Féros | Issue 01 (NSFW)

Editor in Chief, Clément Gagliano expresses his infusion of illustration, artwork and poetry, resulting in the aesthetic experience of erotica, which focuses on the mystery and excitement of seduction, straying far from the vulgar conversations surrounding sexuality. With prior addiction and love for magazines such as L’imparfaite, Edwarda, Irene fanzine, and the Berlin based Pornceptual, further combined with the ever-growing realisation of the lacking of contemporary artistic exploration of erotica, Féros was born.

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Beginning his career in the publishing industry as an intern for Esopus magazine, Gagliano developed an understanding in regards to the majority of art books withholding a certain specialty – their own essence, while somewhat simultaneously including a multiplicity of surprises, channeling astonishing levels of diversity when subject to the making process. As his career progressed, the focus on the beauty of artistic books ever flourished and finally came to be with Féros, after conversing with co-creator Florence Andoka and realising the need to create a contemporary art magazine, focusing on aesthetics & erotica as there was no fulfilling of this form in France.

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Gagliano explains the lacking when exploring into such an object purely focusing on contemporary art, a publication that is visual without the inclusion of advert’s sadly saturating the majority of print publications today. Therefore, Féros is unique in its offering of a radical contemporary arts-orientated magazine, rather a visual object with inserts, titled fetishes, created for the audience to take to the privacy of their home where they will then make their own mind up regarding the art depicted inside.

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Not to worry if you are a non-French reader as the exquisite artworks speak for themselves.

 

“Here, you have this rather small object, a 64-paged book, under blister, with a simple unified cover, almost unappealing, just describing itself, on the back, artist’s names, and yet inside, according to you, unspeakable secrets.”

 

The content predominantly compiles and offers, as diverse as it appears, the aesthetic experience of erotica. “Féros might be crude on the inside, but it is only a reflection in the mirror” states Gagliano, highlighting the “enter at your own risk” ideology that flourishes through the intense messages you’re bound to uncover when immersing within.

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The artists whose works are included were specifically chosen as if curating an exhibition. Works go back no further than the year 2000 and medium is never restrictive, with Paul Kookier’s photography, Lise Stoufflet’s paintings and Cath Orain’s embroidery decorating the publication. The first issue foreshadows the topics and mediums of exploration within Féros’ future, delving into the experiences we may encounter first-hand through their transitioning into aesthetic artifacts.

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A confident factor consistently embedded is the straying from the explicit shock factor, instead seducing the viewer through the simple cover, enticing you to take a peak inside.

“I like the idea of somehow creating a physical world you can carry in your bag,” states Gagliano, there is no doubt in our minds Féros has accomplished that and more.

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Alice Harrison

Alice Harrison

Author at People of Print
alice@peopleofprint.com
Alice Harrison

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alice@peopleofprint.com