One of the zine’s central focuses was to “create new narratives,” and this incentive was implemented in a variety of ways. Firstly, despite being a photographer himself, Igor wanted to bring a range of creatives from different media, from 3D artists, illustrators to designers, onto one platform. and although Igor knew many of the artists before the zine, many specifically sent in work he had never seen before.
Second, instead of assembling the work of a single artist, Igor placed the work of different creatives side by side based on connections between color, texture, shape, and even more subjective nuances. As Igor explains, “New meanings will always emerge in this exchange, which I think is a way of allowing each person to adapt and create their own narrative as they turn the pages.” But it’s not such a simple approach, as it may seem at first. “The paradox of editing multiple media is that the more you develop a visual narrative, the more it may not fit the final edit. It’s a complicated puzzle,” explains Igor. In a particularly resonant pairing, an artwork by Tadáskía sits alongside a photograph by Luiz Roque. The abstract, almost animalistic, organic forms of Tadáskía’s work contrast intriguingly with the modern, elegant image of a dog on a cream-colored leather seat.
With such a unique approach to format, the need for a design identity that pays particular attention to detail arose. Nobody was a better fit for this assignment than Felipe Rocha. Felipe, a designer who participated in the same residency 10 years ago, has also designed some editions of Colours, the influential magazine also born in Fabrica. With Extincao? Felipe focused on a look that highlights the artist’s works and ended up with something akin to an archive, highlighting text and images.
Concluding our conversation, Igor says: “What has always fascinated me about publications is that they help to understand how the past influences our perception of the present and future and how our connection to these different times is made possible through images.” He continues: “While there are major art and photography titles in Latin America, there is more urgency than ever to create and advance independent platforms that can connect and nurture Brazilian creatives.” Hopefully in a future where publications like Extincao? thrive, Brazilian artists—like Igor—flick through an archive of publications will find something that speaks to them and their practice personally.