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Lara Coromina Parcet

@laracoro

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@aforestworks
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Cassette design for Palm of Hand released by @paralaxe.editions, a one-off collaboration between Sweden-based sound artist Felisha Ledesma (@felishaledesma) and Lebanese ambient / dream-pop duo Snakeskin (@snakeskinmusic). The tape features the live recording of their performance at the 2025 edition of Malmö’s Intonal festival (commissioned by @intonalfestival and @irtijalfestival, the oldest experimental festival in Beirut). 
Released by @paralaxe.editions
Performed by @snakeskinmusic @juliasabra @fadi_tabbal @felishaledesma at @intonalfestival Printed in risograph by Do The Print @dotheprint in Barcelona Designed by @aforestworks (@laracoro + @anahabash) Typefaces by HAL Typefaces @haltypefaces Special thanks to @haltypefaces and @dotheprint for collaborating with us in this project <🖇️3 Limited edition available for purchase on Bandcamp – Part of the proceeds will be donated to a reputable charity in Lebanon tbd. by @laracoro
9
2 months ago
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Website design and visual identity for IBEX36. Cultura material = Valor global, an exhibition curated by Saúl Baeza for the National Museum of Decorative Arts, presented as part of MAYRIT 2026, Madrid Design and Architecture Biennial (@mayrit.bienal). “IBEX36. Cultura material = Valor global turns the museum into a corporation and its collection into financial assets. Each object becomes a speculative resource connected to global markets in real time, revealing how culture is subordinated to neoliberal logic, where everything is measured, compared, and sold.” 📍 National Museum of Decorative Arts, Madrid 🗓 Until October 4th Curated by: Saúl Baeza @does.work @visionsbymagazine @maybe.asap Graphic design: A Forest Works @aforestworks (Lara Coromina @laracoro and Ana Habash @anahabash) Technological development: Eliza Struthers-Jobin @iamelizasj Photos: @asierrua LED screens: Nuon Led 💎🕰️⚱️ Diseño web e identidad visual para IBEX36. Cultura material = Valor global, exposición comisariada por Saúl Baeza para el Museo Nacional de Artes Decorativas, presentada en el marco de MAYRIT 2026, Biennal de Diseño y Arquitectura de Madrid (@mayrit.bienal). “IBEX36. Cultura material = Valor global convierte el museo en empresa y su colección en activos financieros. Cada objeto deviene recurso especulativo, conectado a mercados internacionales en tiempo real, exponiendo cómo la cultura queda subordinada a la lógica neoliberal, donde todo se mide, se compara y se vende.” by @laracoro
4
3 months ago
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Graphic design for the new einaidea poesia (@einaidea) poetry series. ‘Lunario’ unfolds through two ritual gatherings this year —in mid June and late November— under the new and full Gemini moons: the sign of language, thought, and the spoken word, as well as of the fold and the double. The first gathering took place on June 16th at Eina Bosc, featuring @dianarangel, Mar Reykjavik (reading in collaboration with @irisellatorru), shirinsalehi_studio, and @lai_to_the_sound. Comissioned by @einaidea Curated by @ireiaoia and @mana.pinto On-site photography (7,8,9) by @nereis.fr Graphic design by @aforestworks (Ana Habash + Lara Coromina) 🌑📒 Disseny gràfic pel nou cicle d’einaidea poesia (@einaidea). “Lunario” es desplega en dos exercicis rituals que tenen lloc —a mitjans de juny i a finals de novembre— amb les llunes nova i plena en gèminis: signe del llenguatge, del pensament i de la paraula, així com del plec, del doble. La primera trobada va tenir lloc el dimarts 16 de juny, a Eina Bosc amb les intervencions de @dianarangel, Mar Reykjavik (lectura en col·laboració amb @irisellatorru), shirinsalehi_studio i @lai_to_the_sound. Encarregat per @einaidea Comissariat per @ireiaoia i @mana.pinto Fotografia (7,8,9) in situ de @nereis.fr Disseny gràfic @aforestworks (Ana Habash + Lara Coromina) by @laracoro
9
3 months ago
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Diseño gráfico y maquetación de ‘Químicas piedades’, escrito por Marta Echaves, publicado por cielo santo y con prólogo de McKenzie Wark. “Una fábula política y afectiva que sigue el recorrido de la k3t4m1n4 desde su origen como fármaco militar hasta convertirse en la dr0g4 y antidepresivo de nuestro tiempo.” Es el cuarto ensayo de la colección ENLACE, ya disponible en librerías y en la web de www.cielosanto.org 🟦🌀🪽 Escrito por @laechaves Prólogo por @mckenziewark3000 Corregido por @sarcodexia Diseño de la colección: @laracoro y Ariadna Serrahima (@if.publications) Maquetación: @laracoro y @anahabash Ilustración de portada por @samirrnashatt Graphic design and layout of ’Químicas piedades’, written by Marta Echaves, published by cielo santo, foreword by McKenzie Wark. This is the fourth essay in the ENLACE collection, now available in bookstores and on the website www.cielosanto.org 🟦🌀🪽 Written by @laechaves Foreword by @mckenziewark3000 Proofread by @sarcodexia Collection design: @laracoro and Ariadna Serrahima (@if.publications) Layout: @laracoro and @anahabash Cover illustration by @samirrnashatt by @laracoro
8
5 months ago
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Title and credits design for APRIETA by MANS O, the new music video for track #7 from his latest album DESMANTELA. Shot four times slower🌫️ Character+music: MANS O @mans_o Shot by Luís Sobreiro @sobreir0 Trumpet solo: Axel Kaner-Lidstrom @axelkanerlidstrom Edit: Ovo Estrelado @0voestrelado Color: Angela Morant Manau @angm0ma Graphic design: @aforestworks (Ana Habash & Lara Coromina) Motion design: François Andrivet @andrivet merci Roman <<3 by @laracoro
2
6 months ago
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Diseño gráfico para «Una resistencia indetectable», exposición comisariada por Paula Noya de Blas, proyecto ganador de la convocatoria Se busca comisario. En la Sala de Arte Joven de Madrid hasta el 3 de mayo de 2026. Comisaria: @paunoyadeblas Artistas: @nora_aurreko , @noelacove, Dj_Sônia (@la_millano y @bgteran___), @jotamombaca, @julia.spinola79, Ura / Unz (@lourdes._duran), @mtartwijk y @_vives_ Diseño expositivo: @absolutelygem Diseño gráfico: @laracoro + @anahabash Programa público: @blanc4rias, @martagalindogarcia, @higomental y @_elizabethduval Producción y montaje: @davidcueror Tipografía del título: GAP de @haltypefaces y @studiohanli Muchas gracias a @paunoyadeblas por invitarnos a trabajar en este proyecto tan bonito📦✂️🚨📏🤎 ——— Graphic design for the exhibition “Una resistencia indetectable”, an exhibition curated by Paula Noya de Blas, winner of the Se busca comisario open call. On view at the Sala de Arte Joven, Madrid, until May 3rd, 2026. Curator: @paunoyadeblas Artists: @nora_aurreko, @noelacove, Dj_Sônia (@la_millano y @bgteran___ ), @jotamombaca, @julia.spinola79 , Ura / Unz (@lourdes._duran), @mtartwijk y @_vives_ Exhibition Design: @absolutelygem Graphic Design: @laracoro + @anahabash Public Program: @blanc4rias, @martagalindogarcia, @higomental y @_elizabethduval Production and Installation: @davidcueror Title typeface: GAP by @haltypefaces and @studiohanli Thanks @paunoyadeblas for inviting us to work on such a beautiful project 📦✂️🚨📏🤎 taken in Madrid,Spain by @laracoro
5
7 months ago
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Diseño gráfico para «Una resistencia indetectable», exposición comisariada por Paula Noya de Blas, proyecto ganador de la convocatoria Se busca comisario. En la Sala de Arte Joven de Madrid hasta el 3 de mayo de 2026. Comisaria: @paunoyadeblas Artistas: @nora_aurreko, @noelacove, Dj_Sônia (@la_millano y @bgteran___), @jotamombaca, @julia.spinola79, Ura / Unz (@lourdes._duran), @mtartwijk y @_vives_ Diseño expositivo: @absolutelygem Diseño gráfico: @laracoro + @anahabash Programa público: @blanc4rias, @martagalindogarcia, @higomental y @_elizabethduval Producción y montaje: @davidcueror Tipografía del título: GAP de @haltypefaces y @studiohanli Muchas gracias a @paunoyadeblas por invitarnos a trabajar en este proyecto tan bonito📦✂️🚨📏🤎 ——— Graphic design for the exhibition “Una resistencia indetectable”, an exhibition curated by Paula Noya de Blas, winner of the Se busca comisario open call. On view at the Sala de Arte Joven, Madrid, until May 3rd, 2026. Curator: @paunoyadeblas Artists: @nora_aurreko, @noelacove, Dj_Sônia (@la_millano y @bgteran___), @jotamombaca, @julia.spinola79, Ura / Unz (@lourdes._duran), @mtartwijk y @_vives_ Exhibition Design: @absolutelygem Graphic Design: @aforestworks (@laracoro + @anahabash) Public Program: @blanc4rias, @martagalindogarcia, @higomental y @_elizabethduval Production and Installation: @davidcueror Title typeface: GAP by @haltypefaces and @studiohanli

Thanks @paunoyadeblas for inviting us to work on such a beautiful project 📦✂️🚨📏🤎 taken in Madrid,Spain by @laracoro
16
7 months ago
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Diseño gráfico y maquetación de 𝐹𝑎𝑙𝑙𝑜 𝑑𝑒𝑙 𝐶𝑖𝑠𝑡𝑒𝑚𝑎, escrito por Marquis Bey y publicado por cielo santo. “𝐹𝑎𝑙𝑙𝑜 𝑑𝑒𝑙 𝐶𝑖𝑠𝑡𝑒𝑚𝑎. 𝐸𝑛𝑠𝑎𝑦𝑜𝑠 𝑠𝑜𝑏𝑟𝑒 𝑙𝑎 𝑛𝑒𝑔𝑟𝑖𝑡𝑢𝑑 𝑦 𝑒𝑙 𝑐𝑖𝑠𝑔𝑒́𝑛𝑒𝑟𝑜 descompone las lógicas de la identidad cuestionando la relación inquebrantable entre la blanquitud y lo cisgénero. La negritud y lo trans socavan la transparencia, la inmutabilidad y la coherencia de lo cis para una propuesta política fugitiva y de desborde. «¿Qué ocurre cuando une se ve atrapade por lo cisgénero, lucha por liberarse de sus garras, deseando no caer en otras manos –así sean las propias– sino tan solo caer, caer y caer?»” Es el tercer ensayo de la colección ENLACE, ya disponible en librerías y en la web de www.cielosanto.org Escrito por Marquis Bey Publicado por @cielosanto__ Prólogo de _t0rcitalid4d_ Ilustración de portada @eiiiielga Corregido por @sarcodelxia Diseño de colección de Lara Coromina con Ariadna Serrahima @if.publications by @laracoro
5
9 months ago
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Some of the printed materials designed for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at @coacatalunya during October 2025. “Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.” Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete. From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new. biennalcoda.com @biennalajac Typeface: CMM Coda by @commatype Code by @claralayti Risograph printing by @dotheprint Curated by @naiaralbizua @carrrmi @0bjet.a Organised by @agrupacio.ajac Coordination AJAC: @danimonss @guillem_h All photographs by @nataliavaquero_ except 5th slide by @simoneemarcolin by @laracoro
4
10 months ago
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Graphic identity and website design for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at @coacatalunya during October 2025. “Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.” Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete. From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new. biennalcoda.com @biennalajac Typeface: CMM Coda by @commatype Code by @claralayti Risograph printing by @dotheprint Curated by @naiaralbizua @carrrmi @0bjet.a Organised by @agrupacio.ajac Coordination AJAC: @danimonss @guillem_h by @laracoro
11
10 months ago
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Unbelievable! *We Live on the Razor’s Edge* is finally seeing the light of day. The most awaited thesis of the year – according to my mum. A manual for nothing at all, an infamous leap for humanity, but an extraordinary step for my research on the performativity of the law, which is no small thing if you ask me. What this bible-looking book contains is none other than a long research on the performative expression of law from both a linguistic and theatrical perspective. In other words, it explores how law’s authority depends on performative acts, how these acts produce blind belief, and how blind belief, in turn, might threaten the critical thinking essential to justice. This, I’m afraid, might not be a cure to worlds’ ailments, but it stands by the premise that art is a space for thinking the world. Or, as I wrote to close my introduction: “In the same way that art should not aim to propose solutions, this text does not bring with it any evidence. There is nothing to prove here, as it does not intend to participate in a universe of distrust. On the contrary, [I have no space for the whole quote, so read the rest in the carousel].” Big shout out to the incredible design of my best friend and favourite designer Lara Coromina @laracoro , who reads my mind and is basically a design magician; to Parellada Enquadernadors @parellada.enquadernador for an impeccably precise and precious piece of work; to my master’s teachers, thesis tutors, and Pilar Medina for their careful and wise advice; and to Art Hoti @art_hoti for being my intensive emotional support system as well as the kindest proofreader. Lastly, I’m excited to share that I’ll be presenting this book with my dear Cecilie Fang @ceciliefang and her essay *It begins in your bank and extends to your throat* at Page Not Found @____page_not_found____ on the 11th of February. I’ll be selling only a few last copies, but I’ll be doing a little performative lecture to entertain y’all, so come to give us support, and stay for the drama. More news soon. Bye! taken in Den Haag, Netherland by @laracoro
19
a year ago
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Algunas páginas interiores de Blandito blandito, el primer libro de blanca arias, publicado por cielo santo🤲🏼 “Blandito blandito ¿Que le hacemos les feministas al arte? propone un recorrido por diversas texturas de lo blando, entrelazando las prácticas artísticas contemporáneas con los feminismos para sugerir un paisaje de pliegues frente al mundo de la firmeza. ¿Es posible ablandar el museo? ¿Pueden las entrañas imponerse a la mirada? A partir de estas preguntas blanca arias conjura un archivo de gestos tiernos que desafían la rigidez del orden patriarcal.” Escrito por @blanc4rias Publicado por @cielosanto__ Prólogo por @alba_mayol_ Corrección por @sarcodexia Diseño y maquetación @laracoro by @laracoro
3
a year ago
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