An inside look by designers and clients at graphic design’s main playground and proving ground–working for cultural institutions.
This book takes an inside look at graphic design’s main playground and proving ground—working for cultural institutions. One would be hard pressed to find another area of graphic design in which the work is so fresh and experimental and so often serves as a precursor for future visual trends.
Introducing: Culture Identities features outstanding poster campaigns, publications, and cross-platform corporate design for international cultural institutions by both young designers, who are striving to prove themselves creatively, and established studios, who are experimenting with new forms of visual expression. In the book, readers not only hear from designers who are especially active in the cultural field, such as Bureau Mirko Borsche, the New York-based studio 2×4, James Goggin, and Johannes Erler, but also from notables on the client side including MoMA, the Barbican, Van Abbemuseum, and documenta.
With its selection of striking collaborations between innovative designers and visionary cultural institutions, Introducing: Culture Identities presents the field of visual identities for cultural clients as a continuous dialogue that pushes the limit of what is possible creatively.
Text and Image via Gestalten
This area of the website gathers together and articulates throughout a series of subsections, the materials that constitute the various sources from which dOCUMENTA (13) gradually came into being, as well as the different accounts that are being recorded during its making.
It is in an attempt to bear witness to the process in its multifaceted, contingent and inhomogeneous nature, as well as to the individual and common trajectories of those who took, are and will be taking part in the project. The texts, images and videos that constitute the different entries of this resources area are listed chronologically here, and further organized around the subcategories “100 Days”, “Glossary”, “Minutes”, Projects”, and “Materials”.
Text via dOCUMENTA (13) Resources
Three quarters of the art at Documenta 13, the gigantic 200-exhibitor show that just opened in the small German city of Kassel, is innocuous or worse. Derivative installations, found objects, text pieces, videos, sculptural fragments, empty rooms, performances, and sound works — it’s the kind of late-late conceptual/relational aesthetics hegemony endemic to these massive events. I won’t run down the list, but one immoral work (if such a thing can be said to exist) will suffice to give you the sense of it: In A Public Misery Message: A Temporary Monument to Global Economic Inequality, created by a group called the Critical Art Ensemble, viewers ride in a helicopter to heights corresponding to their net worth. The work is supposedly about wealth accumulation, and is an anti-market gesture. Surely it cost more to stage for a day than many museums and galleries can spend or generate in a year, or than most artists earn in a lifetime.
Excerpt of an article written by Jerry Saltz. Continue HERE
Image above: Song Dong’s Doing Nothing Garden (2010–12), at Documenta 13.
In collaboration with Julien Devaux and Ajmal Maiwandi
Commissioned by dOCUMENTA (13)
Produced by dOCUMENTA (13) and the
artist. Special thanks to the kids of Kabul;
Goethe-Institut Afghanistan; David Zwirner.