November 03, 2016
Joana Seguro – An Eclectic Life
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Lumin’s founder on living creatively and finding the past within the future.
To kick off our new series, we sat down with multi-talented Portuguese creative Joana Seguro, the founder of electronic music and new technology production company Lumin. Joana spoke to us about her innovative, discipline-straddling work, making a life in Berlin, and the simple act of celebrating the past and the present in your home.
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Tylko Type01 White Bookcase
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You’re originally from Portugal, but you spent 20 years living in London and have recently settled in Berlin. What made you decide to move to a new place?
J: I lived in London for a very long time and I’m still somehow in between the two places. I moved to Berlin only recently – a few months ago. I had always seen London as my base – a place where I go back after my travels, my home. But it’s recently become very unsustainable as a city. It is still incredibly culturally relevant and a great place to work, but it’s becoming a difficult place to live.
Do you think Berlin has become an alternative to London – a new city where all creatives and artists want to live?
J: Well, London is a hard place to live but you can also do so much there. The possibilities are amazing! But you have to fight for everything. When I was younger, I had the strength to do so – now I’m more like ‘Hey, where’s my quality of life?’. Berlin is unique in that sense. It has always been an edgy and a creative city but it also has a very special connection with nature. There are so many parks and trees. And there is certain quality of life attached to it. It’s very human-oriented and welcoming.
People are always surprised when they come to Berlin. It doesn’t always give the best first impression. What was yours?
J: I came here for the first time in 2001 and I hated the city. I thought it was so ugly [laughs]. You know, I’m from Lisbon – everything is so beautiful there. You walk around and it’s like a film set – limestone pavements, beautiful architecture, colourful tiles. It’s warm and bright. And then I arrived here and I thought ‘This is REALLY grey’. It felt rough. But I’ve realised that over the last few years a whole bunch of my really close friends have moved to Berlin – and they’re really liking it here. I think this city is human. It’s harsh and in-your-face, but it’s very real. I decided I should give it a try.
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What’s your background? How did you end up doing what you are involved in right now?
J: Well, I studied biochemistry in Lisbon. And then I got a degree in pharmacology in London. I love science – look at my books! But in my free time, I’ve always been involved with music, film, theatre. They are my real passion. Growing up in Portugal, I didn’t really think you could have a career in culture. When I arrived in London, one of the things I was most excited about was that there were all these opportunities. I joined London University Theatre Company and in six months I produced three plays!
Your projects are always fluid and multi-disciplinary – an intersection of various artistic practices. Where does it all come from?
J: I’ve always felt really comfortable with the idea of being in a laboratory and doing experimentation. That might explain my degree in science! In my head, though, I probably wanted to be more of an alchemist than a chemist [laughs]. Doing those intangible, esoteric projects and working with breakthrough ideas – against the reality of the classical research environment… I like new ideas and innovative work. When I think back at what has changed in my lifetime – the technology and the media are everywhere and everything to us. This has progressed in such short period of time. Being able to witness this is amazing. I find it really fascinating.
It seems like music is a recurring theme in your work…
J: Definitely! I like doing a lot of things – going to exhibitions, the theatre or reading books. But music was really something that changed my life. There wasn’t much of a music scene where I grew up. I started going out in London – I remember my first club experiences and listening to very experimental electronic music. It really opened me up.
You have a pretty impressive collection of records and CDs.
J: When you look around my apartment, I must seem like such a gatherer! All these CDs and records… I have even more in the basement. You can pick any one and it will have a memory attached to it – which shop I got it from or maybe it’s from a friend of mine or an artist I worked with. They are all traces of my life. It’s like this with everything I own. Look at my shelf – it’s filled with weird electronic music records but also books on biology, planets and art [laughs]. This diversity and interdisciplinarity is reflected in all my projects.
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I wanted to ask you about your apartment as well. You work a lot with aesthetics and creative ideas. Do you follow design trends?
J: Not really. I’m really intuitive. I’m more like, ‘Okay, I like this thing so I’m gonna buy it’. I was looking for shelves and I saw Tylko and I thought – ‘Well, I need them high, I don’t want them to be IKEA, and I want them to hold all these books and records which are important to me.’ It’s more about finding a solution to whatever problem I have at the time. I will never make a moodboard and plan what to do with my space.
Your professional life is filled with innovative ideas, breakthrough technologies and often radical artists – but your apartment feels very cosy and homey! Is that intentional?
J: My work is very eclectic – but that’s because I, myself, am very eclectic. I’m not at all into that Berlin minimalism, “all-black-and-white” style. I like the sense of home. It’s very important to me. I know creatives and artists who have all those tech things set up in their apartments, but I feel like I want to leave some space in my head. I don’t want it to be either or. There are still real world objects and nature out there. My whole flat is filled with memories – it’s a lifetime of gathering things and putting them together. Some of these pillows were in a flood which destroyed one of my apartments. Or this card – the one with two white puddles – an artist I worked with gave me this for my birthday. It’s really ridiculous. She wrote: ‘Let’s hope we never see a couple of these up a tree. Happy Birthday’. I take it with me everywhere. The common vision of the future is that there will be no past in it. I don’t agree with that. The joy of living in Berlin, Lisbon or London is that the ‘old’ is very present. I believe that the good thing about the future is that there is so much past in it.
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You can learn more about Joana’s groundbreaking work by visiting www.lumin.org