possible! – Artists as Architects
For the first time, realized buildings and spaces, models and designs for possible buildings and utopian ideas and experiments, all of which are designed by creative artists, are presented in a comprehensive overview exhibition at Marta in Herford. Therefore Surface developed a magazine, that reflects the diversity of projects.
12th Homage to Morteza Momayez
with Presentation of works and lecture of Prof. Markus Weisbeck
& The Space for Visual Research (SfVR)
German Graphic Designer, Bauhaus University Weimar
24. Nov. – 01. December 2017
Iranian Artists Forum, North Mousavi St, Taleqani St, Tehran Iranian Artists Forum
40 Jahre Videokunst
Poster & Edition
A panorama of video art produced in Germany with more than 28 hours of historic as well as current works by 59 artists, distributed as a box of 12 DVD. The DVD study edition aims at furthering the perception and discussion of video art in academies, universities, schools etc. Due to copyright restrictions, the set can only be ordered by institutions from the fields of research and education for internal viewing. Any other use like public presentation, lending or selling is strictly prohibited. 2006
A Critical Reader
In the form of a critical reader, Mario Pfeifer and Markus Weisbeck designed an artist’s publication which considers Pfeifer’s multiple screen, high definition video installation “A Formal Film” (2010) through essays and conversations from India and Europe. Furthermore the publication is a collection of printing techniques and paper stocks that are still available and specific to Mumbai. The publication also includes graphic illustrations, known as ‘Taxi Sticker Art’ as well as a ready-made bookmark. Spector Books
Academy of Fine Arts Vienna
The editorial design follows a strict grid with one Sans-Serif typeface as base for the structural elements of the different thematic chapters. The volumes in the series comprise collected contributions on subjects that are the focus of discourse in terms of art theory, cultural studies, art history, and research at the Academy of Fine Arts Vienna and form the quintessence of international study and discussion taking place in the respective fields.
Juxtaposing “Korean traditional geometric patterns” with “signboard culture nowadays in Korea” inspired typography. The Poster was developed for the 2016 AGI-Seoul-confernce together with the Korean Artist Sunah Choi.
Architecture after Revolution
SANDI HILAL, ALESSANDRO PETTI, EYAL WEIZMAN
The work presented in this 2013 published book is an invitation to undertake an urgent architectural and political thought experiment: to rethink today’s struggles for justice and equality not only from the historical perspective of revolution, but also from that of a continued struggle for decolonization.
Art Culture Technology, Cocoon, Jüdisches Museum Frankfurt und Museum Judengasse, Create
Art FFM 2015
Was an initiative to increase the visibility of the local art scene during the documenta 2015. This proposal visualises the brand as a network.
La Vie À Noi
1 Untitled 1:00 – 45 Untitled 1:00
Mille Plateaux 1999
On the occasion of the Bauhaus anniversary, the organist and musicologist, Christoph Bossert, presented his views on the structure and mathematics of Bach’s compositions in a lecture given in the Erfurt Cathedral. Markus Weisbeck invited MXZEHN to collaborate on the procedural visualisations, that framed the lecture.
With stroboscopic photography it is possible, for example, to combine the individual phases of a rapid movement in a single shot. Specific movements of the company’s repertoire create the different forms for the posters.
With stroboscopic photography it is possible, for example, to combine the individual phases of a rapid movement in a single shot. Specific movements of the company’s repertoire create the different forms for the posters.
In this group exhibition featuring international artists the SCHIRN presents pieces that also function as musical instruments. The focus of the exhibition, which is itself in a state of constant flux, is the playing of these sculptural instruments. The design themed on rotation and loops focusing one aspect of recorded music.
Posters for William Forsythe’s exhibition at Staatliche Kunstsammlungen Dresden.
In the ‘white cube’ of the Kunsthalle in the Lipsiusbau, two industrial robots wave enormous black flags, accompanied by the operating noise of the robots and their continuous movements.
As one of the “first movers” in the industry, Cansativa is one of the largest independent manufacturers, importers, and distributors of medical cannabis in Germany. An organic visual language of forms, type and colors visualizing the new world in between microscopic science and health care as corporate identity. All graphical elements supporting playful variations creating their company identity rather than being in fixed positions like traditional corporate design rules.
For the AGI 2015 conference-theme in Biel, Switzerland the poster visualize the word within the same meaning than these hands organize this process of composing.
Coexistence characterizes the simultaneous presence of different systems, and peaceful coexistence is a fundamental condition for human beings to live as a community in peace and freedom.Alliance Graphique Internationale
Thomas Demand con Caruso St. John architetti a Palazzo Pitti
The German artist Thomas Demand presented in Florence six photographic works instating a dialogue with that extraordinary context that is Palazzo Pitti, three works have been made especially for this context. The Publication references on the proportions of the graphical tools. Curated by Francesco Bonami and Photography by Nic Tenwiggenhorn.
Designpreis der Bundesrepublik Deutschland 2009
Campaign and Motion Design
In close collaboration with the director, Oliver Hardt, animations were created for the awards ceremony on February 13, 2009. All forms, where visual similarities to the New Bauhaus-Photograms were intended, were filmed entirely in a table-top studio. Afterwards, product photos and additional typography were digitally incorperated into the visual structures and animated. The dramatization included graphic compositions for the 25 prize-winners, moderation-screens and musical visualizations for Burnt Friedman & Jaki Liebeszeit, who were responsible for the musical program. Surfacemotion Oliver Hardt
Printed Matter, Logo
As a further development of the corporate design of the Deutsche Bank AG, different printed matter and digital applications as a play on the parameters of their typography and grids were developed.
Against the background of the unique shoe collection of the DLM, STEP BY STEP: Shoe Design in Transition unfolds an exhibition about shoes across all continents and through all times. The focus of the show is on the development and design of different types of shoes. Historical exhibits are deliberately combined with examples from the second half of the 20th or 21st century in order to accentuate and show both continuities and breaks in the development of the shoe and shoe design. Over 150 selected shoes or pairs of shoes illustrate the breadth of the collection and impressively trace the cultural history of footwear.
For the 100th anniversary, the German Leather Museum presents its outstanding collection from the fields of applied art, ethnology and the German Shoe Museum. The publication follows the idea of a colour range dividing the different chapters of the collection. Additional content is arranged on shortened pages in order to vary the rhythm of the publication. Deutsches Ledermuseum
DIE NEUE ALTSTADT
The graphic concept of this publication, has been conceived in relation to the architectural and urban design principles of the Neue Altstadt. Typography and the editorial design reflect the structure of houses of different widths, narrow streets and small squares into the language of book design, as well as the juxtaposition of reconstructed houses and new buildings. In addition, the Neue Altstadt typeface developed for this purpose, cites the graphic language of Ernst May’s Journal: “Das Neue Frankfurt” from 1926 to 1931.
Documenta 12 magazines
The documenta 12 magazines, conceived and directed by Georg Schöllhammer, invited over 90 publications – with different formats, media and orientations in the field of art, culture, and politics from around the world – to discuss about the motifs and themes of the 2007 edition. The project opened space for artists, art critics and theoreticians to plunge into an exercise of reflection on how major contemporary issues are presented in different socio-cultural contexts. Invited two years before the exhibition (16 June-23 September 2007), the participating publications have generated over 300 articles, essays, interviews, commentaries and illustrated essays that are gathered in the documenta 12 magazines online journal, where interested readers can assemble their own individual magazine.
For her first solo-show in the 1822-Forum we designed the communication and publication poster, invitation and catalogue based on images of the artworks.
This publication thus focuses on crucial aspects of Schiele’s intellectual world, going beyond grouping his works by their motifs alone. It addresses questions of identity, Schiele‘s understanding of his role as a artist, and his thoughts on processes of perception, in which the influence of Japanese coloured woodcuts – hitherto unresearched – played a key role. An individual typeface was designed especially for this purpose.
European Central Bank
Publication for the Memorial on the Site of the former Grossmarkthalle.
The memorial represents a dark period in the history of the Grossmarkthalle. Between 1941 and 1945 more than 10,000 Jewish citizens were deported to concentration camps from here. Architects Tobias Katz and Marcus Kaiser won an international competition to design the memorial with their plans to include haunting descriptions of the deportations engraved throughout the site.
A series of poster drafts designed for the Forum On European Culture to promote a common idea on the basis of very personal issues. Taking cue from the classic political campaigns of old workers unions, the campaign concept in collaboration with Anna Sinofzig highlights the importance of the individual as an essential part of the European project. By directly addressing its onlooker, it points to the fact that it is his/her values and voices that count.
Fogo Island Art
Corporate Design, Publication Series
The corporate design is based on the north-western view of Newfoundland’s Fogo Island. The exhibition room is part of the Fogo Island Inn, a project by The Shore Fast Foundation, and most of the works exhibited here are created throughout the course of the individual artist residencies. Fogo Arts
Minimal deephouse and microhouse related sublabel of Force Inc. Music Works. Previous 5 year catalog distributed through EFA Medien GmbH, which is now defunct.
The re-release of force tracks (now, Digital Disco Inc / Disco Inc) This is the new label run by Achim Szepanski, the owner and creator of the Force Inc empire, since its inception back in 1990.
Frankfurter Kunstverein 2002/2003
An appropriate metaphor was the search for memory and a redefinition in the art debate in general. A calendar system was designed that brings together developments and events both in a general and concrete way. Dates and times are usually kept in the background. This calendar brings the background to the fore both graphically and thematically.
Furniture of the Fogo Island Inn
Publication on the interior design of the hotel “Fogo Island Inn” following the series of exhibition catalogues from “Fogo Island Arts”.Fogo Furniture
Acht Grau (Eight Gray, 2002), commissioned for the Deutsche Guggenheim Berlin, this withdrawal is pointed, superseded by the spectators’ role in shaping both the form and meaning of the work. Edition Poster, Campaign and Printed Matter
German Design Award 2010 (after Joost Schmidt)
HD video loop 6’50 min., expl. 1/3 (+ 1 a. p.), in collaboration with Oliver Hardt, Camera: Jörg Baumann
Courtesy Kai Middendorf Gallery Frankfurt/M.
German Design Award 2013
Campaign and Motion Design
The central theme for this year’s visual concept for this prestigious award, issued by the German Design Council, was a transparent stage architecture that reflected itself in a virtual space. The design was conceived regarding its use for various medias: from invitations, posters and large scale prints for the exhibition design, that led up to the animated presentation of the winning products during the awards ceremony. The project was realized in collaboration with Oliver Hardt (Signature Films) and tvt film. Surfacemotion Oliver Hardt
German Design Award 2018
German Design Award 2021
Analogue produced movements form the basis for the corporate design of the German Design Award 2021. In model-like set-ups, the movements were filmed in extreme slow-motion and subsequently combined with digital graphics. The grid as a graphic element underlines the idea of physical experiments. The award ceremony was produced under C19 conditions in a studio designed for this purpose.
German Design Award 2022
Digital campaign in collaboration with Oliver Hardt
Inspired by the work of the visionary designer and design theorist Horst Rittel, who coined the term “Wicked Problems” together with Melvin Webber in the 1970s, respect is paid to the processuality and mode of action of design thinking and the resulting performance of design.
Glass and Concrete
Despite their apparent differences, glass and concrete are connected by a long history. A Publication with the Artists Francis Alÿs, Peter Bialobrzeski, Oliver Boberg, Matti Braun, Andreas Bunte, Daniel Buren, Louisa Clement, Louis De Cordier, Alia Farid, Nina Fischer & Maroan el Sani, Thomas Florschuetz, Daniela Friebel, Vincent Ganivet, Jakub Geltner, Isa Genzken, Elín Hansdóttir, Mona Hatoum, Philipp Hennevogl, Stephan Huber, Thomas Huber, Aernoudt Jacobs, Jeffrey James, Isa Melsheimer, Jan Muche, Martin Mühlhoff & Christian Vossiek, Olaf Pernice, Túlio Pinto, Robin Rhode, Kilian Rüthemann, Kai Schiemenz, Wolfgang Schlegel, Adrien Tirtiaux, Tatiana Trouvé, Lena von Goedeke, Martin Walde (in cooperation with Bernd Weinmayer)
Goethe National Museum
For the new permanent exhibition “Flood of Life – Storm of Deeds” at the Goethe National Museum in Weimar, Surface has been commissioned for the art direction, involving exhibition graphics and navigation, working along side a joined concept of the exhibition architecture by MINC and a scenographical space by Meso.
This work is concerned with the development and exploration of visual forms, taking the visual principles of academic-artistic teachings on modernism in the relevant schools, institutes and colleges of the 20th century as a base. The studies are less a reference to modernity, but their methodologies should rather be understood as a departure from pure image as an artistic expression, regardless of an academic art or applied art education. Sternberg Press
Diagrams explain the important themes for designers: „looking at ideas“, „taste classified“ and „What you have to say“ as the basis of creative output.
Gwangju Folly II
Key visual, Publication, Brand
The key visual for the project by Gwangju Biennale Foundation, South Korea, references the Korean tradition of wooden windows. Within the visual the title “Folly II” is visible in both Korean and English. Gwangju Folly II will commission new works from the following architects, artists, collectives, and writers: David Adjaye & Taiye Selasi, Ai Weiwei, Seok Hong Go & Mihee Kim, Rem Koolhaas & Ingo Niermann, Raqs Media Collective, Do-Ho Suh, Superflex, Eyal Weizman.
Nikolaus Hirsch (director), Philipp Misselwitz and Eui Young Chun (curators) Gwangjufolly
also known as the Hotel Silber Place of Remembrance or Learning and Memorial Hotel Silber, is a permanent exhibition about the political persecution by the police from 1928 to 1984 in the Hotel Silber, as well as about the persecution and deportation of the Sinti and Roma and the persecution of homosexuals by the police during the Nazi era in the hospital courtyard. The exhibition Police, Gestapo and Persecution is located in the Hotel Silber in Stuttgart. Exhibition design with Studio Wandel Lorch
INS FREIE FESTIVAL
As a visual homage composed with graphic elements of the wall design developed in 1977 by the Frankfurt designer Wolfgang Schmidt (1929 – 1995) for the Orangerie* restaurant in Darmstadt. *by Jourdan & Müller • PAS. The festival design is regarded as a homage and, through the massive poster advertising, also as a monument to a forgotten artistic position.
Institute for Art Criticism Frankfurt am Main
Surface designed a series of books for the Institute for Art Criticism Frankfurt founded by Daniel Birnbaum and Isabelle Graw. It is published by Sternberg Press.
Isa Genzken, Biennale di Venezia 2007
The campaign for the German Pavilion of the 52. Venice Biennale illustrates specific excerpts of Venice, similar to Isa Genzken’s artistic style in her installation “Oil”. Thus, the image of the campaign is a reference to the cliché of the lagoon city just like the artistic contribution in the pavilion and cites that part of the work that uses similar reflections. Ordered were: advertisements, large-scale posters as well as an internet website.
Tecoh is a sprawling series of buildings designed by the artist Jorge Pardo deep in the Yucatán jungle. Taking over six years to fabricate, and engaging existing ruins of a nineteenth-century hacienda, the project is by far the artist’s most ambitious work to date. This book offers the only available glimpse of the project, as it was primarily conceived as a private residence. Over 100 color images choreograph the reader around the myriad buildings and landscaping that constitute Tecoh—from subterranean concrete forms peaking out of the wild jungle grasses to quiet details of tiles and furniture to Pardo’s iconic bulbous lamps. Edited by ALEX COLES, 2012
Proposal for a typographical system as brand identity in which geometric variations visualize the different markings of the brands.
The Kieler Woche places the highest demands on its annual new image: Since 1959, renowned graphic designers have been regularly invited to compete for a corporate design for the festival week. These sketches were the basis for the design development in 2018.
An all-encompassing corporate identity was developed for the Lenbachhaus, the central element of which were the posters. In order to highlight the Lenbachhaus as a space and present its overall concept, the colour code was supplemented by the element of the respective titles. In this way, each of the past exhibitions can remain inserted behind the current typography as a reminder.
Despite the high frequency of exhibitions, this reminder system enables the artists to contact each other and to superimpose the contents of the programme in a single context.
Liam Gillick, Biennale di Venezia 2009
The campaign for the German Pavilion of the 53. Venice Biennale is based on the idea to display the artist’s name in several orthographical variations. Different refractions through a prims create the key visuals for the poster, invitations and website.
LUMA Arles is a new experimental contemporary art center that brings together artists, researchers, and creators from every field to collaborate on multi-disciplinary works and exhibitions. An artistic program developed in collaboration with LUMA Arles core group of artistic consultants – Tom Eccles, Liam Gillick, Hans Ulrich Obrist, Philippe Parreno, and Beatrix Ruf – is presented periodically in the already inaugurated venues of La Grande Halle, Les Forges and La Mécanique générale.LUMA Arles
The idea for the key visuals of Manifesta7 changes abstractly between a bricolage and a tourist-alpine picture that is further underlined by color selection.
The theme of the animated wordmark with its possible variations describes the movement of the connecting waters between Franzensfeste and Roverto.
The new monograph on Mario Pfeifer’s work in film and video. This bilingual (DE/EN) and internationally distributed publication follows Pfeifer‘s first comprehensive solo exhibition in Canada / North America at The Power Plant, Toronto.The Power Plant The exhibition was curated by Director Gaëtane Verna with the assistance of Nabila Abdel Nabi. The publication includes essays by Georg Imdahl on the artist’s socio-political investigations and Nomaduma Rosa Masilela on Pfeifer’s first live performance work. A conversation between Pfeifer and Canadian artist Stan Douglas weaves through the historical and contemporary issues of image production, music, pop culture and politics of the now.
Wir Sind Hier
Songs, which, for all the self-evident guise of High Pop, perpetually pose the question about positions, about themselves, itself, and thereby about me as well; songs, which circle around the question of position, of place and the quality of that place and thereby circle and encircle me until at some point or other (and almost automatically so), their question is my question: where am I – here? 2004
Massimo Vignelli 90
A Poster Exhibition to celebrate 90 years of Massimo Vignelli’s influence. The exhibition aims to create a reflection on the relevance of his legacy, as it was stated in his Canon. It is an invitation to think about him addressed in a different way, by using image and typography applied to a poster. Designers from all over the world are invited to express their vision of Massimo.
Memory Loops is an audio artwork based on transcriptions of historical and recent material from victims of National Socialism and contemporary witnesses, from which Michaela Melián has created collages of voices and music, thematically linked to the topography of National Socialism in Munich. Five of these audio tracks are one‐hour Memory Loops related to sites within the city of Munich and with a focus on different subjects.
Michael Krebber: Les escargots ridiculises / The radicalized snails published in conjunction with 2012–2013 survey exhibiton of same name at the CAPC, Bordeaux, France. The most comprehensive catalogue, to-date, covering the work and career of German artist Michael Krebber.
Released on the occasion of Miriam Cahn’s solo exhibitions at The Power Plant Contemporary Art Gallery, Toronto, and Kunsthal Charlottenborg, Copenhagen, this publication gives a comprehensive overview of the acclaimed Swiss artist’s extensive and versatile body of work. Ed. The Power Plant Contemporary Art Gallery, Toronto, Gaëtane Verna, text(s) by Amin Alsaden, Henriette Bretton-Meyer, Miriam Cahn, Aruna D’Souza, Roxane Gay, Gaëtane Verna, John Yau
MMK 123 Posters
The number system 1, 2 and 3 makes each house distinguishable from one another. Furthermore this typographic intervention serves for the rapid understanding of positioning and enables the logo to function as a way of navigating through the city. MMK Frankfurt
MMK 123 SOON
Due to the opening of a third location, the visual language of the MMK was updated with the typographical integration of a number system 1, 2 and 3 to the wordmark. To accompany this distinctive feature: the campaign with “soon” and “now” was used leading up to the opening of the new house. MMK Frankfurt
Muriel Cooper Composings
Markus Weisbeck plugs into itself a silkscreen plastic foil (which was used in the eighties by Murial Cooper in her Visual Language Workshops at the MIT in Cambridge) sets it up on a turn table and films it analog. Frieze
Museum of Modern Art Frankfurt
The museum of modern art introduces its completely new graphic appearance by bringing the label as the brand for the institution on the same level as its content. The brand manifests itself using a monogram as a constant element thoroughout all products of visual communication. MMK Frankfurt
Museum With Walls
Rachel Harrison is one of the most exciting artists making sculptures today. This volume, the most comprehensive monograph of Harrison’s sculpture, video and painting to date, provides documentation of the past 15 years of her work and includes essays by Tom Eccles, David Joselit, Iwona Blazwick and Jack Bankowsky, plus contributions from Paul Chan, John Kelsey, Allan McCollum, Lucy Raven, Amy Sillman and Steven Stern.
After an european design competition the institution selected this brandmark, which is both an identity and a keyvisual for this one-night event in Monte Carlo. The conceptual idea is a vage translation of pictures in the context of sailing of an mediterranean harbour without visualizing a regatta. The brand is translated to local posters, a website and merchandising products.
The American artist Paul Chan has gained international acclaim for his video work, drawings and installations that blend a novel drafting aesthetic with philosophical reflections on politics, religion, sex and life. This beautifully produced monograph, published on the occasion of Chan’s highly anticipated one-person exhibition at New York’s recently unveiled New Museum of Contemporary Art, presents the first significant overview of his work. Spanning from the late 1990s through today, it is named for Chan’s most recent project, The 7 Lights (2005–07), a series of large-scale digital projections and drawings that “hallucinate” the Seven Days of Creation.
The artist was commissioned 2001 by Deutsche Guggenheim Berlin to make two large-scale casts from distinct spaces in a London building that she recently purchases as her home and studio. Although the building has a history as both a synagogue and a factory, it is a product of austere postwar architecture, lacking many of the traditional embellishments associated with such structures. The grafical Identity following the principles of omission.
The poster was designed for the anniversary evening celebration of the electronic-music label Raster Noton at the Volksbühne, Berlin and exhibits as a print a 4707 times enlargement of an offset-print-control-strip. This enlargement makes the quality of the offset checkable by way of a 1pt line or point in the center. The poster was printed in an edition of 20. Raster Noton
Rachel Harrison – Fake Titel
Rachel Harrison’s innovative use of sculpture is fundamental to a younger generation of artists. Harrions uses found or purchased objects (readymades) which she incorporates into her sculptures. A catalogue for her exhibition “fake title” at the Kestner Gesellschaft, Hannover, was created in close collaboration with the New York artist.
Reichsrat von Buhl
Rearrangement of the von Buhl brand.
Different representations of the heraldic animal with a revision of a Franz von Stuck design from 1917 as well as a new orientation of the Manufaktur wines by means of newly revised renaissance print graphics.
By visiting rhizome.org, your current IP address and the IP addresses of the last three visors were determined. These four Numbers finally creates the four stars which are superimposed to create the final logo design.
Two models by Prof. Hubert Schiefelbein were staged in space in an endless mirror room and photographed in different perspectives. Afterwards circles were cut out of the photo originals. Through the mirror space the sculptures regain their original seriality. Universität Weimar
+Seelinger Architekten+Ingenieure +Seelinger Architekten+Ingenieure is an international networked planning team for architecture, urban planning and design. Their portfolio of concepts and buildings constructed includes urban planning, residential buildings, educational and cultural buildings, office buildings, traffic, infrastructure and health buildings as well as logistics and production buildings.
This book gathers together a compilation of texts authored by Raqs Media Collective 2010 (Monica Narula, Jeebesh Bagchi, and Shuddhabrata Sengupta). Raqs has been variously described as artists, media practitioners, curators, researchers, editors, and catalysts of cultural processes.
Since 1997 Surface creates the art work for Shantel, including covers, posters etc., very often in collaboration with internationally renowned photographers as Studio Harcourt Paris for example.
Signature Films, Historisches Museum Frankfurt, Forensic Architecture, nXg
As a rule we always promote the meaning of the institution – every graphical composing is readable as a translated visual. This translation as process is the team-result of research and conversation of the client with the designer.
Space for Visual Research
The Space for Visual Research was established at the Bauhaus-University Weimar in 2013 as a workshop and laboratory for experimental research into new graphic, abstract and visual worlds. The resulting “Space for Visual Research” publication is a lab book, a log of visual experiments conducted using physics, chemistry, optics and reproduction technology as starting points for image production. Published by Spector Books. Space for Visual Research Spector Books
Städelschule Architecture Class
Based on the abbreviation of the institutional name, Städelschule Architecure Class, the new brand focuses on the alphabetical character SAC. Following the abstraction, the single letters form a graphical construction. These constructs are based on divisions as the principle of a specific area which is required for positioning the pragmatic information. These single areas are now used as different gradient fields ignoring logical lighting parameters, with a maximum of possible variations.
Städelschule Architecture Class
Based on the abbreviation of the institutional name, Städelschule Architecure Class, the new brand focuses on the modified alphabetical character SAC. Following this abstraction again, the single letters form a graphical construction as image frames. These constructs are based on divisions as the principle of a specific area which is required for positioning the pragmatic information more playful.
Städelschule Architecture Class
Based on the abbreviation of the institutional name, Städelschule Architecure Class, the new brand focuses on the modified alphabetical character SAC. Following this abstraction again, the single letters form a graphical construction as image frames from Schmott photographers. These constructs are based on divisions as the principle of a specific area which is required for positioning the pragmatic information more playful.
The sky disc is attributed to a site near Nebra, Saxony-Anhalt in Germany and during the bronze era dated ca. 1600 B.C. It is considered the world’s oldest, concrete depiction of the sky and as one of the most important archeological finds from this era. The theme of the stamp’s design illustrates an image of the sky disc as well as its burial objects.
For the New York and Berlin based publisher Lukas & Sternberg, a pocketbook series was developed in 2000. The text of every first page is shown as an abstract facsimile on the cover. Thus, the expanding series has variations in title graphics, that can influence the individual authors. Including out-of-print editions, the series comprises 16 books. Sternberg Press
Studio Ene Ammer
In the context of the Atelier Ene Ammer, a poster was designed for a fictitious exhibition about Ammer’s architectural exhibitions, which allegedly took place in 1985 at the Centre Georges Pompidou. Ene Ammer was one of the most important exhibition designers of the Estonian SSR. The title of the exhibition “Provisional Yoga” is the result of an attempt to show two contradictory modern figures of thought, as they were in the ornamental debate at the beginning of the 20th century. The curators: Mari Laanemets, Søren Grammel • Grazer Kunstverein 2009
Artist Sunah Choi Sunah Choi is interested in processes of abstraction as applied to concrete moments in time, places, and phenomena.
Her sculptures, installations, and photographs probe the substance and formal structure of objects. By resolving observations into compositions and arrangements or condensing them in sculptures, she explores the aesthetic quality of selected aspects of nature and vernacular culture. Choi received Hannah-Höch-Förderpreis 2018, an award given out by the State of Berlin to a rising female artist in recognition of her growing oeuvre’s outstanding quality. This book, which contains three multipage inserts, presents a richly illustrated survey of Choi’s work of the past ten years, accompanied by a conversation between Sunah Choi, Thomas Bayrle Thomas Bayrle, and Markus Weisbeck. Markus Weisbeck With essays by Sabeth Buchmann and Andreas Schlaegel.
Release and Label Identity
The Capital of Desires
Corporate Design, Book Design
The key visual for the pavilion of Republic of Armenia at the 14th International Architecture Exhibition in Venice is based on a selection of hand drawn Armenian architecture.
The Forsythe Company 2004
The Forsythe Company
The dancers corpuses are defragmented into new abstract forms with intentional cuts and collages. The dynamic and procedural method corresponds to Forsythe’s choreography.
The Forsythe Company
The 2008/2009 campaign for the Forsythe Company displays black + white photography with abstract spaces that, due to their transference, emphasize the dynamics of the figure. The graphic composition integrates the typography in the areas with color and photography.
The Forsythe Company
Structured textile surfaces describe in graphic form the repertoire of the new programme. Once again this series was conceived with William Forsythe and the photographer Dominik Mentzos.
The Future Archive
The exhibition project The Future Archive picks up on artistic research projects of the 1970s and 1980s from the environment of the Center for Advanced Visual Studies (CAVS), which was founded in 1967 by György Kepes at the Massachusetts Institute of Technology (MIT) in Cambridge/USA. Project and contributions by: Maryanne Amacher, Luis Berríos-Negrón, Muriel Cooper, Olafur Eliasson, Florian Hecker, György Kepes, Richard Leacock / Jon Rubin, Amanda Moore, Otto Piene, Micah Silver / Robert The, Aldo Tambellini, Urbonas Studio / Nader Tehrani NADAAA, Markus Weisbeck, Neuer Berliner Kunstverein, 2012 • Curator: Ute Meta Bauer
The Hospitality of Presence
Daniel Birnbaum’s The Hospitality of Presence is a study of the concept of otherness in Edmund Husserl’s phenomenology. In the late 1990s it gained international attention in academic circles. It was reviewed favorably in specialized philosophy journals such as Review of Metaphysics and quoted extensively, most notably by Paul Ricoeur in one of the legendary French thinker’s last books. It has long been out of print. The Danish artist Olafur Eliasson has produced a special project for this new edition.
The Love of Painting
Following the tradition of classical theories of painting based on exchanges with artists, Isabelle Graw’s The Love of Painting considers the art form not as something fixed, but as a visual and discursive material formation with the potential to fascinate owing to its ability to produce the fantasy of liveliness.
was an intervention project as part of a series of artistic positions in a former travel agency in Frankfurt. The work illustrated the last long-distance train to Berlin and Paris.
Tribute to Paul Renner / Flight 752
Both projects are invitations of Non-Profit Organisations. The tribute to the Typeface Futura, promotes a template used in manual drafting. It is a hypothetical proposal for a non-existing drawing-tool, which could be the basis for modernity. Flight 752 is a memorial for the Ukraine International Airlines Flight 752, which was shot down shortly after takeoff from Tehran Imam Khomeini International Airport. This poster is a initiative from a group of contemporary Graphic Designers.
Weingut von Winning
For the traditional vineyard Dr. Deinhard in Deidesheim the new corporate design “von Winning” was created. The unusual vine stock growing in the renowned area demanded a traditional as well as an exclusive solution, based on the typographical use of “Ehmke-Ornament-Initials” in combination with the font “Stempel Schneider”, as a reference to the epoch the vineyard label was founded.
Whatness is an audio gallery founded in 2000 with the aim of combining structures of the visual and musical arts. Internationally renowned artists present their own works as entirely autonomous artistic positions. The fusion of these positions in a project specially created for Whatness generates an expansion of the original media and explores the possibilities of an exchange between art and music by various means such as graphic notation, instrument making and vocal art. The respective collaborations are then published as a CD. Whatness
Wilhelm Sasnal. Night Day Night
Carina Plath, Westfälischer Kunstverein, Münster; Beatrix Ruf, Kunsthalle Zürich (Hg.), Texte von Carina Plath, Beatrix Ruf, Ulrich Loock, Wilhelm Sasnal im Interview mit Andrzej Przywara (dt./engl.), 153 S. mit 86 farb. und 29 s/w Abb., Hatje Cantz Verlag
Willem de Rooij
In close collaboration with the artist we developed a series of exhibition catalogs for institutions in New York, Dijon and Frankfurt.
The composition of the cover and also the selection of the fonts follow a fixed continual rule and change from edition to edition.
Corporate Design Screens for the program extension of a public television station. The 2010 design idea visualizes a somewhat too coarse visible grid in which typography equally replaces the colored areas that are part of the identity of the broadcasting group.
Zoom, Chinaski, Computational Historical Semantics, Kleinschuhwerk
Designed within individual sources and ideas translating the mostly given content of these institutions to a typographical or combined image-sign, which illustrates as composing the meaning and its function of each specific profession.