparat), Gernot Bronsert and Sebastian Szary (Modeselektor) should need no introduction for long-time Sónar attendees: the trio’s triumphant set in 2017 was an unforgettable moment. As it should have been, because their music is stadium sized in scope. Across three albums they re-imagined the fuzzy, bassled minimal sound of mid-2000s Berlin as enormous, world-conquering pop songs (the thundering hook from A New Error is surely one of that decade’s most irresistible earworms). And now they’re back with new music and a new live show, created again with long-time collaborators PFA Studios. Make no mistake, their performance is going to be a seriously memorable event. A restless member of the Barcelona underground, both solo and as half of the duo Shakti Alliance with Troya Modet. Virginie, also known as Vir, is one of the city’s most flexible and talented DJs, drawing on her vast record collection - she’s been an avid record buyer since the 1990s, when she moved from Caracas to New York. The Venezuelan-born DJ is one of the most exploratory diggers in Barcelona, mixing up deep, pumping house with dusty soul, disco and music from around the world. Rather than pursuing perfection with her mixes, she prefers to improvise, taking risks and indulging her playful sense of eclecticism. At Sónar 2022, she’ll let her records shine, under the sun and on the dancefloor.

038 039 [Eng] Interview Estamos comenzando la temporada 2022, una temporada que llevábamos esperando mucho tiempo, desde 2019. Antes de comenzar, cierra los ojos y... ¿Cómo te imaginas esta temporada 2022? Si cierro los ojos, pensaría románticamente que empezamos donde terminamos. Básicamente, si continúa como antes de la pandemia, eso ya es un sueño hecho realidad. Volviendo a estas dos temporadas que hemos “perdido” 2020 y 2021, ¿cómo recuerdas esos dos años? Fueron unos primeros meses muy extraños, todo era muy incierto. El foco se centró en “¿qué está pasando?” Y luego de repente, cambió a “esto podría alargarse por algún tiempo”. Estaba tratando de no obsesionarme demasiado con lo que estaba sucediendo en el mundo, aunque obviamente era triste para todos, pero sentí que tenía que trabajar en mí mismo. Ser constructivo y productivo de una manera que sería beneficiosa para cuando todo esto terminará, y comenzará a tocar de nuevo y poder lanzar música. En algunas de tus biografías se dice que a los 12 años querías tener tus propios Technics, ¿es verdad? ¿Quién te influenció en la música electrónica? Sí, bueno mis abuelos tenían a mi tío a una edad más avanzada, entonces yo tengo un tío muy joven. Y cuando era niño, solíamos ir a visitar a mis abuelos y él siempre estaba sentado en el estudio produciendo trance y hard trance y Ambient y este tipo de música. Entonces, estaba sentado casi todos los domingos en un estudio con un amigo y todas esas máquinas. Me dio cintas con canciones muy raras, como, no sé si lo recuerdas, pero a mediados de los 90 había una canción que decía “Who the fuck is Elvis?” era una pista techno. La música electrónica era algo muy nuevo, porque en este momento estamos escuchando Wu Tang Clan y Nirvana. Así que él prácticamente me introdujo a la música, y luego tuve dos amigos en el pueblo donde crecí y me enseñaron a pinchar. We are starting this 2022 season that seems like it will finally be the one we wished for since 2019, now, before we start, close your eyes and... How do you imagine the 2022 season? If I close my eyes, I would just romantically think we started where we ended. Basically, if it picks up the way it was pre pandemic, that’s already a dream come true. So what was it like to live? Going through 2020 and 2021? How do you how do you remember those two years? It was a very weird first few months, everything was very uncertain. The focus was on “what is going on?”, and then suddenly it shifted into “This could go on for some time”. I was mind shifting trying not to get too obsessed with what was happening in the world, even though it was obviously sad for everyone, but I felt I had to work on myself. Be constructive and productive in a way which would be beneficial for when everything would end, and I’d start to play gigs again and be able to release music. Our industry isn’t the peace and love industry that everyone thinks it is. In some of your biographies, it says that at the age of 12, you wanted to have your own Technics, is this true?, why, who influenced you in electronic music? Yes, well my grandparents had my uncle at an older age, so I have a very young uncle. And when I was a kid, we used to go visit my grandparents and he was always sitting in the studio producing trance and hard trance and Ambient and this kind of music. So, I was sitting pretty much every Sunday in a studio with a friend and all of those machines. He gave me tapes with very weird songs, like, I don’t know if you remember it, but mid 90s There was song that goes “Who the fuck is Elvis?” it was a techno track. Electronic music was something very new, because at this time we’re listening to Wu Tang Clan and Nirvana. So he pretty much introduced me to the music, and then I had like two old friends in the village where I grew up and they showed me how to DJ. My very first gig 28 years ago!

040 041 Interview A LO LARGO DE TU CARRERA, ¿QUIÉN DIRÍAS He pasado por diferentes etapas demi carrera. Diría quemi tío, por supuesto, al principiome introdujo a lamúsica, luegomis amigos, Alex y Michelle. Me dieron la oportunidad de usar su equipo: tenían como un centro jóven, así que el miércoles por la tarde fuimos allí paramezclar y practicar con su equipo. Y luego, por supuesto, gente que me encontré en el camino como Nic Fanciulli queme hizo lanzar en su sello y Luciano queme contrató para su sello Cadenza, donde pude trabajar con él. Luego fue Ushuaïa el queme dio la oportunidad de trabajar en nuestra propia fiesta como es ANTS. QUE HA AYUDADO A HACER REALIDAD TU SUEÑO? Along your career, who would you say is helped make your dream come true? I went through different stages of my career and I would say my uncle of course, in the beginning to introduce me to music, then my friends, Alex and Michelle. They gave me the opportunity to use their equipment - they had like a youth centre, so Wednesday afternoon, we went there to mix and practice on their gear. And then of course people along the way, people like Nic Fanciulli who made me release on their label and Luciano signed me to his label ‘Cadenza’, and I was able to work with him. Later on, it was the Ushuaia that gave me the opportunity to work on our own party like ANTS. How’s the scene in Switzerland these days? The scene is incredible in Switzerland. Zurich for example, had at one point more clubs in one city than any other big city, we had a crazy amount of clubs. We had electronic music not only Saturdays, Fridays and Thursdays, but clubs where you literally could party from Thursday till Monday night. We also have the street Parade, which is the heart of electronic music in Switzerland, with around 1 million people, and that’s all electronic music, it’s house and techno. So, Switzerland has a very big scene nowadays, it’s incredible how many clubs we have which programme electronic music on a weekly basis. It’s not just locations which do any kind of music and once in a while you have house or techno, it’s international artists every week and not only one, but maybe like five, six a week. When and how was your first time in Ibiza? What kind of year was it? And what do you remember? My first time the Ibiza was 2004 and it was also my first gig at Space. But at this time for me it was the biggest dream ever. 2004 right after I had maybe my first, second or third release out, and I met the people who were in charge of “In Bed With Space” at Space, which was basically the after party of Carl Cox’s night was ‘In Bed With Space’ Wednesday morning. And I played with them in Switzerland and they booked me straightaway for Ibiza. ¿Cómo es la escena en tu Suiza? ¡La escena es increíble! Zúrich por ejemplo, tuvo en un momento más clubes que en cualquier otra gran ciudad. Teníamos música electrónica no solo los jueves, viernes y sábados, sino también clubes donde literalmente podías divertirte desde el jueves hasta el lunes por la noche. También tenemos el Street Parade, que es el corazón de la música electrónica en Suiza, con alrededor de un millón de personas, y eso es todo música electrónica. Suiza tiene una escena muy grande hoy en día, es increíble la cantidad de clubes que tenemos que programan música electrónica semanalmente. No son solo lugares que hacen cualquier tipo de música y de vez en cuando tienes house o techno, son clubs 100% con artistas internacionales cada semana y no solo uno, sino tal vez como cinco o seis por semana. ¿Cuándo y cómo fue tu primera vez en Ibiza? ¿Qué año fue? ¿Qué recuerdas? Mi primera vez en Ibiza fue en 2004 y también fue mi primera actuación en Space. En ese momento para mí era el sueño más grande de mi vida. En 2004, después de haber publicado quizás mi primer, segundo o tercer lanzamiento, y conocí a las personas que estaban a cargo de “In Bed With Space” en Space, que era básicamente la fiesta posterior a la noche de Carl Cox, miércoles por la mañana. Y toqué con ellos en Suiza y enseguida me contrataron para Ibiza. UNA DE LAS FIESTAS DE ANDREA ES ANTS, ¿QUÉ HA SIGNIFICADO ANTS EN TU VIDA? ANTS fue una bendición porque tuve la oportunidad de tocar en Ibiza con Cadenza. Luciano me contrató mucho en Ibiza, había muchas fiestas, Luciano and Friends con Cadenza. Tuve el gran apoyo de Ushuaïa, y querían construir la marca y hacer crecer mi nombre como marca. Claro, en aquel momento mi nombre era demasiado pequeño para generar casi cualquier cosa en la isla. Teníamos esta idea de construir una marca y tenerme como residente y crecer juntos y básicamente tener la marca para apoyar mi carrera, pero luego también para construir mi carrera en un cierto punto donde la marca se beneficiaría también de un perfil artístico y viceversa Y creo que ahora estamos en este punto. ANTS fue prácticamente el cambio en mi carrera más importante. Porque también era una apuesta. Always good vibes with Carlito! @Carlcoxofficial - zúrich.

042 043 Interview Si tienes que recordar un momento especial, una noche de verano... ¿De cuál te acuerdas? Es difícil, por ejemplo, mis padres me vieron por primera como DJ en Ushuaïa en el escenario principal frente a una multitud. Así que ese fue un momento bastante especial, porque vi lo orgullosos que estaban mis padres de mi. Aparte, todas las noches de éxito que tuvimos, como que nuestra primera intención era que ANTS solo fuera en la cabina pequeña, y la segunda fiesta, ya teníamos que abrir el escenario grande. Así que eso también fue algo muy especial, por la retroalimentación y el seguimiento. ¡Una locura todo! ¿Cuál ha sido una decisión difícil que tuviste que tomar en Ibiza? La decisión más difícil fue la de ser realista. Tenía 12 años cuando comencé, y tal vez 15, 16 años después, estaba en un punto en el que vi cuánto era posible, vi cuánto se puede lograr. Y sabía cuánto estaba dispuesto a dar por esto. Sabía que tenía que construir cosas que estuvieran apegadas a mi filosofía y a la forma en la que veo mi futuro. Entonces, obviamente, para un artista, quieres tener tu propia fiesta, quieres tener tu propio sello, quieres tener tu propia identidad. PAUL! @IAMPAULKALKBRENNER Reunited with @marcocarola With my brother nathi aka @realblackcoffee! — en Ibiza, Spain. Estar atrapado en un entorno que quizás te dio mucho al principio. Pero una vez que se construyó, tienes que tomar esas decisiones. La decisión más importante que tuve que tomar estaba ligada a grandes riesgos, porque era como si fracasara o si tuviera éxito. Fue el punto en el que tuve que decir: “Está bien, es posible que tenga que dejar Cadenza y construir mi propio camino”. Es un decisión en la que sabes que todo se retrasará durante algunos años tal vez, pero luego la recompensa será cada vez mayor para el sueño que deseas lograr. If you have to remember a special moment, a summer night... Which one do you remember? It’s difficult. I had for example, my parents seeing me for the first time DJ’ing at Ushuaia on the mainstage in front of a sold out crowd. So that was a pretty special moment, because I saw how proud my parents were. Apart from all the successful nights we had, like our first intention was having Ants just playing in the small room, in the back of Ushuaia, and the second party, we already had to open the big stage. So that was also something which was very special, because the feedback and the following. Everything was insane. What has been a difficult decision you had to make in Ibiza? The most difficult decision was being realistic. I was 12, when I started, and maybe 15, 16 years later, I was at a point where I saw how much was possible, I saw how much you can achieve. And I knew how much I was willing to give for this. I knew I had to build things which were attached to my philosophy, and to the way I see my future. So obviously, for an artist you One of Andrea’s parties is ANTS, what has ANTS meant in your life? ANTS was a blessing because I had the opportunity to play Ibiza with Cadenza. And then to Luciano booked me a lot in Ibiza, there were many parties, Luciano and friends with Cadenza. I had the very big support from Ushuaia, and they wanted to build a brand and build my name and have a little bit of a face to the brand. And then of course, my name was too small to generate pretty much anything on the island. We had this idea of building a brand and having me as a resident and grow together and basically have the brand to support my career, but then also to build my career at a certain point where the brand would take advantage also from a profile and vice versa. And I think now we are at this point and Ants was pretty much the heaviest career change I had. Because it was also a bet. I believed in Ants, and I saw the potential and Ants, but I knew if Ushuaia was gonna put me on the spot, I have to release a lot of tracks, I have to release on solid labels, and I have to do my part as well. want to have your own party, you want to have your own label, you want to have your own identity. Being stuck in an environment which maybe gave you so much in the beginning. But once your profile was built, you had to make those decisions. My biggest decision I had to make which was attached to big risks, because it was like, failing or success - It was the point where I had to say, “okay, I may have to leave Cadenza and build my own thing”. It’s a decision where you know it’s going to put you back for a few years maybe, but then the payoff is going to be bigger and bigger to the dream you want to achieve.

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046 047 Interview ¿Qué odias de Ibiza y de la industria? Las cosas han cambiado en mi carrera, y cuanto más grande es tu perfil, más presión sientes cuando actúas en Ibiza, especialmente cuando se trata del punto en el que eres el centro de atención. Tienes que entregar más y más y más. Y cuando estás en el centro de atención, te atacan desde ángulos de 360°. Obviamente, nuestra industria no es la industria de la paz y el amor que todo el mundo cree que es. Ibiza es muy competitiva. Lo que hago esta basado en la música, la libertad y la diversión. Things have changed in my career, and the bigger your profile becomes, the more you feel an overall pressure when you perform in Ibiza, especially when it comes to the point you’re in the spotlight. You have to deliver when you’re in the spotlight. And when you’re in the spotlight, you get attacked by from 360 angles. Obviously, our industry is not the peace and love industry that everybody thinks it is. Ibiza is very competitive. And even though what I do should be based on music, freedom, fun and everything. Then there are other things I hate, which comes to Ibiza being very expensive. Ibiza is unfortunately not accessible to everyone, which it used to be. Ibiza is on the map of the world, and you’re relevant in the world when you have something very successful in Ibiza, and you may be not that relevant if you’re not in that Ibiza circle. At the end of the day Ibiza has so many more pros than cons, it’s still my paradise. Here may appear one of your new projects, All I Need, what are you working on? With All I Need we are working on a lot of music. Now we are with release four, so we are very young, but I already had so many satisfactions, a lot of media coverage. I could get the attention I wished for, I had people on the label so far like Deetron and Kevin Saunderson, who are my idols, people I really look up to. We have so many more releases scheduled. Luego hay otras cosas que detesto, lo caro Ibiza que es IBIZA. Desafortunadamente, Ibiza no es accesible para todos, como solía ser. Ibiza está en el mapa del mundo, y eres relevante en el mundo cuando tienes algo muy exitoso en Ibiza, y puede que no seas tan relevante si no estás en ese círculo de Ibiza. Al fin y al cabo, Ibiza tiene muchas más ventajas que inconvenientes, sigue siendo mi paraíso. From the event side, we are scheduling some events, and we are doing some own productions in off locations. It’s really a work in progress, but you see results, and this is what makes me even more hungry and more motivated. All I Need right now is something in the making. IBIZA Música, arte y moda. ¿Crees que son un siguiente paso? ¿Es el camino a seguir? Creo que podemos ir más allá adaptando ciertas tecnologías, siendo también un poco más independientes en las industrias de la música, donde básicamente solo las grandes discográficas y las grandes firmas tienen algo que decir. Creo que estamos en un momento muy revolucionario en el mundo, no solo en la industria de la música, y se puedes adaptar ciertas tecnologías en la forma de lanzar tu música. Mi objetivo es volverme un poco más independiente, donde no veas solo el 0,04 % de los ingresos para ti, sino que tal vez también tengas como el 80 % de los ingresos, que luego puedes poner a trabajar para diferentes proyectos, lo cual va para hacer tu marca más grande. Así que creo que, desde el punto de vista comercial, podemos aprender un poco más en nuestra industria, como una industria independiente. Por lo tanto, creo que las colaboraciones con la moda, con el arte, con la tecnología con las innovaciones, son muy útiles. Music, art and fashion. Do you think there’s a next step? Do you think there’s something some somewhere further we can go? I think we can go further by adapting certain technologies, by also being a bit more independent in the music industries, where basically only the major labels, and like major firms have something to say. I think we are in a very revolutionary time in the world, not only music industry, and if you can adapt certain technologies, if you can adapt certain new innovations in tech, in the way of releasing your music. My goal is to go a little bit more independent, where you don’t see only 0.04% of revenue for yourself, but maybe also having like maybe 80% of revenue, which you can then put into work for different projects, which is going to make your brand bigger. So I think business wise, we can learn a little bit more in our industry, like an independent industry. Therefore, I think collaborations with fashion, with art, with technology with innovations, is very helpful. Aquí aparece uno de tus nuevos proyectos, All I Need, ¿en qué estás trabajando? Con All I Need estamos trabajando en mucha música. Ahora estamos con el lanzamiento numero cuatro. Somos muy jóvenes, pero tenemos muchas satisfacciones, mucha cobertura mediática. Ahora pude obtener la atención que deseaba, tener gente en el sello como Deetron y Kevin Saunderson, que son mis ídolos, gente a la que realmente admiro. Tenemos muchos más lanzamientos programados. Desde el lado de los eventos, estamos programando algunos eventos y estamos haciendo algunas producciones propias en otras locaciones. Realmente es un trabajo en progreso, pero se ven resultados, y esto es lo que me da aún más hambre y más motivación. Todo lo que necesito en este momento, se encuentra de camino. What about this line up? — whit Nitesh Peshwani.

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