Skip to content

Our Polite Society
MZIN Bookshop & Gallery, Leipzig

Our Polite Society
MZIN Bookshop & Gallery, Leipzig, DE
October 24 – November 29, 2009

Take On Me (Take Me On)
Van Abbemuseum, Eindhoven

Take On Me (Take Me On). An alternative production factory
Van Abbemuseum, Eindhoven, NL
Dutch Design Week 2009
October 17 – November 8, 2009

Curators: Freek Lomme and Hadas Zemer

Statement: «During the Dutch Design Week 2009, from 17 to 25 October, the Van Abbemuseum presents Take on me (take me on), a live-exhibition project curated by Freek Lomme and Hadas Zemer. It features four groups of “artistic designers”, individuals or agencies whose ways of working fall outside the usual, conservative definitions of “art” and “design”.
Each group will create their own production line in one of the four corners of the original part of the museum and gradually extend their working process throughout the building. Together with visitors, they will each work on the development of a product that seeks to respond to certain urgent questions today: ‘What kind of wealth would we like to acquire? What is it that we see when we look deep into our own personal value system? What are our authentic desires and how much do consumer products satisfy us?’
The live exhibition will also accommodate various other activities during the week that will mix with these production centres. These include public discussions, lectures, film screenings, debates, and the production of a daily newspaper: the Daily Whatever. The aftermath of the project, together with all relevant documentation in word and image, will remain on display until 8 November 2009.
Take on me (take me on)
Governments often tell us: ‘Society, that’s you!’ But how is our society created? Sometimes our culture and our perception of the world seem only constructed out of the imperatives of commerce, sales and turnover: ‘I shop, therefore I am’ becomes our motto. At the same time, this materialistic equation appears to lack meaning and we can experience a sudden gap between our own idea of our urgent needs and the values or solutions that are presented to us. The credit crunch has anyway begun to discredit the mechanism of supply and demand, though no one is yet offering an alternative. As a result, we are forced to think about our material as well as our immaterial situation almost from scratch: What is it that we really want? What is true wealth? Can we answer these questions, fundamentally for ourselves as individuals? And how do we keep our spirits up when our finances are down? In fact, how do we define the meaning of life?
Take on me (take me on) investigates the ways in which we relate an idea of our deepest authenticity – our true self as defined by the standards and values we feel to be our own – to society’s principles of supply and demand. What values do we value the most in all this? Economic value? Cultural value? Personal satisfaction? Individual uplifting? Peace and quiet?
Come and join us. The four groups on assignment to Take on me (take me on) are: Acclair, Conditional Design, Metahaven, and Orgacom. They will develop their own production methods while interacting with each other and, above all, with the public – creating their work in a concerted effort with their visitors on an alternative and collaborative factory floor in the museum. In this way questions about the methods of production that are often hidden from consumers come into view. We are the ones defining our own living environment, aren’t we? Why is something produced? What does production – particularly artistic production – have to offer us? And how does it fit in with our own personal frame of reference?
Each design project enters into a specific question that tries to address the visitors’ fundamental needs and values. The designers’ products may be either goods or services. Visitors may determine and change the value of the creative ‘product’ by responding to the presentation or to the designers’ work. Therefore Take on me (take me on) is dependent on active engagement and productive involvement from its visitors. Come and ‘take me on’ for yourselves.»

Participants: Acclair, Conditional Design, Metahaven, Orgacom

Julia Born: Title of the Show
GfZK, Leipzig

Julia Born: Title of the Show
Galerie für Zeitgenössische Kunst, Lepzig, DE [INFORM Award for Conceptual Design]
October 8 – November 29, 2009

Statement: «Together with the designer Laurenz Brunner, Julia Born has devised a large-scale installation for the Museum for Contemporary Art which explores the theme of graphic design as seen in the context of art, or to be more precise, the re-contextualization of graphic design as it relates to her various different projects. A selection of commissioned and non-commissioned works (in the form of typographical experiments, language games, performance and fashion projects, books, posters and even postage stamps) is on display on the gallery walls in the form of giant pages of a book.
Photographed by Johannes Schwartz, Born in turn transposes the gallery, now transformed into an oversized model, back into the form of a catalogue, thus changing the dimensions once again. The effect of both scaling down and blowing up the work simultaneously sharpens our perception of both the exhibition space and the space of the book. Exhibition and catalogue, which usually only serve to convey content not developed by the designer, are here turned into the subject of the project in their own right; in the process becoming intrinsically bound up in one another and no longer separable. The title – ‘Title of the Show’ – serves to denote content which has yet to be defined but which will instead gradually form as the work develops. Julia Born thereby not only makes reference to standard design practice, but also to design as a process.»
Publication: Julia Born, Title of the Show, Galerie für Zeitgenössische Kunst Leipzig, 2009.

It Is What It Is (2×4)

124705_rvc3aBed1ZjwhzRIRUrWeXxjk

It Is What It Is
Eye of Gyre Gallery, Tokyo
September 2009

Statement: «It is what it is: a portrait of a studio in 1000 images was exhibited at the Eye of Gyre Gallery in Tokyo in September 2009. The exhibition catalog features 1000 by-products from the life of the New York graphic design studio 2×4, unnarrated and crudely arranged along a typical design trajectory from the earliest concepts, sketches, doodles and diagrams through the process of making, modeling, producing and, finally, delivering work into the world.»

Quick Quick Slow: Word Image and Time
Museu Colecção Berardo, Lisbon

Quick Quick Slow: Word Image and Time
Museu Colecção Berardo, Lisbon, PT
September 11, 2009 – January 3, 2010
Experimenta 2009

Curator: Emily King
Exhibition design: Maria João Mântua (PT)
Graphic design: Frith Kerr (GB)

Statement: «This exhibition surveys the dimension of time in graphic design, looking as far back as the early 20th century and tracing the mutual influences and exchanges between motion graphics and print. It will explore the way designers have evoked motion and represented the passage of time in still graphics, from the “dynamic look” and early modern typographic experiments to animated type and line images developed for film and advertising.
In motion graphics, the exhibition will follow the abstract exercises of pioneering modern filmmakers, as they progress into cinema title sequences and graphic animations for music videos and tv. Finally, Quick, Quick, Slow brings us up to date with a look at the advent of the personal computer and beyond, exploring websites, games and interactive environments and highlighting the intelligent and eloquent ways designers have found to fill temporal space.
Combining a wealth of exceptional graphic pieces with large-screen video projections and specially commissioned digital pieces, Quick, Quick, Slow proposes an alternative history of graphic design in connection with time and notions of motion, acceleration and temporal progression.»

Participants: David Reinfurt (US), Jürg Lehni (CH), Luna Maurer + Jonathan Puckey (NL), Peter Bil’ak (NL).
Represented creatives: Alexander Rodchenko† + Varvara Stepanova† (RU); Alexey Brodovitch† (RU); Armand Mevis & Linda Van Deursen (NL); Beat Müller + Wendelin Hess (CH); Ben Rubin (US); Blip Boutique (US); Bruce Mau (CA); Chermayeff & Geismar (GB); Chris Ware (US); Contemporânea (PT); Cyan (DE); Dieter Rot† (DE); Dom Sylvester Houédard† (GB); Ed Fella (US); Ed Ruscha (US); Edward R. Tufte (US); El Lissitzky† (RU); Emigre (US); Francesco Cangiullo† (IT); Francis Picabia† (FR); François Truffaut† (FR); FT Marinetti† (IT); Fuel (GB); George Brecht† (US); Graphic Thought Facility (GB); Hans Richter† (DE); Harper’s Bazaar (US); Irma Boom (NL); Jan Tschichold† (DE); John Maeda (US); Jonathan Barnbrook (GB); Josef Müller-Brockmann† (CH); Julia Born + Alexandra Bachzetsis (NL); Julia Born + Daria Holme (NL); Karel Teige† (CZ); Korner Union (CH); Kuntzel + Deygas (FR); Kurt Schwitters† (DE); Kyle Cooper (US); László Moholy-Nagy† (HU); MA (AT); Marjane Satrapi (IR); Marshall McLuhan + Quentin Fiore (US); Mary Ellen Bute† (US); Max Bill† (CH); Max Huber† (CH); M/M (FR); Michel Gondry (FR); Mike Mills (US); Muriel Cooper + David Small (US); Oona Culley (GB); Oskar Fischinger† (DE); Pablo Ferro (CU); Paul Elliman (GB); Peter Saville (GB); Piet Zwart† (NL); Portugal Futurista (PT); Portugal 1934, SPN (PT); Raoul Hausmann† (AT); Richard Eckersley (GB); Richard Hollis (GB); Richard O. Fleischer† (US); Robert Brownjohn† (GB); Robert Frank (CH); Saul Bass† (US); Sol LeWitt† (US); Spirale (CH); Theo van Doesburg† (NL); Typographica (GB); Tristan Tzara† (RO); Viking Eggeling† (CH); Walter Rutmann† (DE).

A flickr collection of images of the show can be found here.

Stadtstaat. A Scenario for Merging Cities

stad2

Stadtstaat. A Scenario for Merging Cities
a project by Metahaven
Episode 1: Künstlerhaus Stuttgart, July 17 – September 12, 2009
Episode 2: Casco, Utrecht, September 26 – November 15 2009

Statement: «Stadtstaat explores the interlocked, equivocal relations between contemporary models of governance and their visual identity, by taking an imaginary city-state as a case study. This city-state is the result of the unlikely merger of two distant cities in different countries: Stuttgart and Utrecht. The scenario for such a fictional state is considered amidst the setting of contemporary geopolitical conditions-the
economic downturn, the increasing prominence of “networking,” “partnership,” and “alliance” as replacements of sovereignty, and the growing demand for cities to globally compete for visibility.
The project proposes branding and other representational models for the “Stadtstaat” that unfold in an actual policy experiment. The design is applied as an act of constructing a visual horizon, imagining the impossible to seek the possible. This “reversal” process of forming a political, governing entity creates a speculative space of reflection. Various levels of perception and understanding of the operation of a city and nation, in relation to the space-structuring effects of new information technologies, are played out. The graphic “surface” becomes visible as a platform that turns communication into political interaction.
The project centers around the formation of the exhibition space as a spatial assemblage of the various visual and representational items of the “Stadtstaat.” They are based on research into the specific situation of the respective cities and their existing visual identities. The conceptual approach of the project is also informed by Metahaven‘s ongoing investigation into new informational procedures, such as encryption and compression. More than just a matter-of-fact situation describing the informational technocracy which surrounds us, procedures of encryption and compression raise fundamental questions about identity, communication, the access to information and the changing role of the designer. “Stadtstaat” reflects on these and other usually hidden mechanisms, and the space that they create.
“Stadtstaat” is co-produced and presented by Künstlerhaus Stuttgart and Casco Office for Art, Design and Theory in Utrecht. The project will unfold into two episodes at two venues.»
Support: Mondriaan-Foundation.»

Read also the interview with Metahaven, made by Brian Kuan Wood for Kaleidoscope magazine, right after they finished to install the exhibit in Stuttgart.

Credit on Color

Credit on Color
Graphic Design Museum Breda, NL
Summer 2009

Statement: «… [T]he Graphic Design Museum is presenting thousands of credit cards, free cards, discount cards, gift cards and credit card look-alikes on one wall, arranged by colour. A rainbow of cards.
Everywhere
Credit cards and personal debit cards were invented by banks. Nowadays, it is no longer just banks that use this little plastic card measuring 45 by 86 mm. Shops, insurers, cafés, libraries, museums, cinemas, airline companies and public transport have all discovered the plastic card.
Your identity
The cards are all designed in a unique way, yet the standard size, the rounded corners and the magnetic strip on the back make the cards instantly recognisable. All these cards have one thing in common: they represent a personal credit. They stand for your money, your discount, your subscription and your membership. And so the cards in your wallet determine your identity.
Public
The cards in Credit on Color were obtained from banks and major retail stores, but also from the public. Personalised debit cards, showing photographs of pets, also find a place in the exhibition.»

Dutch Design Database on show

Dutch Design Database
Graphic Design Museum Breda, NL
June 2009 – January 2010

«Around 1950, there were just over 100 graphic designers in the Netherlands. Sixty years later, there are more than 5000 people active in the graphic design sector. The exhibition Dutch Design Database shows how the profession has developed from a few individuals to a sector with 180 agencies with 5 or more employees and a total turnover of more than 400 million euro.

Database
The exhibition is a database that is displayed in both a physical and in a digital, interactive form. The digital database contains some 15,000 designs. The database can be searched digitally and individual works can be viewed. The digital presentation also makes links between works according to designer, design or medium choice.

Digital Conservation
The Dutch Design Database will be further supplemented during the exhibition itself. Every designer can upload work via www.dutchdesigndatabase.com. In this way, the exhibition hopes to contribute to the discussion about digital conservation of the graphic heritage and the conservation of digital graphic work.»

DDDG: Extended Caption

00092

DDDG: Extended Caption
A collection of items originally shown in the magazine (Dot Dot Dot)
Culturgest Porto, Edifício Caixa Geral de Dépósitos
April 25 – June 27, 2009

Curator: Stuart Bailey
Statement: «This is the seventh occasion of my showing a group of artifacts whose only objective connection is that they have appeared in the pages of Dot Dot Dot, a magazine I edit, at some point since its conception in 2000. In 2004 I first assembled an exhibition of source material — by which I mean the original items represented in print by screened images. In the regular hierarchy of the magazine, texts are generally primary and images secondary, and the fundamental idea of these exhibitions was to invert these roles, as a kind of parallel operation.
Our contributors rarely write directly about the formal attributes of this kind of cultural residue, but draw on it rather to trigger, illustrate, or reference broader sociological, art historical, or philosophical ideas. Take the cover of Scritti Politti’s 1982 ‘Jacques Derrida’ double A-side 12-inch, for example. This illustrates a short text by Diedrich Diederichsen which, rather than discussing either the music, lyrics, or sleeve design, more broadly recounts a certain moment in the 1980s when French philosophy mirrored the cultural currency of a certain strain of British post punk. Or below and to the left, the upside down photograph of an early sketch of Harry Beck’s 1931 London Underground map. This refers to the occasion of the diagram having been hung the wrong way up when first shown at London’s V&A museum, an accident which innocuously prioritises its abstract over representational qualities. Paul Elliman introduces this anecdote to frame some thoughts around the idea that abstraction — and by implication, modernism — was only acceptable to the British public when grounded in function. …»

Read the full text by Stuart Bailey via http://www.dot-dot-dot.us/

Kinross: Modern Typography (1992, 2004, 2009)

L_min-kinross2

Kinross: Modern Typography (1992, 2004, 2009), solo show by Min Choi
Gallery Factory, Seoul
March 13 – April 5, 2009

Statement: «This is the first solo exhibition of Min Choi, who has been working with Sulki Choi as a graphic design partnership Sulki & Min. For him, this exhibition is an unusual opportunity to look back at where he started: typography and its history.
For the last fourteen years, Min Choi has maintained an obsessive relationship with a book: Modern typography: an essay in critical history by Robin Kinross (first edition 1992, second edition 2004). Since he first started to translate the text in the summer of 1995, he has produced more than five different translations, as well as over twenty designs for the imaginary Korean edition of the book. Now that the actual Korean edition is to be published by Sulki & Min’s own Specter Press, this exhibition is to celebrate the realization on one hand, and extend the translation in a different form on the other. Or rather, Min Choi wants to suspend the finalization of what has become a part of his life.
The work in the exhibition attempts to show what cannot be shown in the published book. Min Choi is particularly interested in the “Examples” reproduced in the publication. The series Kinross, Modern typography, Korea edn., chapter 14, “Examples” applies the process of translation to the images: it wants to “read” them, as well as see them, by showing the reproduced artifacts in real size, and even by translating the text in the artifacts. Two small publications, Kinross,Modern typography, first edn., chapter 12, “Modernity and modernism” and Kinross,Modern typography, first edn., chapter 13, “Examples” are Korean translation of the chapters, which had been completely revised by the author in the second English edition, so had not been made available in the Korean edition that was based on the second English edition.
In this way, Kinross, Modern typography (1992, 2004, 2009) is an exhibition about typography and its history, as well as the conceptual process of translation and the relationship between the image and the text.»