Immersed in collector Brad Feuerhelm’s vernacular photo collection, artist Anouk Kruithof moved into a bungalow where she developed a niche relationship with the photos and transformed the image archive. She visualizes scenarios in which images, through the imaginary space of our conception, and parallel to digitization, leap across the tooth of time. The personal image relations, all but magically approached and released, offer new perspectives, to relate us, one-to-one with the image, to the present post-digital image economy in which our image memory moves. Furthermore, the technical angles give insight into the way we can process our image memory.
The five differently-processed image stories make this book a layered ‘Gesamt-sculpture’ that has a lot to say about the actual status of our image memory. The Bungalow is an ‘image wonderland’ in which a closed meeting represents the ‘bite’ of the leap.
The ninth edition theme of the international literature festival ChiassoLetteraria is the inescapable plot between collective History, individual stories of characters and authors, their narratives and accounts. How can History be told through literature? What role can be assigned to literature in dealing with elements of the past, even when they’re uncomfortable? What stories can still be told?
The Festival’s visual identity reflects the duality between the concept of history and story. A diagonal that separates, but at the same time approaches, becomes the recurring element used on logos, images, typography, exhibition design and various communication tools.
Mariapia Borgnini for the spaces of the Cantonal Art Museum of Lugano. The exhibition title “Enoisuillusione” is printed letter by letter on the pages of the japanese bound book. This allows the palindrome to be read infinitely and in both directions. The four-color printing with the addition of special inks on 9 different kinds of paper evokes the variety of media and techniques used by the artist. Graphic design in collaboration with Sidi Vanetti.
Drawing NYC is the outcome of a trip to NYC in 2012. It’s a folder holding 14 spontaneous and archaic black and white drawings and their mirrored offprint. The folder was produced in a limited edition of 10 copies.
The hero’s submerging under as well as emerging out of water is a familiar phenomena in motion picture. Representative water scenes are frequently used as an instrument of dramatic visualization by filmmakers. Concerning cinematic interaction with water, immersion—in an aesthetic, but also pragmatic way—initiates flashbacks, provides a look into the inner subject just as imagination and dreams or opens the gates to dimensions beyond immanent motion picture’s reality. Based on examples of art history and selected film sequences, this liberal arts orientated master thesis combines appropriate and classic theories. The text faces significant connections between staged water immersion/emersion in film and real life water experiences.
We are presenting an elaborated and abandoned book for the output award. Often, critical editions are bulky, even confusingly patterned—our focus is on neatly arranged and typographically useful editorial design to provide a better reading experience.
60 artists from all over the world were invited to work on / and with traditional asiatic harmonica books. The project was a collaboration between the College of Fine Arts Seoul, Tokyo University of Arts and the Stuttgart State Academy of Art and Design
“Mobile M+: Inflation!” is the fourth pre-opening “nomadic” exhibitions curated by M+, the new museum for visual culture at the West Kowloon Cultural District.
Occupying the site of the forthcoming park of the District next to the future building of M+, the large-scale inflatable sculptures by Cao Fei (China), Choi Jeong Hwa (South Korea), Jeremy Deller (UK), JIAKUN ARCHITECTS (China), Paul McCarthy (USA), and Tam Wai Ping (Hong Kong) presented here pose questions about the nature of public art and the ways in which audiences might engage with it.
These works, accompanied by a performance piece by Tomás Saraceno (Argentina), may evoke associations that seem familiar, jarring, or both. Together, they explore the ever-changing notions of nature and artifice, intimacy and monumentality, permanence and temporariness, as well as beauty and the grotesque in the realm of constructed landscapes.
By transforming the current site into a (con)temporary sculpture park of inflatables, “Mobile M+: Inflation!” attempts to consider how certain realities and preconceptions around art in public space can be altered, undermined and challenged in the context of an evolving and endlessly mutating cultural and urban landscape.
The focal point of the identity is a bespoke stencil typeface and a visual system of contrasting frames that evokes the relationship between the artworks and the exhibition site. Drawing on the notion of scale, contrast between the materials and the raw state of the landscape.