Aesthetic Nomads

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A fashion designer/photographer, an entrepreneur/writer, and their dog explore the world as Aesthetic Nomads in search of the fascinating narratives that lie behind everyday beauty to create stories about real people, destinations, and homes.

Los Angeles has always understood that beauty works best when it looks accidental.A red car under hard light. A pink wal...
19/08/2026

Los Angeles has always understood that beauty works best when it looks accidental.

A red car under hard light. A pink wall. A bookshelf arranged somewhere between intellect and theatre. Rooms where every object seems to have been found, placed, reconsidered, and then allowed to pretend it was always there.

This is the city at its most persuasive: not the obvious Los Angeles of billboards and palm trees, but the more seductive one of surfaces, taste, interiors, collections, and carefully unmanaged ease.

And yet the unease remains.

Under the lacquer and linen, beneath the gallery white and the perfect bloom, Los Angeles keeps rehearsing the same old promise: that time can be styled into submission. That age can be edited. That beauty can be maintained if one keeps adjusting the light, the body, the room, the face, the narrative.

The photographs are beautiful because Los Angeles is beautiful. They are interesting because beauty here is never innocent. It is aspiration, camouflage, denial, and occasionally grace.

Los Angeles — The Fear Beneath the Shine
Mr Watson’s Sidewalk Diaries #9 — Bottles, Fillers, and Other Defenses Against Mortality
Written By Hans Pauwels
Images By REINHILDE GIELEN

Los Angeles is not a city. It is a full-time attempt to keep time at bay. Here, it is treated like a badly behaved dog: ...
17/08/2026

Los Angeles is not a city. It is a full-time attempt to keep time at bay. Here, it is treated like a badly behaved dog: it is kept off the designer furniture.

Photographs tell the story better than most humans would. There is beauty, of course. Los Angeles is very good at beauty. Galleries, flowers, hats, vintage cars, shopfronts, sunlight on white stucco, dogs who know more than they say. But underneath the shine, you detect a tremor. The fear of thirst. The fear of ageing. The fear of the unfiltered face. The fear that time, left unsupervised, might shed on the sofa.

New on Substack & our website:
Los Angeles — The Fear Beneath the Shine
Mr Watson’s Sidewalk Diaries Nr9 — Bottles, Fillers, and Other Defenses Against Mortality
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Written By Hans Pauwels
Images By REINHILDE GIELEN

melroseplace

BRENTWOOD COUNTRY MARTOverpriced? Sure. So are the department stores and mega-malls. But where else do you find a shoe r...
14/08/2026

BRENTWOOD COUNTRY MART
Overpriced? Sure. So are the department stores and mega-malls. But where else do you find a shoe repair shop that has been going for 80 years alongside Goop, a post office, and the best rotisserie chicken in LA? Order from the counter and join the stylish crowd for lunch under a parasol. If you are looking for small-town atmosphere inside a metropolis, this is the place.


NICK FOUQUET
Abbot Kinney doesn’t end at Venice Boulevard. You’ll find this master hatmaker where the spandex leggings give way to Levi’s and Birkenstocks to Lucchese boots. Nick’s handmade hats are country rock and Hollywood glam, couture on horseback. Don’t set fire to your stable with the mandatory match stuck inside the hat band.


BUCK MASON
Retail you actually want to hang out in. An old-school Venice Beach bungalow where fashion meets visual journals, art and photography books, and counterculture literature among found objects and ceramics. Fast Times serves the perfect cappuccino to sip while you are browsing.


➝ LATEST FULL STORY & BLUE BOOK
NOW LIVE on website AESTHETIC NOMADS + Substack
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Written By Hans Pauwels
Images By REINHILDE GIELEN

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Brentwood Country Mart Nick Fouquet Buck Mason

THE FEAR BENEATH THE SHINELos Angeles, 2026 - PART IIMr. Watson’s Sidewalk Diaries  #9 — Bottles, Fillers, and Other Def...
12/08/2026

THE FEAR BENEATH THE SHINE
Los Angeles, 2026 - PART II

Mr. Watson’s Sidewalk Diaries #9 — Bottles, Fillers, and Other Defenses Against Mortality

Traveling the world with a dog requires equal measures of devotion, paperwork, and controlled breathing.

Vaccinations, pet passports, certified health certificates, weight control, and pet carriers that fit the airline’s requirements and the check-in staff’s morning mood. We know the drill, but I always hope for a pet-friendly counter clerk. Mr. Watson remains stoic as usual. He’d be gold if ever Star Alliance planned to launch a Miles and Bones loyalty card.


➝ LATEST FULL STORY NOW LIVE on website AESTHETIC NOMADS + Substack
➝ Tap the 🔗 in Bio to read our entire story

Written By Hans Pauwels
Images By REINHILDE GIELEN

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A hideout filled with trouvailles. Vintage furniture is scattered throughout the house: some classics, some local finds,...
23/06/2026

A hideout filled with trouvailles. Vintage furniture is scattered throughout the house: some classics, some local finds, all time-worn into an aesthetic that newness never meets. On the walls hangs a mismatched collection of photographs, collages, paintings, and prints that somehow make perfect sense, curated by emotion and beauty rather than logic. This house has already drawn us in. We have become as much part of the wunderkammer as the squeaky Eames, the kitschy French portrait above the desk I’m typing this on, and the eclectic mix of French and English books I keep pretending I will find time to read.

I nearly drop the coffee cups during my morning cappuccino ritual when I notice the gnatcatcher on the kitchen sink. It watches every action in my carefully orchestrated Gaggia courtship routine and must have decided that any human so devoted to producing a perfect coffee cannot be a hunter. I catch it easily and hold it gently until I feel its heartbeat settle. It holds on to my index finger when I take it outside, unwilling to let go. For one ridiculous moment, I start to feel like Saint Francis in Topanga.

TOPANGA: UNDER AN OAK, BEYOND THE CITY
A Wunderkammer of California Light, Cappuccino Rituals, and Los Angeles Wildlife

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Written By Hans Pauwels
Images By REINHILDE GIELEN

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Veronique Lievre

Five weeks. Remote work from the quiet hills, Los Angeles within forty minutes when the city calls.…TOPANGA: UNDER AN OA...
19/06/2026

Five weeks. Remote work from the quiet hills, Los Angeles within forty minutes when the city calls.

TOPANGA: UNDER AN OAK, BEYOND THE CITY
A Wunderkammer of California Light, Cappuccino Rituals, and Los Angeles Wildlife

➝ Tap the link in bio to read our entire story
Written By Hans Pauwels
Images By REINHILDE GIELEN

_aestheticnomads

TOPANGA: UNDER AN OAK, BEYOND THE CITYA Wunderkammer of California Light, Cappuccino Rituals, and Los Angeles Wildlife➝ ...
16/06/2026

TOPANGA: UNDER AN OAK, BEYOND THE CITY
A Wunderkammer of California Light, Cappuccino Rituals, and Los Angeles Wildlife

➝ LATEST FULL STORY NOW LIVE on website AESTHETIC NOMADS + Substack
🔗 in Bio
Written By Hans Pauwels
Images By REINHILDE GIELEN

Every home deserves a tree.

Not the scrawny, shop-bought thing chosen on impulse at a garden center somewhere out of town, then brought home at thirty kilometers per hour through the car’s sunroof on a Sunday morning left too empty after the night’s dinner-table truths had begun to lose their conviction. Nocturnal wisdom rarely survives daylight. It rises, softens, and disappears, like the marine layer above the beaches of Southern California.

➝ Tap the link in bio to read our entire story

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PALAZZO GRASSIThe Promise of Change, Michael ArmitagePalazzo Grassi gives Michael Armitage the scale his paintings deser...
06/06/2026

PALAZZO GRASSI
The Promise of Change, Michael Armitage

Palazzo Grassi gives Michael Armitage the scale his paintings deserve. In The Promise of Change, large-format works and drawings from the past decade unfold across the palazzo with restless beauty: East Africa and Europe, politics and mythology, violence and pleasure, all held in the unstable surface of lubugo bark cloth. Armitage paints beauty as a trapdoor. Beneath the colour and sensuality lies a sharper criticism of power, postcolonial inheritance, public violence, ecological fragility, and the fragile promises of political change. The paintings seduce first, then refuse to let the viewer remain innocent.

PUNTA DELLA DOGANA
Third Person, Lorna Simpson

Lorna Simpson’s Third Person cuts through the seductive surface of images. Her collages, paintings, films, and photographic fragments return again and again to Black female presence: obscured, multiplied, withheld, transformed. Faces disappear. Hair becomes archive. Bodies are cropped, doubled, frozen, submerged, or set against fields of ice, water, and sky. Simpson exposes the mechanisms by which race and gender have been framed, consumed, and misread. The image is never innocent. It is evidence, memory, and a quiet form of resistance.

VICENZO DE COTIIS FOUNDATION
Minimal Legends

At Palazzo Giustinian Lolin, Vincenzo De Cotiis places his own weathered material investigations in dialogue with the severe grace of minimalism. The result is neither furniture showroom nor art-historical exercise, but something more ambiguous: collectible design as archaeology. Fiberglass, stone, metal, glass, patina, and fracture become evidence of time passing through objects. Like Dries Van Noten, De Cotiis works on the threshold between art and craft. But where Van Noten seeks the nobility of touch, De Cotiis finds beauty in erosion, repair, and the imperfect dignity of matter.

Discover more of our
ÆSTHETIC NOMADS BLUE BOOK: THE BIENNALE’S MOST STRIKING OFF-SITE EXHIBITIONS
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Written By Hans Pauwels
Images By



Palazzo Rota IvancicWe Thought We Were Alone, Koen VanmechelenKoen Vanmechelen’s We Thought We Were Alone takes shape as...
04/06/2026

Palazzo Rota Ivancic
We Thought We Were Alone, Koen Vanmechelen

Koen Vanmechelen’s We Thought We Were Alone takes shape as an encounter between living memory and ancestral imagination. More than forty new works—animals, bodies, hybrids, and mythic forms—are cast into the historic rooms as if the palazzo itself had summoned them. The exhibition turns architecture into habitat: frescoes, stone, shadow, and patina become part of Vanmechelen’s larger meditation on species, kinship, and the old illusion that humanity stands aoart.

Basilica of San Giorgio Maggiore
Barry X Ball’s The Shape of Time

His marble sculptures seem to have been waiting there for centuries. Ball begins with historical masterpieces, submits them to scanning, modeling, distortion, and return, then gives them back to stone and handcraft. The result is sublime without spectacle. His Saint Bartholomew Flayed is beautiful in the old Catholic way: through horror. He wears his own skin like a cloak around his torso.

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ÆSTHETIC NOMADS BLUE BOOK: THE BIENNALE’S MOST STRIKING OFF-SITE EXHIBITIONS

Written By Hans Pauwels
Images By


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