Pirelli Annual Report 2019 - The Editorial Project

Annual Report 2019
The
Road
Ahead
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The
Road
Ahead

The just published 2019 Annual Report is part of a 10 year tradition and was entrusted to the talent of two great writers, Emanuele Carrére with his testimonial “Everyone sees noon at his door” and John Seabrook with his non-fiction work “The Zoom Brigata”. As well, there are eight panels by the visual artist Selman Hoşgör with a vision of “The Road Ahead,” that is the road and the changes awaiting the company and all of us. Above all, they were given the theme of resilience, the ability to not only deal with change but to transform it into an opportunity, just as Pirelli has done throughout its 150 year history, maintaining its strong identity on the one hand while constantly adapting its business model, products and services to the evolving context it operates in.
Conceived before the Covid-19 emergency, the idea of resilience at the heart of the project gained significance in light of the profound changes imposed by the pandemic and, in fact, this has found its way into both writers’ texts.

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The
Visual
Project

Selman Hoşgör is a London-based multidisciplinary visual artist. He completed his undergraduate degree in graphic design at Kadir Has University in Istanbul. He attended Central Saint Martins in London where he completed a course in illustration and typography.

JOB DESCRIPTION

Hoşgör’s work is part of his identity. His style is colorful, fun and dynamic. His main motivation for those who see his work is to be astonished as much as they have fun and find something extraordinary in it. Regarding the collages for Pirelli Annual Report 2019: «The fact that our paths crossed with Pirelli definitely made me very happy. Because, as much as the works themselves, who we bring these works with together, adds a meaning to it. Pirelli being a world leader deeply motivated me. Besides, topics such as speed, sustainability, innovation and artificial intelligence are both on Pirelli and the world’s agenda. Our chance to bring a design-led approach to these critical issues was to work together».

Selman Hoşgör
Go to the next content Reflections

01 Reflection of EMMANUEL CARRÈRE

Born in Paris, is considered one of the most influential contemporary writers. In his later literary works, Carrère drew from his cinematographic background exploring reality to capturing its simple terribleness. Among his works, The Adversary (2000), Other Lives But Mine (2009), Limonov (2011) and The Kingdom (2015).

Noon
At Our Door

by EMMANUEL CARRÈRE

There’s a French proverb that I like: "Everyone sees noon at his door." Translation: just as our perception of time varies depending on where we are, so our perception of things varies depending on our personal situation.

To put it more bluntly: we see our own interests first and believe that our own problems are the most important.

Philosophically, this is disappointing: we would like more altruism and higher views. Humanly, however, I find it rather reassuring that everyone sees noon at their door. It’s reassuring because it’s human, and that’s why since the beginning of the confinement (you didn’t seriously imagine we were going to talk about something else?), I decided to write a little text every day about how a person sees noon at their door, right now.

In the beginning, I used to do that with people I know, friends who I call with or Skype. Those who are in Paris, those who are in the country, those who are alone, those who are with their family or with their partner, those who have sick or dead people around them, those who, like me, are still virgins in this matter... And then I started interviewing my neighbours in the building, and then people in the street. Those queuing in front of the supermarket, the homeless, the small dealers who operate under my windows... I collected a few dozen micro stories, of very uneven interest, but, hey, it’s my way of practicing this new literary genre that is the confinement journal.

Now, if you want to know what noon looks like on my own doorstep and what I’m really busy with, the answer is: a book. Not the beginning of a book: the end of a book. I’m well aware that there are more important things in the world, but there are none more important to me. This book I am finishing is a book about yoga – that’s what it’s called: Yoga. It’s a funny book about yoga because it also deals with jihadist terrorism, the refugee crisis and a melancholy depression that caused me to spend four months in a psychiatric hospital where I was subjected to 14 electric shocks.

A book about yoga, then, but one could also say: a book that, from a yoga perspective, tells of five years of a life. With this book, I had reached the very precise moment when you start putting commas back in the places where you took them out – a sign that doesn’t deceive: if you keep going, you’re going to damage the text instead of improving it. I had promised to send the final file to my publisher in mid-April, I had promised myself I’d finish it by mid-April no matter what, but what happened was that on March 17th we all, in France, found ourselves confined, and so it was that, confined to my Parisian apartment, between two chess games with my 13-year-old daughter (she starts beating me), I brought mid-April the last corrections to this book.

Each time I open the file, I feel an unprecedented anxiety. My question is not so much: is it good? – I normally ask myself this question, it’s a typical and reassuring question in normal times – but: isn’t it outdated? A book from the world before, a book that would perhaps have been interesting in the world before, but which, if it doesn’t incorporate this enormous thing that has happened to us in the meantime, risks being, yes, out of date.

I’ve never had that feeling, nor has anyone, I think. We were all stunned by the fall of the Twin Towers, the mightiest historical event that had ever happened in our lifetime, but no writer, I think, thought that his novel about a love triangle or the first disillusions of his childhood had become obsolete after September 11, 2001. So what then? So it doesn’t matter: I’m continuing, correcting, putting the finishing touches to my book on yoga. It may sound ridiculous but - if yoga is what I think it is- , it’s not, and neither is trying to describe, not so much a little life, but through a little life, the aspiration to be who you want to be and the destructive forces that prevent you from being: our struggle, more or less, all of us.

I go on like this: this is my form of resilience. This morning, I fell back into my scrupulous squaring of the text on a passage in which I recount a dinner at a friend’s house in December 2014. We’d had a lot to drink and, as we were leaving, on the doorstep, we had a rather funny discussion about whether to shake hands, as we’d been doing until now, or to give each other a kiss. We wondered how and when exactly the habit of kissing male friends had spread, a habit which in our remote youth would have seemed to us both to be completely ridiculous. Finally we kissed. A month later, a friend named Bernard Maris was murdered in the attack on Charlie Hebdo. And five years later, I was seized with heart-wrenching nostalgia when I re-read that passage. For that time when we could hesitate between a handshake and a kiss, that time when we kissed so easily in both senses of the word: by taking the other one in our arms or by putting our lips on his cheek. More and more of us are afraid that time is gone, that it will not come back, that even when the confinement is lifted we will no longer be able to embrace each other.

02 Reflection of JOHN SEABROOK

John Seabrook is the author "The Song Machine: Inside the Hit Factory," "Nobrow" and other books. He is a longtime staff writer at the New Yorker magazine. He and his family in New York City.

The Zoom
Brigata

by JOHN SEABROOK

I was in a Zoom session recently with a group of ten old friends -- a regular virtual meet-up that began with the pandemic, and I hope will continue when it ends. Each of us was telling stories about life in our separate places of self-imposed isolation. Strict schoolmaster that Zoom is, the software doesn’t allow for over-talk, so we take turns amusing each other by telling stories, bad jokes, and recalled exploits from pre-pandemic days. There’s a premium on wit and storytelling. 

The structure of the conversation made me think of a wonderful book -- The Decameron. (Later, when I saw the book trending on Twitter, I realized others had the same thought.) I first encountered the book and its creator, the Florentine poet and author Giovanni Boccaccio (1313-1375), long ago in a university class on the Italian Renaissance. In retrospect, it was a class that changed my life.  

Now, sitting in front of my laptop, with the faces of my squad arrayed around the edges of the screen, I had the strange sense that this 21st century mode of communication was zooming me back to that medieval villa in Fiesole, outside Florence, where the “brigata” in Boccaccio’s story (ten characters, the same number as our group) are sheltering in place to escape the La Pestilenza -- the Black Death, the global pandemic that killed more than half of Florence’s population, most between March and June of 1348. Dioneo, Philamata, and the other characters pass their days in the villa’s garden and their evenings telling each other stories that recall the pre-pandemic worldly delights -- just like us. In our regular Zoom sessions, we had been unconsciously doing the same thing as the brigata in Boccaccio’s tale, which was first published in 1353.

“Have any of you read The Decameron?” I asked, when it was my turn to speak. No one had, although several in the group had seen the raunchy Pier Paulo Pasolini film version from 1971. So, since I had the floor, I told my story about the book.

As a young man, I had planned to be an engineer, like my father, or a scientist; instead I became a writer (like my mother) devoted to telling stories about people like my father -- scientists and engineers. I try to look for the human element in complex and technical subject matter -- the soul inside the machine. Artificial intelligence has made terrific strides in the last decade, as a result of the switch to deep learning-based neural nets, but for all its processing power, A.I. is still in its Dark Ages; it lacks “humanism,” the core philosophy embedded in the Renaissance.

Much of the credit (or blame, as my father saw it) for this realignment of my career goals belongs to Boccaccio, and that class, and the man who taught it, Professor Anthony Grafton, of Princeton University, who is the single most learned person I have ever known. The professor’s first lecture concerned The Decameron, and Grafton began by reading from the Preface, a vivid and horrifying account of the effects of the pandemic on Florence.

“But why begin a course on the Renaissance with the Black Death?” one of my friends asked, his face momentarily replacing mine on the Zoom screen.

“Because without the Black Death,
nothing would have changed”

I answer. My friend’s face looked doubtful.

I recalled for the group the professor’s remarks on how the plague had unleashed technology. With so many scribes dead, experiments were launched in machine printing, leading Gutenberg’s world-changing 1452 invention, the printing press.

“Did you know that  The Decameron was one of the first books printed?”“But what does The Decameron have to do with the Renaissance?” one of the brigata asked. “Only everything,” I replied. “Think of it: the world is ending, and five years later comes the first epic prose masterpiece of modern western literature. The canon begins with Boccaccio. And the moral of his story is, ‘As long as there is storytelling, humanity will go on.’ Even the Black Death couldn’t quench that life force. Is there a better example of human resilience in the face of unimaginable adversity than the Decameron?” “You mean, ‘Creativity Goes On,” someone put in, quoting Apple’s post-pandemic commercial. “I’m saying that it takes a crisis to remind us that we all possess this essential human gift -- storytelling. Which is why,” I said, summing up my tale, “I became a writer, and not an engineer.” Sorry Dad, I was young and foolish. “So take heart, friends,” I went on, easily slipping into the role of Dioneo, the Boccaccio stand-in, who gets to have the last word in the book. “We are saving the world, one Zoom session, Tic Toc video, and Google Hangout at a time, by telling each other stories. This is The Decameron in real time.” We signed off, promising to meet next week. As our virtual villa evaporated, so did those leafy medieval gardens in Fiesole where Boccaccio’s characters pass the heat of the day, until the storytelling begins again.

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Pirelli
2019
In Images