At BASE Milano, during one of the world’s most curated design events, Ayzoh! opened a space where things were left unfinished, unfiltered, and unresolved. Camp Erech: The Exhibition in a Box was not simply a display of photographs. It was a passage — into the silence of the Adrar Desert, into the rhythms of nomadic life, into the uncertainty that begins when you step outside what you know.
A box of photographs, a dance that wasn’t planned, and a book that wasn’t meant to be — all born from one encounter between strangers, images, and sand.
More than 200 prints lined the walls, low tables, and folding structures. There were no didactic panels. No explanations. Just fragments of a time spent in Mauritania — wind-carved dunes, still faces, blurred movements, eyes holding more than one question.
The City Stopped Watching and Started Listening
Something rare happened: people stayed. Visitors slowed down. They sat on the ground. They asked questions. Not about the gear, or the curation, or the location — but about the people in the photos. About time. About what it means to belong. The Ayzoh! team — present for the entire week — found themselves not explaining the work, but entering into it again and again, through each conversation.
At a fair where objects are everything, this was something else. Stories came first. And people listened.
One visitor whispered, “You brought sand where there was only polished marble.” Another said, “This is the only space where I didn’t feel like I had to understand something. I could just be with it.”
An Unsigned Choreography
Then, on an afternoon like any other, it happened. Dancers Claudio Gasparotto and Silvia Ferraris, visiting the show, felt something shift. No lights, no stage, no signal — just a moment of response. They began to move inside the space, among the images, through the silence. It wasn’t performance. It was an echo. A gesture that completed what the photos had started.
Photographers Claudio Maria Lerario and Giulia Zhang turned their lenses back on the space. What was meant to be a still archive became movement. Presence. Improvisation. And from that unexpected intersection of body and image, a new project emerged: “Daimon. All’improvviso”, an Ayzoh! book created from that fleeting choreography and its reverberations.
Bringing the Desert to Milan
Over 50,000 visitors passed through the space during the week. And yet, the atmosphere never felt crowded. It felt porous. Something passed between the work and those who came — and stayed.
Outside the exhibition, some of Camp Erech’s most iconic images appeared on giant digital screens across Milan. The desert entered the urban landscape quietly, as a contradiction — not shouting, just asking to be noticed.
This Is What Ayzoh! Does
We don’t design products. We build spaces where something unpredictable can happen. Where a photograph becomes a conversation. Where a passerby becomes a witness. Where the polished world of design is interrupted by the lived world of memory, time, and relation.
Camp Erech wasn’t an installation. It was a question. One that each visitor answered differently — with silence, or words, or tears, or movement. That’s what we’ll carry with us.
