ARCHIVIO is a biannual magazine of contemporary culture published by Promemoria. Upon its debut in 2017, the project, entirely edited by Nationhood, made a splash in the publishing field as the first magazine in the world built entirely from archive materials. An archive is a living place. Shuffling its pieces allows us to understand the present while enabling history to re-emerge: and this is the challenge set by Nationhood when it designed ARCHIVIO magazine. In the construction of the editorial board, the choice of contents and the art direction, ARCHIVIO draws from the great Italian publishing culture of the 1970s. Revolving around a single topic, each issue creates an atlas which brings together various archives and internationally renowned contributors to draw an exhaustive and documented panorama of events that have influenced contemporary history. The overall aim is to free the memory and create a bridge linking past, present and future. The magazine helps form a historical awareness by unearthing hidden memories from museums, state archives and private collections. Each issue revolves around one topic, analysing it in a transversal manner, and collects fragments relating to the subject – ranging from customs to politics, architecture to poetry, news stories to cinema – thanks to the support of public and private archives, journalists and writers. It really was a test to put the magazine together. This experiment was the first time that periodicals and archives had met. And so the gauntlet that Nationhood seized upon founding the magazine took physical shape in the first, aptly named ‘Challenge Issue’ (2017). The first issue of ARCHIVIO deals with fields where humankind put hitherto unshakable certainties to the test. ‘The Challenge Issue’ is a collection of case histories in which human beings have tested boundaries of all kinds, thereby revolutionizing and making history. The issue ranges from Russian subcultures of the 1980s and 90s, to the original documents and manifesto for the ‘Spazio Reale – Spazio Virtuale’ experiments on audiovisual space conducted by Ugo La Pietra at the 16th Milan Triennale in 1979, passing through the Whitechapel Gallery’s challenge to archive its present, the relationship between Kon Ichikawa and Adriano Olivetti, the visionary work of Sylvano Bussotti and the brilliant piece by John Foot in which 1950s Milan meets the Publifoto photographic archive.