Coeval Magazine

More than a year after his death, Coeval Magazine publishes a tribute to David Lynch by Enea Boccazzi. From his cinema it renders that fragmentary flow, that abstract and surreal destructuring, to help show how his work is branded in fire into the modus operandi of those who MAKE art.

Per Aspera, ad Episode 8. Twin Peaks: The Return.

David Lynch. An attempt to pay homage. More than a year after his death. Rendering black on white the obliqueness of that perturbing fragmentation, the decomposed stream of the psyche, that ran through us for over thirty years. Witness to a legacy: his works have branded the modus operandi of those who MAKE art.

The article is published on ‘s website, and Substack newsletter, under COiOTE’S FILM CRITIQUE.

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‘300120260820 - 10220261207’ by , part of COEVAL Magazine SS26 the “FRAGILE” Issue 3

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Opera, in work, is not treated as a relic of the past nor as a genre in need of cosmetic renewal. It functions instead as a framework for bringing different temporalities, materials, and forms of attention into contact. Rather than redefining opera outright, he subtly shifts its parameters, testing what it can still do and how it can be experienced today. He resets the terms of encounter: how sound meets image, how space carries time, how attention is earned.

Many of his projects take place beyond the theatre, moving through streets, archives, museums, and public spaces. In these contexts, proximity replaces spectacle and decor, and participation replaces passive viewing.

on the printed Issue 3 of COEVAL Magazine.

Interview by

work takes reproduction as both structure and condition. Through industrial remnants, fragmented bodies, and systems of containment, her sculptures navigate the tension between visibility and concealment, violence and preservation.
Repetition, translation, and duplication are treated less as formal strategies than as operations embedded in systems of extraction and control.

The exhibition ‘Pulgar’, developed at Matadero in Madrid, foregrounds a similar set of constraints. The building’s history as a slaughterhouse and later detention site introduces a layered relation between visibility and concealment, exposure and management.

Interview by