Some years ago, an antique stereoscope was presented at one of Visionaire's weekly brainstorm sessions, inspiring a maelstrom of ideas among the magazine's editors. When the opportunity to focus an issue on Rio de Janeiro came along, Visionairerealized that stereoscopy provided the perfect format for the theme. A stereoscope allows the viewer to look at a slide made up of a simultaneous double-image of the same picture, creating a 3-D illusion of depth. In the nineteenth century, stereoscopes provided a primary source of imagery and news from faraway lands, and here, Visionaire 62: Rio takes a decidedly analogue approach to achieve the same mesmerizing effect, with a series of images by artists that interpret the city of Rio de Janeiro for 3-D viewing. The issue comes with a stereoscope designed by Visionaire in collaboration with the product design company Aruliden, which is packaged together with the slides inside a lenticular case. Among the contributors are Brazilian supermodel Adriana Lima photographed by the artist Richard Phillips; artist Marilyn Minter photographing supermodel Izabel Goulart; filmmaker Cary Fukunaga choreographing Capoeira; artist Marco Brambilla's collages of Rio; Maurizio Cattelan and Lea T; a Tony Oursler installation photographed by Vicente de Paulo; Jason Schmidt's portraits of Vik Miniz, Adriana Verajao and Eli Sudbrack; Solve Sundsbø with Brazilian parrots; Russian performance artist Fyodor Pavlov-Andreevich on Ipanema Beach; and Brazilian photographer Gabriel Mendes. The issue comes in two different cases, designed by two of Brazil's most famous artists: a 3D lenticular case by Fernando and Humberto Campana (Campana Brothers); and a mobile lenticular case by Beatriz Milhazes.
