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Dominika Hadelova and Aldo Buscalferri
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What is Matto?
Matto is an independent magazine and a creative studio. We see it as a creative organism that is constantly evolving based on our personal impulses and desires. The main component of the magazine is contemporary art; we feature studio visits and conversations with creatives themselves, in person as much as possible. For us, the magazine is really about encounters. And it’s personal: every time we look back at an issue we feel like it’s a microcosm of our inspirations and personal lives at that time.
What makes it different from the rest?
I think all the independent magazines are different from one another because they are often so niche! Maybe we can only say that we would hope that the difference between our magazine and other contemporary art magazines would be this personal approach; this emphasis on the texts being relatable, unique. That there is not such a separation between a conversation discussing “contemporary art” and daily life. Maybe the difference is also a sort of ambiguity, we have the impression that the magazine still eludes definition. How would you label it? What is it about?
Who makes Matto?
The two of us, Dominika and Aldo. Occasionally, we have this amazing Swedish person Uma to help us at moments like distribution time, making us feel very happy!
Who reads it?
We never really know!
Why do you work in magazines?
I have asked this question to Aldo and he replied, “Maybe because when I was a kid I really wanted to have a kiosk”. I also remember my mum having piles of magazines in her wardrobe; I would pull them out and put them on the bed and pretend I had a newsstand.
Aside from the print magazine, what else are you involved in?
We have a creative studio! We take photos for clients and make videos. At the moment we are working on a photo book for a friend. In September, we will be making a book called Material Ways of Seeing as part of our residency at Lafayette Anticipations in Paris.
What would you change about Matto if you could?
We would like to have more working space — which is not so easily accessible in Paris.
Where do you see Matto in five years?
I don’t think we think like that. No idea!