A viral video of an eight-year-old Bulgarian painting prodigy draws the attention of a major Canadian collector. Sent back to his home country decades after leaving, Mihail must assess the child’s work and decide whether she is a fraud or a genius, while confronting the ghosts of his past and trying to repair the distance between him and his daughter.

The project began in 2025 around Nina Roza’s presentation at Locarno Film Festival’s First Look. There, the film received the Jannuzzi Smith Award, recognising a project still in production and not yet completed, which opened the dialogue that led to this collaboration.

In the film, Mihail is asked to judge what he sees; the posters echo that premise by turning perspective into a graphic idea. One poster is dedicated to each main character, rendered as a two-colour serigraph. Together they form a dialogue about time and viewpoint: Mihail is framed small, gazing toward his distant past, while Nina is brought close, grounded in the present, sensing a future she cannot yet name taking shape.

Selected for Berlinale 2026 – Official Selection, Competition – Nina Roza will premiere on 16 February 2026 in Berlin.

A recent addition to the identity is a symbol in the shape of an abstract sun, designed to evoke the warmth, energy, and natural beauty of the region. This new mark unifies the brand across all channels and reinforces Ascona Locarno’s image as a vibrant, welcoming destination.

The rebrand builds on the foundation laid by Jannuzzi Smith in 2015, updating the visual language while staying true to the brand’s core values.

The work includes the redesign of the website, all printed materials—from flyers to brochures—along with audiovisual content and social media presence.

Through an integrated approach that combines brand positioning, visual identity, storytelling, digital transformation, strategic partnerships, community engagement, and ongoing evaluation, Jannuzzi Smith is helping to strengthen Ascona Locarno’s appeal and reaffirm its place as one of Switzerland’s leading tourist destinations.

Published by ARX Editions, the foresight and publishing division of ARX, a global network of smart minds providing cutting-edge solutions in complex design and engineering.

A book created by Jannuzzi Smith.

SHRI introductory video – https://vimeo.com/1007984020

The new assets will be used across print, on-site and on-screen media, including posters, banners, websites and other promotional materials. The aim is to enhance the Festival’s rich heritage while appealing to a modern audience and reflecting the dynamic nature of the event.

Creative Direction: Jannuzzi Smith
Photography: Tim Flach
Photon Wizard/Grip: Stuart Ashton
Digital Assistant/Gaffer: Matt Reay
Photography Assistant: Piotr Rulka
Cinematographer: Paul Woodd-Walker
Focus Puller: Josh Bosley
Post Production Stills: Tim Flach Studio
Post Production Motion: The East Wing
Editor and Colourist: David Scott
Sound: Daniele Prima, Fabio di Santo and Marco Romano, Amplitudo
Production: Luisa Vasques and Tom Wade, Peter Bailey Company
Animal Handler: Jim Clubb et al, Amazing Animals
Client: Fabienne Merlet and Oliver Osborne, Locarno Film Festival

A book by Demian Conrad with contributions by Bruno Maag, Fraser Muggeridge, Freda Sack, Holger Jacobs, Michele Jannuzzi, Richard Hollis, Robin Kinross and Sara De Bondt. Who the Hell is Müller-Brockmann? is prefaced by David Kilian Beck and includes an essay by Adrian Shaughnessy.

Published by Niggli.

Available from Amazon.

The Capitole in Lausanne, a legendary venue for the 7th art, will reopen its huge 750-seat auditorium on 23 February 2024. It will house two cinemas, a shop and a café and will be the main public outpost of the Cinémathèque suisse in Lausanne.

The project to transform the Capitole is being financed to the tune of CHF 21.6 million – CHF 5 million by the City of Lausanne, CHF 2 million by the Canton of Vaud, CHF 1 million by the Swiss Confederation and the remainder from patronage managed under the aegis of the Capitole Foundation, the formal owner of the building.

In addition to the restored large historical theatre, an additional cinema, sitting 140 people, has been created in the basement, alongside a new foyer featuring a aluminium walls that reflect the undulating effect of the stage curtains. The new built areas have been excavated underground to preserve the external presentation of the building. Furthermore, a mediateque, a shop, a small specialist bookshop, and a café-bar have also been included.

Jannuzzi Smith’s new signage aims to unify the conservation project with the new building by arranging differently coloured ionised aluminium letters directly onto the new concrete or historical decorated fresco walls.

Architect: Architecum, Visp/Montreux
Visual design: Jannuzzi Smith, London/Lugano
Signage production and implementation: Datacut, Goumoens-la-Ville

The film highlights the often invisible work behind engineering. Engineers play a crucial role in designing, constructing, and maintaining the infrastructure that we rely on every day. Their work involves extensive research, calculations, meticulous planning, risk assessment and collaboration with other professionals.

Dancers devote countless hours of practice and training to hone their skills and achieve the level of mastery required to perform on stage. Dance may appear effortless and graceful when executed by professionals, but it takes years of dedication, discipline and physical conditioning.

Both engineers and dancers exemplify the notion that success in any field often requires significant behind-the-scenes effort, commitment, passion, agility and talent. It is essential to recognise and appreciate the invisible work and dedication that individuals put into their chosen pursuits, as it allows us to better understand and value the accomplishments and contributions they make to society.

Can you see is asking the viewer to reflect upon the invisible work behind engineering.

Dancers: Adrien Tan and Valentin Genin (Cie Evolves)
Writing, production and live-action film direction: Mathilde Menusier
Dancers’ scenes filming and editing: Samuel Thomas, Pierre Basla
Motion Design: Christophe Davids
Music and sound design: Amplitudo
Creative direction: Michele Jannuzzi with Mathilde Menusier
A production by Jannuzzi Smith

Luma Arles is a cultural complex located in Arles, a city in the Provence region of France. It is an interdisciplinary arts center that encompasses various cultural activities, including contemporary art exhibitions, research facilities and artist residencies. Luma Arles aims to support and promote artistic creation and experimentation across different disciplines, such as visual arts, photography, design, and multimedia.

The project was initiated by Swiss collector Maja Hoffmann, who founded the Luma Foundation. The complex was designed by renowned architect Frank Gehry, Annabelle Selldorf and Bas Smet. It was officially opened to the public in 2020. Luma Arles occupies a former industrial site known as the Parc des Ateliers, which spans over 20,000 square meters.

The Report focuses on the impact of cyberattacks on people and society, demonstrating the complexity, magnitude and scope of the cyber threat to healthcare, from ransomware through disinformation to COVID-19-related cyberespionage. We were asked to design the Report, Executive Summary and associated “teaser” microsite, which aims to highlight some of the key issues dealt with in the Report. Infographics inject vibrancy and help explain the detailed findings in a clear and impactful manner.

Our starting brief was: day “26”; seed word “add”. The response is a typographic piece that plays on the two fundamental forms of digital typefaces: one rendered in pixels (of which there are precisely 26); the other as a smooth vector. The “result” is essentially a vector infected by a bitmap.

Jannuzzi Smith was selected for the first publication, IDEA 387. One year on, these publications form the basis of an exhibition (in association with by the Embassy of Switzerland in Japan) that is currently being held in Tokyo at various venues, with a selection of projects by Jannuzzi Smith at the FORMGallery (1-10-7-103, Jingumae, Shibuya).

The exhibition continues until November 3, 2020.

Luma is a mobile app designed to present the offering at the Parc des Ateliers in Arles, to connect art enthusiasts and foster a vibrant community of art lovers. The app provides a platform for users to share, discover, and discuss various forms of art, including paintings, sculptures, photography, digital art, and more.

Cinémathèque suisse acquired the Penthaz site in 1988, then in 2005 the Swiss Federal Council financed the construction of the new buildings. An architecture competition was held, won by EM2N in Zurich, with the project to devise interior and exterior brand and wayfinding signage awarded to Jannuzzi Smith.

In addition to areas dedicated to preserving the physical film collections, the Research and Archive Centre has a laboratory for film digitisation, areas devoted to restoring and cataloguing documents, a museum, a cinema equipped for all kinds of analogue and digital screenings, a library and media library, as well as areas for consultation, screening, and study – all connected to the institution’s digital archives.

Archivists, researchers, filmmakers, professionals, and visitors can now access the very rich heritage preserved by Cinémathèque suisse thanks to a modern, world-class resource.

David O’Mara has worked as a painter and decorator in London houses for eighteen years, having arrived from Ireland as a Fine Art graduate with artistic ambitions. While trying to gain some recognition for his practice, he began painting and decorating as a pragmatic and necessary segue.

David assumed his time at this occupation wouldbe limited, a mere stop gap, but as time passed and he built up skills and contacts, he came to realise this may not be the case.

To reclaim some engagement with his practice, David started bringing a small 35mm camera with him to work, photographing his co-workers and their shared labour. It caused him to reflect on his role as both colleague and observer, and how builders – and the wider working class – are invariably misrepresented, and ‘othered’.

In documenting their working lives for this series, David recognised the subjectivity of the photographic lens, and the ingrained bias of the art and publishing worlds in their role as mediator.

This book is the result of that journey to reconcile his practice, ambitions, and realities of working life. It is also a record of the close friends he has made over the years, and the jobs which have required their collective skills, energy and creativity.

This is something of a rare document, an honest and fair representation of working class life on building sites produced by a member of that cohort.

David’s essay in this publication reflects on the (in)visibility of builders and their labour – an inherent self-erasure as they complete a pristine job – and how this affects the way builders are perceived and represented.

David O’Mara’s broader artistic practice is concerned with unwanted and rejected imagery. The urban environment and its visual detritus are a constant feature, and he draws inspiration from walking the streets and selectively gathering discarded material culture. This chaotic and random collection of familiar urban signage, drawings, lists, maps, emails, and lost photographs create a confused jumble of voices, tones, messages, and meanings. The multiple narratives, fragmented and without context, form a collective portrait of urban life and its shared experiences. This exercise in psychogeography has appeared in various projects over the years, such as Point of disappearing, Days of nothing, Losing Ground and the detritus magazine series.

David is a graduate of Waterford Institute of Technology, and the National College of Art and Design in Dublin. He has exhibited and self-published his work in Ireland and the UK since 1995.

If you can piss … is a Detritus project.

Published by Jannuzzi Smith Editions

The Parc des Ateliers is a cultural complex located in Arles, a city in the south of France. It is home to the LUMA Foundation, which is a nonprofit organization dedicated to supporting the arts, culture, and environmental initiatives. The foundation was established by Swiss art collector Maja Hoffmann.

The Parc des Ateliers itself is a former industrial site that has been transformed into a vibrant cultural space. It includes exhibition halls, artist studios, a research center, and other facilities. The architecture of the complex is striking, featuring innovative designs by renowned architects such as Frank Gehry and Annabelle Selldorf.