After captivating 250,000 visitors across Paris, New York, and Brussels, the internationally renowned exhibition “Small is Beautiful” makes its Italian debut in Milan. Housed by Milan’s leading cultural aggregation center Fabbrica del Vapore, this extraordinary showcase takes visitors on a journey beyond reality, immersing them into a world of miniature dimensions where one feels like a giant navigating a universe as small as the tip of a finger.

Collectively hosting the exhibition are Fever, the pioneering entertainment platform, and Exhibition Hub, producer of large exhibitions across the world, “Small is Beautiful” opens its doors on May 9, 2024. Curated by Serge Victoria, the exhibition transforms miniature art into a major artistic genre, presenting an incredible exploration through minutely detailed worlds, rich in poetic expression and unfettered imagination.

19 miniature artists from all over the world showcases their works in art forms such as painting, photography, sculpture and even crochet, incorporating different media from paper, food, pencil tips and even recycle materials. These pieces, some merely millimeters in size, require powerful magnifying glasses to fully observe their intricate details. Walking through the exhibition hall, it is hard to not appreciate the boundless imagination, remarkable patience and exceptional virtuosity these artists have dedicated to their works.

The exhibition burgeons from social network. Curator Serge Victoria noticed a decent number of miniature artists sharing their creations on social media, giving him ideas on building a platform to showcase the beauty of miniature art in all facets. “Small is Beautiful” not only aims to bring miniature art to a wider audience and offer a behind-the-scenes look at the creation of it, but also seeks to foster a community eager to embrace all dimensions of art.

The title, “Small is Beautiful,” harks back to economist Leopold Kohr’s advocacy for human-scaled societies in his student Ernst Friedrich Schumacher’s 1973 book “Small is Beautiful: A Study of Economics as if People Mattered.” Kohr championed the idea of reducing scales in various domains—economics, ecology, governance—to counteract the norm of gigantism. The meticulous attention to detail and the diminutive scale of the artworks challenge our perceptions, guiding us to ponder the beauty and complexity of smallness in a world that often prioritizes the big.

“Small is Beautiful” will be at Milan’s Fabbrica del Vapore, in Spazio Messina from May 9^th 2024 to September 22^nd 2024.

Amanda Louise Macchia is an emerging Italian-Canadian video director. After spending several years in the Paris fashion scene, she is now partially relocating to Milan for the first time, bringing a portfolio of high fashion and beauty videos with her.

Known for her retro pop art style, Amanda has developed new ways of digitizing mid-century ideas, by integrating stills into moving images using collage, instant film, and even regular office supplies, alongside her vintage video cameras, into creative content for luxury brands including Saint Laurent, Off-White, Audemars Piguet, and an on-going series with Chanel Beauty.

With Chanel Beauty, Amanda has profiled major talent including Margot Robbie, Lily-Rose Depp, and Kristen Stewart, the latter of which was just released in February 2024 alongside the Berlinale, with more content to come through the rest of the year around other prominent film festivals and award ceremonies.

The unique blend of high and low art in this work, which includes low-res photo scans and a handheld camcorder from the early 2000s, alongside standard beauty footage, has garnered the attraction of luxury brands globally, looking to recreate this careful and enticing balance.

Amanda’s style extends from her editorial work as well, having been published by Purple Magazine, System Magazine, & Vogue, where she first began experimenting with these pop art elements on set, the backstages of fashion shows, and in ateliers, with brands like Balenciaga, Givenchy, Paco Rabanne, and Schiaparelli.

But her first medium of video directing was in documentary, which she recently revisited with her latest personal project A Certain Song: Yes Sir, I Can Boogie – a short film documenting the history of the famous Spanish disco song through capturing the 1970s press clippings, magazine features, and personal photos of founding member Mayte Mateos. The film is an Official Selection for the upcoming 2024 Fashion Film Festival Amsterdam, taking place in April.

The history of the song Yes Sir, I Can Boogie is noteworthy because it continues to dominate the fashion world 45 years after its initial release and entry into the Guinness Book of World Records, for most singles sold by a female duo. 

Amanda applied her signature pop art style to this collage-focused film, and shares the journey of a song created with few expectations, but which has become not only a top staple of European disco, but also synonymous with iconic fashion and beauty brands including Dior, Paco Rabanne, and Charlotte Tilbury – some of which Amanda is becoming synonymous with herself.

In the past years, South Korea has gained significant global exposure and attention. It also attracts many international talents’ attention, amongst them is Polish-British photographer Marcin T. Jozefiak.

Inspired by the social atmosphere in South Korea, Marcin T. Jozefiak’s project “Fearless Flowers” series explores gender, sexuality, gaze, and identity in South Korea. Photographed over two years with 23 different participants, the project studies one’s relationship with their own body and inner struggle with the image pressured by a conservative society, where certain beliefs and outdated standards are forces on the rapidly changing nation.

Adorned with flowers, the human body represents universal innocence, timelessness, and purity. The subject, who may convey toughness in other settings, is shown with vulnerability and humanity when photographed in a safe studio environment. Ornamented with flowers, the black garment, which represents the society uniform, is a metaphor for the fight and struggle of each subject and beyond.

The series is an attempt to capture open-mindedness: acceptance of your body and sexuality, as well as welcoming the self-created modern image of who Korean people aspire to truly be. It is creativity’s role to rebel its spirit against society’s preconceived ideas and question their relevance.

As an outsider, Marcin T. Jozefiak had the privilege to be introduced inside this personal expression of liberation, looking for meaning, looking at the beauty and identity, all while capturing the landscape of self-invented people: a true walking work of art.

Marcin T. Jozefiak is a Polish-British photographer currently based in Seoul, passionate about people and the stories they hold. He loves discovering their unnoticed beauty. As an artist and emigrant, his work found focus in the topic of lost identity. The most recent project looks deeper into the subcultures of South Korea and their sense of belonging. The resulting images all come from a curiosity to explore the subject of identity and improving the self.

On the occasion of the opening of his upcoming solo exhibition in Seoul, CAP 74024 shared a lovely talk with Marcin T. Jozefiak on the making of this photo series, his artistic and creativity journey as well as his viewpoints in art and in life.

Hi Marcin, how are you today?

I’m good, how about you?

I’m good as well, thanks. Marcin, how long have you been based in Seoul?

I have been living in Seoul for 5 years since leaving London.

What are the subjects and topics that interests you when it comes to artistic creation?

As an artist and emigrant, my recent work found focus on the topic of lost identity. The most recent project looks deeper into the subcultures of South Korea and their sense of belonging. I have always been interested in subcultures, primarily how each one has a philosophy or just a ‘way’, and I found it a great space to be myself—or part of myself—in and capture its language. The resulting images all come from a curiosity to explore identity and improve the self.

What inspires you to create this series “Fearless Flowers”?

Although I’ve lived in Seoul for over five years, I’ve visited here a few times before, and I always approach it with curiosity, observing and analyzing my surroundings. The “Fearless Flowers” series and book attempt to capture open-mindedness: acceptance of your body and sexuality and welcoming the self-created modern image of who Korean people aspire to be.

I developed a curiosity about Korean culture and traditions, which led me to explore the perspectives of Korean individuals about their lives. As I conversed with various participants, I was exposed to unique viewpoints and became a keen listener of their diverse stories and perspectives. My inspiration often comes from the people I encounter or actively seek out, and every person I photograph leaves me in admiration of the beauty of the human form.

Before the pandemic hit, I worked on my first solo show in Seoul called “Not for Everyone.” This project sparked my interest in diversity and subcultures in this fast-paced city. I photographed each person in an outdoor location that held significance for them and in a studio setting. At the exhibition, some visitors had never encountered someone openly gay, trans, tattooed, a drag queen, or open-minded about their body. Noticing that some live their life never noticing one another and my audience’s response motivated me to dive in even deeper and continue my exploration, which led to creating my “Fearless Flowers” project and book.

Creativity is crucial in challenging society’s preconceived notions and questioning their significance. And certainly, raising awareness can change people’s perceptions of what they fear, which I hope to achieve through my work.

How do you find the persons to be shot? How do you build mutual trust with them?

Following my project in Seoul, I received requests from a few individuals to take their photographs. However, I mostly searched for potential subjects on Instagram and shared the project statement and manifesto with them. During our initial meeting, we would discuss ideas and how they relate to the project’s concept. After completing a few shoots, I would share a selection of reference photos to showcase the project’s aesthetic. Furthermore, upon sharing one or two photos online, people occasionally reach out to express interest in participating in the project. The most important thing is to create a safe space for people to open up without being pushy and overthinking the collaboration process.

What are the most impressive or memorable stories while collecting the stories of your objects and while shooting them?

It’s difficult to choose a single standout moment from my experience capturing individuals on camera. Each person was unique in their own way, and I made sure to tailor their posing and movements based on our previous conversations. I aimed to reflect a more sophisticated look into their character.

As an outsider, what are the advantages and disadvantages you have throughout the creation of this project? Or to say in a more universal aspect, what are the pros and cons as a foreigner living in South Korea?

As an outsider, I’ve had the privilege to be introduced inside this personal expression of liberation, looking for meaning, beauty, and identity while capturing the landscape of self-invented people: a true walking work of art.
My role was never to judge and search for answers but rather to be the spark which starts a conversation. As a foreigner living outside of the Western culture, understanding and, most importantly, wanting to explore the basics of Korean culture, you know you’re in no position to critique. Therefore, with my work, I am the bridge between my subject and whoever is looking and trying to discover and capture their unnoticed beauty.

What is the future direction of this project? Will it still be ongoing or has it already completed its phased task for the moment?

When I began working on this project, I didn’t anticipate the number of individuals I would meet and photograph. However, I was determined to publish it in the form of a book, which I successfully launched at this year’s Rotterdam Photo Festival. The “Fearless Flowers” can be purchased as a Limited Signed edition on my website.

The project’s second component features moving image footage captured using a super8 film camera. Conversations were recorded and will be compiled into a short film that captures more stories. I anticipate releasing it this year, you can preview a teaser on my Instagram or website. I am always passionate about people and the stories they have to share. If you are interested, I would be thrilled to collaborate and explore new and diverse aesthetics while discussing identity.

Do you plan to stay in South Korea and continue your artistic career or do you see yourself somewhere else, doing something?

When I travelled back to Europe this February for exhibitions and some other projects, I had the pleasure of staying in Berlin, and I hope it will be possible for me to be between those two cities. There is still so much for me to explore in South Korea, and there are a few projects that I’m planning to do, including another short film, which focuses more on the changing traditional landscape of Seoul.

A big part of someone’s identity is always returning to their family heritage. On the 15th of January 1943, my great-grandmother was transported with other prisoners to the Auschwitz-Birkenau concentration camp back then, occupied by Nazi Germany Poland. On her arrival at the concentration camp, her identity was simplified to five digits “28955”. And my ongoing mix-media series focuses on the archives and my family’s history. I’m hoping to finally finalize this project. Helping to connect and restore a lost identity by looking for a way to continue the dialogue between past and present.

The works in BOOM TOWN have a certain nostalgic, “oldschool” digital quality, what was the intention there?

It all started about 30 years ago when I played this video game called MacPaint that was secretly training me to be a visual artist.  It sparked my interest in painting which led to me exploring animation, installation, making my own video games, and now producing this project BOOM TOWN coming to life on Feral File.

A few years ago I fired up an emulator and started playing with Mac Paint again. It was exactly as I remembered, and within the constraints of this tool from 1984, I found something interesting. Despite the limited color palette, the lack of an ‘asset store’, the super simple interface – I found a voice to talk about some of my more complicated feelings around our current moment using a tool that was long ago left behind. I think the fact that this tool was so straightforward and familiar helped me discover that voice.

I think about this discovery a lot, because today we are in a world where technological advancements cycle faster than our minds and bodies can comprehend. As soon as a website or a software interface becomes familiar, I expect it will change. A system of updates whether or not we like it. I don’t see this stopping. In this world of “update hell”, I wonder if any of us will ever catch up. I don’t think anyone really knows. Perhaps the more apt question is… how do we build a better world from systems that change before we even learn to work through their shortcomings?

Hailing from a small village in Longyan, Fujian, Greg Lin JiaJie left his hometown alone 11 years ago to study abroad. He likes to record the fragments of life through photography. Every time he returned to his hometown, he found out that people, things and scenery from his childhood memories were changing bits by bits. Under the policy of rural industrialization and the rapid development, much of the open land in his hometown has been replaced by factories. These factories created a polluted environment, which led to more land being abandoned. Villagers moved away from the village in pursuit of a more convenient modern life, and the familiar environment is gradually disappearing. He compared his hometown today to those photos of his hometown that he has taken in the past and asked, what caused such a big change in our lives?

The exhibition contains five walls of printed photography, displaying five aspects about “Homecoming”. On the first wall, Greg uses the largest print to showcase the traditional culture, customs and traces of past in his hometown, so as to express the beautiful memories of the good old days. At the same time, it projects his care for humanities, traditions and local culture.

On the second wall are three smaller frames of printed photographs juxtaposed to resemble a triptych. Titled “A Witness Tree”, the work is actually sequential pictures that Greg took while he slowly passed by the tree in a car. Unlike other of his works which he has to adjust the angle, the light and other elements, the spontaneity and originality of these pictures made him decide to keep them. From a distance, the protagonist of the work seems to be the old tree, but when the viewers look closely, they will find that the main story that Greg wants to tell is actually in the background. Behind the tree, some buildings are under construction, and it won’t be too long before the scenery will be completely different. Through the photos, he invites the viewers to imagine the future of this tree and this landscape, as well as the changes brought about by economic development and industrialization.

Starting from the third wall, the size of the photos on the wall began to get smaller. Plastered with photos of Greg’s hometown, these are the earliest works in his entire project Fujian. The purpose of the work is to simply document the landscape and the environment of his hometown from an aesthetic point of view. Greg hopes to keep these most pristine and straight-forward images in the exhibition as a symbol of his nostalgia and love for his hometown.

The theme on the last two walls gradually shifts from environment to humanities. On the fourth wall, Greg documents the living conditions of his old countryside home. The house is where he and his twin brother grew up, and the field is the property that once supported the household. After the new policy of rural industrialization was drawn, the industrialization of agriculture and the conversion of land into factories resulted in environmental pollution and economic impacts. These factors led villagers to leave the village to make a living in big cities. The roads that have been treaded, the land that has been planted, and the tools that have been used were abandoned and left unattended, and even became worthless in the eyes of others. Greg composed a swan song through images for his old house. The land that was once productive is now barren, and the house that was once full of people is now uninhabited.