A—Z is dedicated to develop, showcase and promote ideas and projects in which graphic design goes beyond its boundaries and explores its more unconventional and experimental facets

A—Z is an independent space in Berlin with the mission of expanding the territory of graphic design by rethinking its limits and challenging traditional perceptions. At the storefront space, located in the heart of the city, inspiring graphic designers are invited to unfold their artistic, conceptual or formally experimental projects.

By showcasing individuals who are open to transposing the boundaries of their own practices, A—Z is setting a counterpoint to the predominant trends of over-specialization. The idea is to provide an interdisciplinary environment where graphic design enters into dialogue with other areas, such as contemporary art, artistic publishing, cultural research and social engagement.

Featured contributions range from print, digital media, installation, performance, film, and a variety of other media and formats. They also cover a spectrum of topics, from typography and language, templates and hacking, to political and social questions, and many more. Each of the invited collaborators create works that are personal statements that reach beyond the commissioned and applied realm of graphic design.

The space also hosts talks, workshops and other events, in partnership with invited designers, initiatives, collectives and institutions worldwide. A—Z is an initiative of book designer Anja Lutz and The Green Box – Kunst Editionen.

NEWS

08/10–19/11/20 Blumen sind geil by Tine Melzer & Markus Kummer

Exhibition dates 08/10–19/11/2020
Opening and Lecture-Performance by Tine Melzer 08/10/2020, 19:00

In the project “Blumen sind geil” [Flowers are wicked], gestures come together that work with examplary conventions in dealing with flowers on a visual and linguistic level. Flowers are wicked because they can embody very different meanings. They are products of globalized trade and are everywhere where people celebrate, praise, seduce and mourn. In the exhibition a new wall installation with multiples is on display: Kummer & Melzer have transformed flower petals into patterns in collaboration with the Wolfensberger Zurich lithographic printing house. In the book “Blumen sind geil”, that is published at the occasion of the exhibition,  literary short texts come together with a series of photographic scenes, complementing, disturbing and distorting each other. It combines visual, sculptural and conceptual work with spelled-out language. The monologue-like texts meet with the images as sentences, thereby tilting their meanings.
At the opening Tine Melzer will give a short lecture on conceptual and linguistic-philosophical references between word and image, saying and showing. She gives an intro on the tilting of meanings, the so-called aspect seeing, and what this has to do with us.

Tine Melzer (*1978) is a Swiss author and lecturer at the Bern University of the Arts. In her work she combines philosophy of language with visual arts and literature. She studied Fine Arts and Philosophy in Amsterdam, received a scholarship at the Rijksakademie van beeldende kunsten and completed her doctorate in England on Ludwig Wittgenstein and Gertrude Stein. From 2004–2009 she was a lecturer at the Gerrit Rietveld Academie Amsterdam. After working in Germany, England, Finland and the Netherlands she now lives in Zurich and is represented by literary agent Liepmann from Zurich.

Markus Kummer (1974) is a visual artist and materialises architectural, scenographic and interventional processes. He studied in Geneva, Basel and Bern and lives in Zurich.

A—Z PRESENTS
Time is running Rebellion Riso Posters Collab
Printsession 02/10/20, 10:00–19:00
Presentation 02/10/20, 19:00
 
Time is running / Die Zeit läuft
Open Call Riso Collab of Posterrex & Drucken 3000, supported by Slanted and A—Z
 
Our goal was to bring together visuals about the topic of climate change — as we want to contribute to reduce the risk of extinction of mankind and the collapse of our ecosystems. The submitted artworks were combined and overprinted to create new and multi-layered perspectives. The Posters were used at the Extinction Rebellion Demonstration the following week. 
 
With contributions by Marc Lotus, Giulia Lantier, Florian Haberstrumpf, Ariane Spanier, Raban Ruddigkeit, Bianca Schill, Yumiko Soga, Olena Smetanka, Marta Ustvarja, Deborah-Lois Sery, Anja Lutz, Lana Soufeh, Markus Lange, Florian Brugger, Sebastian Dietel, CH Ernst, Martina Wember, Miltos Bottis, Filip Zagórski, Salma Khairy, Manuel Viergutz, Amelie, Agnieszka Weglarska, Thomas Marutschke, Lisa Panitz, Cihan Tamti, Martin Gnadt, Klaudia Mazur, Raupa Gonzales, Melis Guenoglu, Philipp Heinlein, Julia Kahl, Nina Engel, Daniel Hahn, Max Schürmann, Paula Hornickel, Jois, Eva-Maria Offermann, Jacco Bunt, Katharina Gschwendtner, Stefan Vogtländer, Rafael Bernardo, Daniel Hicks, Vincent Bord, Alex Branczyk, Lars Harmsen, Frank Höhne.

Feminist Findings Liberation in Print (L.i.P.) Collective

Exhibition Dates 30/07—24/09/20
Opening 30/07/20, 19:00 with Zine Launch and Film Screening

Feminist Findings brings together the collective research of twenty-six womxn and non-binary people on the history of feminist publishing. The L.i.P. Collective—short for “Liberation in Print”—formed during the recent lock-down period. Spread over four continents and many time zones, its participants came together over the beams of their computer screens to dig through digital archives, searching for the missing histories of feminist journals, magazines, zines, newspapers, and newsletters. Feminist Findings presents the L.i.P. Collective’s research for the first time, taking the form of an exhibition and accompanying zine.

Scanning the gallery at A—Z, you’ll discover the struggles and victories of a 1980s San Francisco newsletter for Asian/Pacific lesbians, solve the mystery of an underground tearoom in Paris, hear from the co-founder of India’s first feminist press, learn how writing a feminist history of Swiss graphic design might start by calling up a neighbor, and much, much more. A wunderkammer brimming with photographs, artefacts, logos, magazines, quotes, excerpts, resources, pages, footnotes, and digressions, Feminist Findings is a messy, knotted web manifesting its own collective research process. It showcases stories around twentieth century publications from across the world, including Agenda, Al-Raida, Aspekt, Bridges, Carnets des Nanas Beurs, Chrysalis, Common Lives/Lesbian Lives, Courage, Di Froy, DYKE A Quarterly, Distaff, Emanzipation, Ewa, Froyen Shtim, Gidra, Heresies, Leïla, Manushi, Nova, Phoenix Rising, Sinister Wisdom, Sorcières, Soviet Women, and Spare Rib.

The L.i.P Collective workshop was initiated by le Signe, the National Centre of Graphic Design in Chaumont, France, as a response to the Covid-19 pandemic. Over the course of six weeks, its group of isolated strangers became a tightly-knit research unit, bonding over shared interests, rooting for one another’s projects, and celebrating together each and every new find. It was led by Nina Paim and Corin Gisel of common-interest along with design journalist Madeleine Morley.

The L.i.P Collective is Zenobia Ahmed, Yanchi Huang, Sophia Yuet See, Silva Baum, Phoebe Eustance, Pauline Piguet, Noemi Parisi, Nina Paim, Naïma Ben Ayed, Mujgan Abdulzade, Mio Kojima, Maya Ober, Mariachiara De Leo, Madeleine Morley, Loraine Furter, Klaudia Mazur, Floriane Misslin, Fanny Maurel, Eugénie Zuccarelli, Elham Namvar, Delphine Bedel, Corin Gisel, Clara Amante, Carolyn Kerchof, Barbora Demovičová, and Amy Gowen.

Curated and edited by Futuress:
Launching Autumn 2020, Futuress is an online magazine and community space for design research. The feminist publishing platform is founded by Nina Paim and Corin Gisel (of the Basel-based design research practice common-interest) alongside journalist and editor Madeleine Morley. The once-hidden stories collected in the Feminist Findings zine—which the Futuress team has worked with the authors to craft into accessible storytelling formats—will be republished online via Futuress this upcoming Fall, adhering to its guiding philosophy of making design research public.

Na Kim Transitory Workplace, 56

Exhibition Dates 29/05–22/07/20
Soft Opening 28/05/20, 17:00–20:00
Presentation by Na Kim 02/07/20, 19:00

Transitory Workplace 56 transforms A—Z into Na Kim’s studio for fifty-six days. It presents her temporary working activities at a provisional workplace and the encounters of others with diverse purposes. While Na Kim usually spends around half the year traveling due to the breadth of her work and the places it takes her, she is now confronted with the situation of the lockdown due to the coronavirus pandemic. This entrusts the body to a time of uncertainty. The anxiety felt by being enclosed in a physical environment naturally probes solitude in daily life and summons the space of memories. By allowing her to set her own rules for this private workplace for fifty-six days in a public gallery space, this project makes abstract uncertainty concrete with physical space and daily action, demonstrating an attitude of observation and appreciation for the value of everyday life. Transitory Workplace 56 exists beyond the realm of physical space and is instead the accumulation of time in space. It mediates the intersection of these two layers of experience and attempts to capture, collect, document, and present them. 

Transitory Workplace 56 is for all kinds of uncertainty.
Transitory Workplace 56 is about solitude for togetherness. 
Transitory Workplace 56 is for learning by doing and sharing.
Transitory Workplace 56 is for re-projecting and re-producing.
Transitory Workplace 56 keeps daily documentation of 56 days.
Transitory Workplace 56 is for communication with the outside world in a private way.

The title of the work originates from her 2012 project Transitory Workplace 53, from when she migrated back to Korea, ending a period of many years spent living in the Netherlands. Na Kim has been interested in the ideas of space and its extension. She previously explored these various questions in works such as Situation Room (2010), Transitory Workplace 53 (2012), and To Be a Loner (2015). In her recent solo exhibition in a children’s gallery, Bottomless Bag (2020), the large-scale installation remained under lockdown due to the coronavirus pandemic. Staying in the bare, white cube for more than a month and recollecting her previous works acted as a catalyst for a newer version of Transitory Workplace in 2020.

During the exhibition period, Na Kim will lead her daily work at A—Z, dividing the space into different zones of activity as part of her design and creatively tackling the current safety measures. She will keep a precise schedule with daily presentations of her work exercise and carry out projects in her studio-gallery. By appointment, she will arrange personal meetings. 

Na Kim is a graphic designer currently based in Seoul and Berlin, as a member of Table Union. She has focused on the visual language on autonomous works as well as various cultural commissioned projects. Kim was responsible for the concept and design of GRAPHIC magazine from 2009 till 2011 and has initiated series projects based on her monograph, SET since 2015. She has held solo exhibitions, such as Bottomless Bag (2020), Black and White (2019), Red, Yellow, Blue (2017), SET (2015), Choice Specimen (2014), Found Abstracts (2011). Besides, Kim has been a curator for Brno Biennale, Chaumont Festival, Seoul International Typography Biennale, and Fikra Graphic Design Biennial. Kim also worked on projects with COS, Hermès, ÅLAND, and many other clients, and Kim’s works have been invited to international exhibitions at MMCA, V&A, MoMA, Milan Triennale Museum, Die Neue Sammlung, etc. Na Kim has been a member of AGI since 2016.

Niklaus Troxler Tape Works

Exhibition Dates 15/02–14/05/20

Opening Saturday 15/02/20 Niklaus Troxler sticking tape-images to improvised music in a live performance:
at 16:00 to Silke Eberhard (altosax) and Nikolaus Neuser (trumpet) and
at 18:00 to Almut Kühne (voice)

Talk by Niklaus Troxler 05/03/20, 19:00

Niklaus Troxler has been creating images with black and coloured adhesive tapes for the past three years. These Tape Works excite the designer and artist very much, as they represent the true basic elements of design: colour and form. Sometimes the images are free and abstract, sometimes they evoke landscapes or signs. And they are always musical. As in music, they are compositions and also improvisations. The resulting colour compositions as well as the relationships between the individual forms create the specific sound of his works.

Niklaus Troxler is an internationally renowned Swiss graphic designer who specialises in poster design, corporate design, illustration and architectural murals. Since the mid-1960s he has organised  jazz events and in 1975 founded the Willisau Jazz Festival, which he also directed until 2010. The Festival offered Troxler the perfect opportunity to merge his two passions of graphic design and jazz music into one unique concept. “Everything that fascinates me about jazz music, is also what interests me in design: rhythm, sound, contrast, interaction, experiment, improvisation, composition, individuality. I have been organising jazz concerts for as long as I have been designing. Both activities have inspired me since the mid-1960s, and still have lost none of their fascination.” Troxler’s posters are layered with visual puns and musical metaphors, executed in hand crafted illustration and typography. Silkscreen and lithographic prints are the main techniques that Troxler uses to communicate both figurative and abstract ideas created from paper cut-outs, collage, stencils and brush and line drawings.

Teaching Design Conversations

Exhibition Dates 28/01–11/02/20
Opening with talks by Imad Gebrayel, Stefanie Rau and Madeleine Morley 28/01/20, 18:30
Workshop with Antonia Schneemann and Lisa Baumgarten 01/02/20, 15:00–18:00
Book Release and Reading “Real-time Realist #2” with Jungmyung Lee, Lieven Lahaye 06/02/20, 19:00
Closing Event: Reading and Book Sale, 11/02/20, 19:00


Teaching Design Conversations
is a temporary library and conversational format about design education from intersectional feminist and decolonial perspectives. Building on the online platform Teaching Design, the two-week long format CONVERSATIONS provides access to literature in a physical space as a framework to come together and connect with like-minded design educators – such as ourselves – and everybody interested in the field. Let’s share our experiences, doubts, questions, knowledge, concepts, methods and references to transform current structures!


THE TEMPORARY LIBRARY
The temporary library at A—Z from 28/01/–11/02/20 has grown from the collectively gathered resources from our online platform Teaching Design. The books will be compiled from Berlin libraries and provided by Pro qm. We warmly invite you to use the space to browse through the literature, read, listen and discuss!
Visit the library Fridays from 13:00–18:00 or make a personal appointment via info@teaching-design.net


THE SPACE
The A–Z space will be transformed by commissioned work by artists and designers Benedetta Crippa (Stockholm), Peter Behrbohm (Berlin) and Fabrice Höfgen following core principles of Teaching Design: The temporary library offers access to resources to develop transformative strategies, a safe space to ask critical questions and start a dialogue and the tools to share and exchange knowledge. (For more info on the artists see below.)

 

THE PROGRAM


Tuesday 28/01/20
, 18:30, OPENING with contributions by

Imad Gebrayel, a Lebanese designer and researcher based in Berlin whose projects revolve around identity politics, migration and representation. Imad will be discussing modes of exclusion and coloniality of power in both EU and Non-EU design education systems based on his experience in Lebanon, the Netherlands and Germany. 

Stefanie Rau, who moves with her work between the fields of graphic design, text-based artistic practices and teaching. In a form of auto-critique Stefanie will reflect on her experiences and involvement in self-organized educational projects and her work at the Weißensee Academy of Art where she started teaching in 2019.

Madeleine Morley, a Berlin-based design writer, editor and researcher. Madeleine’s talk will discuss writing about (and around) design history, and the things that often get in the way. She will describe her own process of looking for gaps, following the labour, practising care, and working both with and against the archive.

 

Saturday 01/02/20, 15:00–18:00, WORKSHOP with Antonia Schneemann and Lisa Baumgarten

Why do I do what I do – like I do it – and not differently?
In this workshop we move from the theoretical examination of design theory to practice. Starting from the participants’ and our own individual experiential knowledge, we will test methods, reflect on our individual standpoint(s) and skills, and discuss the question: How do we want to learn and teach?
The workshop length is approx. 2 hours, there will be an additional hour to drink tea and reflect on the outcomes.
The number of spots for the workshops is limited.
Please register at info@teaching-design.net by 25/01/20.

Antonia Schneemann has been working as an art mediator since 2014. Amongst other projects Antonia conceived and directed educational programming at the National Museums in Berlin. As a freelance art educator, she conducts workshops and develops formats for museums, associations or educational institutions with a focus on group processes and the development of methods. She holds an M.A. in Arts Education from the Zurich University of the Arts (Switzerland).

 

Thursday 06/02/20, 19:00, BOOK RELEASE and READING 

Real-time Realist #2 with Jungmyung Lee and Lieven Lahaye
Published by J-LTF Press, “Real-Time Realist” is an experiment in the range of human affect through typography, visual art, and contemporary writing, based on psychologist Robert Plutchik’s Wheel of Emotions. This publication is, also, a type specimen of linguistic significance which showcases typefaces produced by Jung-Lee Type Foundry. The second issue explores ECSTASY, JOY, SERENITY, and LOVE, The Yellow Wheel, with contributions from invited artists distilling the aforesaid emotions.

 

Tuesday 11/02/20, 19:00, Closing Event – READING and BOOK SALE

We will sum up our two-weeks exhibition with reading selected texts from our library which will also be published in a printed reader. The books provided by Proqm will be sold during the event.

 

FURTHER EVENTS are going to be announced via Instagram @teaching.design


INFO

Teaching Design started as a visual bibliography on Instagram, focusing on design education from intersectional feminist and decolonial perspectives – initiated and edited by Lisa Baumgarten – designer (lisabaumgarten.de), educator and researcher – and Anja Neidhardt – co-creater of depatriarchisedesign.com, design journalist, and PHD candidate.
www.teaching-design.net

 

PARTNERS

Pro qm – thematische Buchhandlung, Almstadtstraße 48-50, 10119 Berlin, pro-qm.de
The title font “Calyces” was kindly provided by Charlotte Rohde
Cottonbee, ctnbee.com/de

 

ADDITIONAL ARTIST INFO

Benedetta Crippa runs her graphic design and research practice in Stockholm with work across the wide scope of visual communication. Her main area of research concerns ways in which graphic design can expand beyond current boundaries of methodology and aesthetics. She designs visual interventions for transformation and pleasure beyond dominant traditions to revisit ideas around beauty, form and power. Benedetta is currently guest teacher at Konstfack University as initiator of the first course of its kind on sustainability through visuality.
studiobenedettacrippa.com

Peter Behrbohm designs obstacles, digs for narrative fragments, thinks with hands and feet, constructs abnormal apparatus and installs fictions in public spaces. With his work he surgically intervenes public spaces as well as its routines.
www.peterbehrbohm.net

Fabrice Höfgen is a spatial designer focusing on the exploration of synergetic human interactions. Led by a fascination for the “inbetween”, the emotional, his practice aims to transgress conventional categories by queering spaces and environments.
www.instagram.com/fabricehoefgen/

The Rodina When the Work is Done

Exhibition Dates 21/11/2019–24/01/2020
Performance 21/11/19, 19:00
Open Debate with The Rodina, Prem Krishnamurthy and Anja Lutz 22/11/19, 19:00

Amsterdam-based studio The Rodina is interested in temporalities of design (when does design start, how does it last, and what does it mean ‘it’s finished’?) and the labour behind it. During the opening, they performed together with The Hague based designer Yessica Deira to unwrap questions about the creative production and project-based labour. During a non-linear 3-hour-long event co-directed by the audience – the designers democratised the process of “situation making” and discuss together, when the work is actually finished. The Rodina use the performance to open a space that allows an exchange and personal encounter with each participant.
During the duration of the exhibition, visitors are invited to interact with the installation, and become part of the work and set-up at A–Z. Visitors can further place questions to The Rodina in the space that will be answered and added to the installation.
During the Open Debate guest, curator and graphic designer Prem Krishnamurthy discussed with The Rodina the notion of creative work, design processuality and continuity of projects. The discussion was organized as a nonhierarchical agora set up, where the audience members were welcome to share their experiences and discussed what the production of graphic design in capitalism is for them.

The Rodina (Tereza and Vit Ruller) is a post-critical design studio with an experimental practice drenched in strategies of performance art, play and subversion. Both in commissioned work and in autonomous practice, they activate and re-imagine a dazzling range of layered meanings across, below and beyond the surface of design. The Rodina invents ways in which experience, knowledge and relations are produced and preserved. In their work, Tereza and Vit often explore and investigate theoretical framework around Body presence, Labour, Surface, and Action.
The studio works mostly for the cultural clients such as Harvard GSD (USA), Sonic Acts Foundation (NL), and Hyuindai Card Library Soul (KR). Tereza is an educator at Design Academy Eindhoven (Society & Change) and together with Vit, they exhibit and give lectures internationally, amongst many other places at CalArts (USA), Cooper Union (USA) a ZHDK (CH).
Yessica Deira is a graphic designer and DJ who experiments in re-constructing collective consciousness through design, film, sound and music.

Patrick Thomas Pulp

Exhibition Dates 13/09—15/11/19
Public Talk by Patrick Thomas 10/10/19, 19:00

PULP is the title of a new body of work made by Patrick Thomas in response to the reality of living in an age of ‘truth decay’. Interacting with randomly sourced daily newsprint — the traditionally respected source of factual information — he layers found, drawn and code-generated graphic forms in an aleatory way utilising the mechanical process of silkscreen printing.

Intentionally ambiguous, the resulting prints may be appreciated for their abstract beauty and as a celebration of the disappearing broadsheet newspaper format; however, they might also conceal a darker significance that suggests manipulation, concealment and censorship.

They are powerful graphic statements that document a moment in time whose aim is to ask more questions than provide answers, which, due to the unstable physical properties of the newsprint material, will continue to silently evolve over the years.

Patrick Thomas (Liverpool, GB) is a graphic artist, who lives and works in Berlin and is a professor at Staatliche Akademie der Bildenden Künste Stuttgart.

Inkahoots New Anthems VI (Berlin)

Exhibition Dates 15/06–06/09/19
Public Talk by Jason Grant (Inkahoots) 14/06/19, 19:00
Public discussion 29/08/19, 19:00 “Gestaltung und Solidarität – Wie kann Grafikdesign politisch sein?” with Mara Recklies, Susanne Beer (ZOFF) and Sandy Kaltenborn, presented by Fanzi Bauer und Toni Brell

In its second exhibition A—Z presents New Anthems VI (Berlin) – A New Anthem for Germany, an interactive installation by the Australian design collective Inkahoots, that invites creative participation in a public dialogue about the critique and construction of contemporary nationalism and national identity.

The installation displays the most commonly cited line in Das Lied der Deutschen (3. verse) by August Heinrich Hoffmann von Fallersleben, the current German national anthem: ‘Einigkeit und Recht und Freiheit für das deutsche Vaterland’ [‘Unity and justice and freedom for the German fatherland’], where the words ‘Freiheit’ and ‘das deutsche Vaterland’ are omitted and replaced with LED screens enabling participants to input their own words, and rewrite the text. These contributions are catalogued online at newanthems.inkahoots.com.au and thus create a dynamic archive of debate around issues of national identity, inclusion and exclusion. The website enables real time listings of all contributions – in this way they are archived and can be viewed offsite by anyone. To participate SMS: 015735994499 to insert your contribution. Enter a word or short phrase for each LED screen separated by a comma: eg. ‘firstword, secondword’ or ‘short phrase, another short phrase’. The present installation uses a mix of historic letters from East- and West-Berlin from the collection of the Buchstabenmuseum.

The New Anthems installations affirm national identity as dynamic and constructed, rather than fixed and natural. To misquote Richard White (1981) Inventing Australia: “There is no ‘real’ Germany waiting to be uncovered. A national identity is an invention.” The work attempts to integrate graphic design’s potential regarding expressive modes of visual language with user generated digital inter­activity, as a relational artwork that functions as a forum for creative public dialogue and cultural critique.

Inkahoots is a Australian design studio focusing on creating democratic spaces for for productive social resistance and public dialogue. They ­col­laborate locally and internationally on projects of all sizes across a range of media, specialising in the creative intergration of physical and digital experiences. Born as a community access screenprinting studio/arts collective, Inkahoots continues to work for social change with adventurous visual communication. They are widely published and exhibited around the world. In Australia, Inkahoots’ work is held in the collection of the National Gallery of Australia, the National Museum of Australia, the Queensland Art Gallery, and others.

New Anthems VI (Berlin) is a collaboration with Buchstabenmuseum Berlin.

Template Culture Workshop

Workshop Dates 06/05–10/05/19 “Template Culture – Inclusion, neutrality and the responsibility of design”, a workshop conceived by Anja Lutz, Rebekka Kiesewetter and Franziska Morlok, with students of Hyperwerk (Basel) and FH Potsdam.
Talk by Rosa Menkman 06/05/19, 19:00
Talk by Anja Kaiser: “Bodies of discourse” 07/05/19, 19:00

Today, templates play a role in all areas of design – an example are websites that can be built with content management systems and filled with seemingly arbitrary content. On the one hand, templates are practical, efficient and user friendly, but on the other hand they are also restrictive and by no means neutral: templates, programs and user interfaces express certain world views and value systems and exclude others; under the primacy of efficiency and goal-orientation, naming and ordering are based on a certain view of knowledge and information, on economic, political and ideological priorities. Nevertheless, we proceed with templates as if they were completely neutral.

How can we deal with templates consciously, critically and productively? How do we make templates more inclusive – especially in the light of a feminist perspective and one that takes into account the inclusion of non-hegemonic perspectives? During the five-day workshop, the topic will be dealt with in groups and reflected upon in a publication. The publication process, which will be developed on the basis of the three areas of image, text and structural templates, will become a method for exploring, discussing and productively questioning the economic, political and ideological mechanisms behind templates, their graphic and functional characteristics.


Talk by Rosa Menkman
“As silly as it sounds, they were surprised she was a real person.” (Jeff Seideman on Lena Söderberg, “The First Lady of the Internet”)
For a while now storytelling and the practices of ventriloquy have made a return to the artists “toolbelt”. Contemporary technologies have enhanced the power of ghosts and their ability to haunt us: “the ghosts are making a comeback.” (Derrida in Ghost Dance, 1983). Now, with a 538 page Posthuman Glossary (Braidotti and Hlavajova, 2018) next to me, I try to navigate the realms of infomorphs and Xeno Zombies. It seems that the digital realm is full of dummies and that artists are eager to lend their voices. But should ghosts not stay shrouded in a sea of fog, do they need to be pulled out from the realms of static and canned laughter? Is it ok to lend a voice to a material that once was human?
In this talk I will take us through my collection of “ghosts” – bodies and voices from the internet, that have been cut off from their “humanity” – and ask: are these real people? And can I puppeteer these corpses?

Rosa Menkman’s work focuses on noise artifacts that result from accidents in both analogue and digital media (such as glitch and encoding and feedback artifacts). She believes that these artifacts can facilitate an important insight into the otherwise obscure alchemy of standardization via resolutions. The standardization of resolutions is a process that generally imposes efficiency, order and functionality on our technologies. It does not just involve the creation of protocols and solutions, but also entails the obfuscation of compromises and the black-boxing of alternative possibilities, which are as a result in danger of staying forever unseen or even forgotten. Through her research, which is both artistic and theoretical, Rosa Menkman hopes to uncover these anti-utopic, lost and unseen or simply “too good to be implemented” resolutions — to produce new ways to use and perceive through our technologies.


Talk by Anja Kaiser: “Bodies of discourse” 
The body is subject to multiple perspectives and constructions, no matter whether we encounter its representatives online or in real life. Which realities can be derived from them and which deviations arise? Anja Kaiser presents applied and independent projects that address the body as an ambivalent medium between power and powerlessness on the playing field of self-determined and externally determined utilisation. The visibility of the empowering grrrls-, POC- and LGBTQ-community determines her projects.

Anja Kaiser moves in an activist environment, in scenes of pop culture and searches for free space for social participation. In cooperation with the Institut für Zukunft, Conne Island and various feminist groups, she has worked on projects and their graphic translation. Within her own artistic work, she investigates the human body as an inevitable surface of projections of a biologically based determinism and illuminates approaches of deconstruction. In doing so she works on the transitions between graphics, design, art, music and forms of digital self-empowerment. With posters, animated digital images and towel editions that bear a radical aesthetic signature, she helps the subjects she works on to gain broad public recognition.

Andrea Tinnes Library of Shapes, Texts and Structures

Exhibition Dates 11/04—08/06/19
Talk with Andrea Tinnes and Anja Lutz (A—Z) 07/06/19, 19:00

The Library of Shapes, Texts and Structures is a visual research project and personal archive of graphic elements. The title is program; as the “library” encompasses sustained efforts of systematic collecting, note-taking, documenting, selecting, registering, archiving, manipulating, sorting and cataloguing of a body of diverse visual, textual and linguistic material.

The library’s “Shapes” section consists of two comprehensive typographic systems: The Affiche Collection and Allgemein Grotesk are both fonts that combine different letter forms in their character sets, and include numerous forms and symbols, from abstract-geometric to figurative-illustrative to organic-distorted. The section “Structures” contains a variety of analogue and digital textures, as well as photographic imagery of vernacular typography. These visual collections are complemented by the section “Texts”, which gathers excerpts, sorted by date, from newspapers, magazines, books and social media posts.

The exhibition at A—Z presents the current state of the “Library of Shapes, Texts and Structures” and a diverse series of posters that combine a selection of materials from the library with different motifs and colour combinations.

Andrea Tinnes is a German type designer, typographer and educator based in Berlin. She has a degree in Communication Design from the University of Applied Sciences Mainz and a Master of Fine Arts in Graphic Design from the California Institute of the Arts. Her design practice is focused on client-based as well as self-initiated projects. Through her own label, typecuts (founded in 2004), she publishes as well as promotes all her type designs and typographic projects. She is Professor of Type and Typography at Burg Giebichenstein, and was responsible for the school’s new visual identity.
Her work has been featured in many national and international publications and exhibitions and has received several awards, including a “Certificate of Typographic Excellence” and “Red Dot”.

GOODS

Books & Prints by Tine Melzer & Markus Kummer

Blumen sind geil
Tine Melzer & Markus Kummer
The Green Box, 2020
128 pages, 46 ills., German
Softcover, 14 x 21 cm
25,— Euro

Order

Taxidermy for Language-animals
Tine Melzer
Rollo Press, 2016
464 pages, English
Softcover, 17 x 26 cm
32,— Euro

Order

Protest: Flowers
Tine Melzer
Photographiy on Aluminium
30 x 42 cm
150,— Euro

Order

Wallpaper “Blumen sind geil”
2-color lithography with silver
Steindruckerei Wolfensberger, Zürich
68 x 96,5 cm
120,— Euro

Order

Framed prints “Blumen sind geil”
5-color lithography
Steindruckerei Wolfensberger, Zürich
Limited Edition of 7 copies
Signed and numbered
30 x 40 cm
650,— Euro each

Order

Framed prints “Blumen sind geil”
5-color lithography
Steindruckerei Wolfensberger, Zürich
Limited Edition of 7 copies
Signed and numbered
30 x 25 cm
350,— Euro each

Order

Framed prints “Blumen sind geil”
5-color lithography
Steindruckerei Wolfensberger, Zürich
Limited Edition of 7 copies
Signed and numbered
20 x 20 cm
280,— Euro each

Order

Temporary Items by Na Kim

SET (revised version), 2017
Offset print
Roma Publications
23 x 30 cm, 136 pages
33,— Euro

Order

Table A, 2013
Offset print
29,7 x 42 cm, 12 pages
7,— Euro

Order

The Show-Room / mt, 2014
Washi Tape
25 mm width
5,— Euro

Order

Tape Works by Niklaus Troxler

Just tape it!, 2020
Silkscreen printing
Limited Edition of 15 copies
Signed and numbered
90 x 127 cm
200,— Euro

Order

Willi’s Sound, 2008
Silkscreen printing
Limited Edition of 100 copies
Signed and numbered
55 x 76 cm
400,— Euro

Order

Silkscreen 3 colors, 2018
Silkscreen printing
Signed and numbered
Limited edition of 30 copies
50 x 70 cm
400,— Euro

Order

Silkscreen 6 colors, 2018
Silkscreen printing
Signed and numbered
Limited edition of 30 copies
50 x 70 cm
400,— Euro

Order

Tape work 05.05.2015
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 05.06.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 06.06.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 07.02.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 08.06.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 09.02.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 10.02.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 11.11.2018
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 13.10.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 20.07.2015
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 26.04.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 27.03.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 27.03.2019
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 28.12.2018
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Tape work 09.05.2015
Tape on paper, Uniques piece
Signed and dated
30 x 40 cm
600,— Euro

Order

Real-time Realist #2 by Jungmyung Lee

Real-time Realist #2
by Jungmyung Lee
and Lieven Lahaye
J-LTF Press 
236 pages Offset
11 x 18 cm
19,— Euro

Order

Ponchos and Posters by The Rodina

Unionize
Silkscreen with neon and metallic colours
118 x 175 cm
90.— Euro

Order

Play6 Out
Silkscreen with neon and metallic colours
118 x 175 cm
90.— Euro

Order

The Chamber of Transformation
Silkscreen with neon and metallic colours
118 x 175 cm
90.— Euro

Order

Poncho A
Unique piece
650.— Euro

Order

Poncho B
Unique piece
650.— Euro

Order

Poncho C
Unique piece
650.— Euro

Order

Poncho D
Unique piece
650.— Euro

Order

Poncho E
Unique piece
650.— Euro

Order

Pulp Prints by Patrick Thomas

Pulp Print “Willow”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “Stochastic”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “DLX”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “Algorithm”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “81419”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “Empire”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “CD1859”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “Homage”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “ACUPAT”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “Alphanumeric”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “CXXXI”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “C”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

Pulp Print “Truth”, 2019
Silkscreen on newsprint
Unique pieces, hand-pulled
Signed and stamped
800 x 572 mm
225.— Euro

Order

A1 Overprinted Exhibition Posters
Signed and stamped
(Please indicate which Poster you want)
50.— Euro

Order

PULP Newspaper
4 page, offset on newsprint
510 x 700 mm
5.— Euro

Order

Library Prints by Andrea Tinnes

Library Print (Neon Pink), 2019
Hand-offset print
Limited Edition of 15 copies
Signed and numbered
72 x 102 cm
95.— Euro

Order

Library Print (Neon Orange), 2019
Hand-offset print
Limited Edition of 15 copies
Signed and numbered
72 x 102 cm
95.— Euro

Order

Library Print, 2019
Hand-offset print
Unique piece
Signed
72 x 102 cm
180.— Euro

Order

Library Print, 2019
Hand-offset print
Unique piece
Signed 
72 x 102 cm
180.— Euro

Order

Library Print, 2019
Hand-offset print
Unique piece
Signed 
72 x 102 cm
180.— Euro

Order