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The Making of Your Magazines (documenta 12)

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The Making of Your Magazines
June 16 – September 23 2007
KulturBahnhof, Kassel
Architecture magazines as media of aesthetic education.

Organization/Curator: Exhibition and project space by archplus as a contribution to documenta 12 magazines.
Design/Art direction: onlab

Statement (art directors): «onlab designed the exhibition like an editorial office that is open to the public. onlab’s concept for ‘The Making of Your Magazines’ offers two approaches to 40 years of history and discourse in the magazine archplus. One access to the thematic development of the magazine is presented on a long timeline/infographic on the wall which chronologically maps the evolution according to 12 selected topics. The second approach engages the visitors to compile their own selection of articles from the past 40 years and to create their own issue of archplus while the editorial board is working on the next issue in the same space.
Folders at the desks offer a selection of articles of 5 of the 12 themes for further reading.These articles are the basis on which visitors can produce their own archplus issue.
As for the production of their magazines, visitors would find folders with all selected articles right by the copy machine. While the editors were working on the latest issue, copies were to be stapled between two cardboard sheets, one being the cover with the archplus logo and the other one being the backcover. Visitors could fold the exhibition poster into a cover for their magazine and place the copied articles inside.»

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See also other exhibitions directed and designed by onlab.ch

TM-City (Richard Niessen)
Chaumont Festival

TM-City
Chapelle des Jésuites, Chaumont, FR [18th International poster and graphic arts festival of Chaumont]
May 12 – June 24, 2007 (+ other venues and dates / traveling exhibitions)

Graphic designers: Richard Niessen and Esther de Vries

Statement: «Typographic-Masonry: name under which Richard Niessen worked from 2002 – 2007; this name describes his way of designing: building with type. The exhibition TM-City is constructed based on this working method.
Mapping: the exhibition TM-City maps the work of Richard Niessen in a city landscape with over 150 of his works presented as architecture; in La Chapelle, Chaumont (F).
City-Quarters: TM-City consists of eight city-quarters, each with their own type of works; in ‘Calligraphic Quarter’ for instance, the typography echoes seamless integration of calligraphy, imagery and text found in Byzantine and Medieval illuminated manuscripts. The other quarters are: Structures Citadel; Alphabet Block; Flows and Ruptures; Patternville; Sugarcraft Hill; The Collaboration; and Toolkits Treasure.
Textile: Esther de Vries designed a special textile with a pattern of the streets of TM-City, which was woven at the textile museum in Tilburg; bags were made from this fabric to protect the works during transport.
Buildings: the designer Raf Snippe designed a system of wooden constructions; each type of work got their own type of building, resembling skyscrapers, houses, squares, parks, flats, factories et cetera.
Travelling: the exhibition is designed as a travelling exhibition; after Chaumont it went to Stedelijk Museum Amsterdam and KOP in Breda, and in 2009 it will be shown in Vilnius and Sofia. TM-City can be taken apart and transformed into eight crates.
Streets: the exhibition is organized along streets named after various inspiration sources, like Lego, Aldo van Eyk, Wiener Werkstatte and Tanadori Yokoo; the most influential sources got the longest streets.
Noise: each city-quarter has its own music box with samples of music from the ‘Howtoplays’ and digitalized by’Yens & Yens’; when walking through the city these samples create a city-noise.»

Marc Mulders: Liturgie en Typografie
Van Abbemuseum (Library), Eindhoven

Marc Mulders: Liturgie en Typografie
Van Abbemuseum (Library), Eindhoven, NL
May 1 – July 31, 2007

Statement: «Visual artist Marc Mulders and designer Maarten Meevis (Bureau Kinkorn) present the exhibition Liturgy and Typography in the library of the Van Abbemuseum. It is an exhibition of printed matter, posters, postcards, catalogues and other products of their collaboration. In addition, they will be making a wall-sized collage entitled The Last Judgement specifically for this exhibition. The exhibition is on view during opening hours of the library.»

Clip/Stamp/Fold

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Clip/Stamp/Fold:
The Radical Architecture of Little Magazines

traveling exhibition, first held at Storefront Art and Architecture, New York, March 4 – April 5, 2007

Statement: «An explosion of architectural little magazines in the 1960s and 1970s instigated a radical transformation in architectural culture with the architecture of the magazines acting as the site of innovation and debate. Clip/Stamp/Fold: The Radical Architecture of Little Magazines 196X – 197X takes stock of seventy little magazines from this period, which were published in over a dozen cities. Coined in the early twentieth century to designate progressive literary journals, the term “little magazine” was remobilized during the 1960s to grapple with the contemporary proliferation of independent architectural periodicals. The terms “little” and “magazine” are not taken at face value. In addition to short-lived radical magazines, Clip/Stamp/Fold includes pamphlets and building instruction manuals along with professional magazines that experienced “moments of littleness,” influenced by the graphics and intellectual concerns of their self-published contemporaries.
The exhibition’s annotated timeline serves as a cross-section, tracking the progression, upheavals, and transformations of the magazines. A selection of original magazines surveys the variety of unique formats, re-introducing rare examples from private collections, and is supplemented by complete facsimiles for visitors to browse. Audio interviews with editors and designers of these publications punctuate the room, with transcriptions appearing in the Storefront’s newsletter. In addition, many of these editors and designers have been invited to respond to the exhibition through the series Little Magazines / Small Talks held at the gallery. An implicit aim of the exhibition is to invite reflection on contemporary uses of media in architecture. Assembling all these remarkable documents for the first time offers a unique view of a key period of architectural innovation and challenges today’s architects to provoke a similar intensity.»

Curators/Organization: «The exhibition has been a collaborative research and design project by a team of Ph.D. candidates at the School of Architecture at Princeton University led by Professor Beatriz Colomina and is the outcome of two years of seminars, interviews and visits with the editors, architects and theorists who produced the magazines. The project team includes Craig Buckley, Anthony Fontenot, Urtzi Grau, Lisa Hsieh, Alicia Imperiale, Lydia Kallipoliti, Olympia Kazi, Daniel Lopez-Perez and Irene Sunwoo.
The exhibition has been made possible through the generous support of: the Graham Foundation for Advanced Studies in the Fine Arts; Elise Jaffe + Jeffrey Brown; the School of Architecture, the Program in Media and Modernity, the Department of Art & Archaeology, and the Graduate School of Princeton University.»

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See also the hefty book under the same title, Clip/Stamp/Fold, curated by Beatriz Colomina and Craig Buckley, published by Actar

From Mars: Self-initiated Projects in Graphic Design
Moravian Gallery, Brno


From Mars: Self-initiated projects in graphic design
Moravian Gallery, Brno, CZ
June 14 – October 1, 2006

Accompanying exhibition of the 22nd International Biennale of Graphic Design Brno 2006, organised by the Moravian Gallery in Brno and the Ministry of Culture of the Czech Republic.

Curator: Adam Macháček, Radim Peško

Statement: «From Mars exhibition features the examples of the work that have been produced during the past five years, and demonstrate a broad range of interests and techniques, as well as a variety of media, including print, typography, curatorial work and exhibition design, interactive projects, web pages and essays. More importantly, though, the work on display shares a certain autonomy that can seem quite alien to conventionial client-based design practice. Although made by designers, and existing in and as part of the world of design, these are works from a different planet.»

Second installment of the exhibition From Mars: Self-initiated Projects in Graphic Design’: October 16-27, 2008, Estonian Academy of Arts, Tallin, Estonia.

A publication was released on occasion of the second installment in Tallin, Whole Mars Catalog that functioned as guide to the works on display.

Graphic Design in a White Cube
Moravian Gallery, Brno

Graphic Design in a White Cube
Moravian Gallery, Brno, CZ
June 13 – October 15, 2006

Curator: Peter Bil’ak

Statements: «The exhibition critically questions possibilities of organising graphic design exhibitions. Nineteen designers and collectives were commissioned to design a poster for the design exhibition in which they participate. Instead of bringing work from the outside to the gallery, the work is made for the gallery. Instead of recreating the context for the exhibition, gallery conditions are the context for the work. The posters function on two levels: the collection of posters constitutes the exhibition, and copies of the posters are spread around the city to inform visitors about the exhibition.» (http://www.typotheque.com)
«To emphasise the idea that graphic design is the result of a process rather than focusing on a finished outcome, the exhibition material was presented on metal sheets, held in place by small removable magnets. All sketches produced by the designed during the project are presented next to the final posters.» (http://www.peterbilak.com)
Participants: Stuart Bailey & David Reinfurt, Julia Born, Dimitri Bruni & Manuel Krebs (Norm), Peter Buchannan Smith, Sulki & Min Choi, Elliott Earls, Paul Elliman, Experimental Jetset, Éric Gaspar & Marie Bertholle (Éric and Marie), James Goggin (Practice), Harmine Louwé, Kei Matsushita, Luna Maurer, Mevis & Van Deursen, Scott Stowell (Open), Manuel Raeder, Round, and Jon Sueda & Gail Swanlund (Stripe).

Catalogue of the exhibition: Graphic Design in the White Cube includes an essay by M/M Paris on the relevance of posters today, and reacting the concept of the exhibition.

The introductory essay by Peter Bil’ak is available via typotheque and via www.peterbilak.com.

Read also our reflections about this exhibition.

Don’t Panic (poster show)

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Don’t Panic (poster show)
The Aram Gallery, London
March 30 – April 21, 2006

Curator and exhibition designer: Daniel Charny
Statement: «The Aram Gallery is pleased to announce a unique installation of over 90 posters produced by Don’t Panic in London from the turn of the millennium.
Posters are part of a city’s skin, like temporary tattoos they parade attitude as much as content. Whether advertising for commercial opportunities, cultural events or political protests, this medium has won its place as a new template for social engagement and sometimes even recognised as a new branch of art. The credit for this is often attributed to Jules Cheret, who pushed the lithographic process to enable the progress of the posters as a modern medium of expression. With his help 19th Century club promoters with an artistic inclination commissioned the likes of Henri de Toulouse-
Lautrec to design the Moulin Rouge promotional posters. More recently, but certainly in this tradition, Don’t Panic, a small advertising publisher started by club promoters, has produced over 90 posters in the last 6 years, designed by emerging talents and established masters of the art.
The format they use is unique to them and in tune with the generation it was borne from. The posters are part of a ‘goodie bag’ distributed at venues, clubs and bars and are also available as independent artwork online. These posters reflect the vibrant relationship of local graphic design with the music and club scene, and have become part of design culture now in London. The very visible and democratic presence of this combination, effectively on the streets, contributes to london’s international status as a hub of contemporary metropolitan living, culture and design.
The Aram Gallery is interested in the temporal nature of the works and in the close relationship of design with advertising. The complicit and applied nature of the relationship between design and advertising or design and politics in these works yields significant insight into the way designers rise to the challenges of constraints – of format and communication. This is also a chance to survey a large number of active designers who are significant in the make up of our local contemporary visual culture. Although london based, Don’t Panic operate also in other cities in UK as well as Amsterdam, Sydney, and commission designers from a wide variety of origins and backgrounds. Their overall character and attraction is very much to do with London.
Don’t panic usually set a theme or interest for the designer. As they declare in their mission statement their desire is to “encourage dialogue and communication, raising and addressing issues that affect contemporary culture with mind to bring change to the industry and global society.” themes often relate to social interests and protest, such as environment, war/bush, social participation and creativity. The disciplines that are invited to partake are diverse and include photography, fine art, graphic design, graffiti, copywriting and model making all constrained to the A2 format.
The curatorial position is to show all their posters without omissions and without separating them from the advertising content on their flip side.»
Gallery Director: Zeev Aram

Terminal 5

Terminal 5
Terminal 5, JFK Airport, New York
October 1, 2004 – January 31, 2005

Graphic design: Experimental Jetset
Description: «Terminal 5 was a group exhibition that took place from October 1, 2004, through January 31st, 2005, in the TWA airport terminal at JFK Airport (NYC). We were approached by the curator, Rachel K. Ward, to design a series of posters to be hung in bus shelters throughout NYC. These posters weren’t necessarily meant to advertise the exhibition; they were part of the exhibition itself (which is why, on the Terminal 5 website, our contribution was referred to as a ‘public space art project’, a slightly awkward designation).
Our starting point was the terminal itself, a beautiful optimistic ‘space age’ building, designed in the late Fifties by Eero Saarinen, and thus a typical example of late-modernist ‘International Style’ architecture. Since Saarinen was born in Finland, we couldn’t help but see the terminal also as an icon of the transition from (pre-war) European modernism to (post-war) American modernism. This transition is something that interests us quite a bit: on the one hand, you can see the emigration of Bauhaus leaders such as Mies van der Rohe and Walter Gropius to the U.S. almost as a fulfillment of modernism, an exodus to the promised land of newness. On the other hand, what happened to modernism in the U.S. can also be seen as the corruption of it. It is generally assumed that, once Bauhaus was transformed into International Style, it lost its social(ist) agenda, and became a symbol for capitalism, as the favored style for banks, upscale bungalows, large offices (such as the Seagram building in NYC) and airports.
In our series of posters, we wanted to show this ambiguity. We took three historical, European, early-modernist quotes (respectively originating from Futurism, De Stijl and Bauhaus) and transformed these quotes into archetypical advertisements, for a fictitious airline company. So in this work we’re more or less asking ourselves whether modernism in such a commodified and corrupted form still has a critical or utopian dimension.
There was something slightly surreal about being confronted with these posters (sized 165 x 112 cm) in the streets of New York. Seeing these quotes in a modern-day context was much more absurd and blatantly anachronistic than we ever anticipated. Which is good, we guess.
The quotes are by Filippo Marinetti (1909), Theo Van Doesburg (1917) and Laszlo Moholy-Nagy (1929). To keep it conceptually tight, we took all three quotes from ‘Theory and Design in the First Machine Age’ by Reyner Banham (originally published in 1960 by Architectural Press, the version we have is published in 1983 by MIT Press), a beautiful book which clearly exposes the ideological differences between early- and late-modernism.
The photographs shown [on Experimental Jetset’s website] were taken by David Reinfurt (of New York design studio O.R.G.), who was also responsible (together with Sarah Gephart) for the design the beautiful Terminal 5 catalog, published by Lukas & Sternberg.»

Design Series 3: 2×4

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Design Series 3: 2×4
San Francisco Museum of Modern Art
May 13 – November 27, 2005

Statement: «New York-based design firm 2×4 is credited with helping to redefine graphic design as one of the most inclusive and visible design categories. 2×4’s sophisticated approach emphasizes critical thinking and research, and its projects encompass virtually all graphic media — print, motion graphics, and environmental design. The studio’s design solutions are visually rewarding, employing rich but unexpected combinations of image, color, and pattern in work that is avant-garde yet rooted in the context of its subject matter. This exhibition illustrates the range of 2×4’s design activity through books, custom wallpaper, and video experiences representing projects for clients as diverse as the Brooklyn Museum, KnollTextiles, and Prada. This is the third exhibition in SFMOMA’s design series devoted to showcasing emerging design talent.»

Recent Graphic Design
Stedelijk Museum, Amsterdam

Recent Graphic Design
Stedelijk Museum, Amsterdam, NL
February 11 – March 29, 2005

Statement: «This presentation shows recent graphic work by relatively young designers and design studios. It includes posters by the already somewhat better-known designers M/M (Paris) and the New Yorker James Victore. In addition there are animations by the Dutch designers Luna Maurer, Rogier Klomp and Blammo TV.»

Participants: M/M (Paris), James Victore, Luna Maurer, Rogier Klomp, Blammo TV.