‘Glenn Ligon belongs to a generation of artists who came to prominence in the late 1980s on the strength of conceptually based paintings and phototext works, investigating the social, linguistic and political constructions of races, gender and sexuality. Informed by his experience as an African American and as a gay man living in the United States, his art is a sustained meditation on issues of quotation, the presence of the past in the present, and the representation of self in relation to culture and history. This catalogue, published on occasion of an exhibition with the same title, presents a series of 50 unique silk-screens featuring a self-portrait of the artist. Ligons head is repeatedly presented, one to a page against a backdrop of different colours, from the front or the back, both showing and hiding the identity of the artist.’
Brooklyn and Brooklyn Stencil were originally developed for the identity system and signage programme at The Atlantic Yards arena.
Project Projects designed a graphic campaign for the Danish Pavilion at the 55th Venice Biennale. As an extension of Intercourses, the Pavilion’s five-channel video installation by artist Jesper Just, the graphic campaign enacts parallel ideas of doubling, dislocation, and the illusion of communication.
The graphic campaign centers around an invented symbol derived from the significant Chinese character, ‘Ei’ — the first letter in the Chinese word for ‘Eiffel Tower,’ and an ideogram often used in the phonetic transliteration of foreign (non-Chinese) names. Although it may appear Chinese to a Western viewer, the new symbol functions as a two-fold abstraction: a simulacrum and a fiction of the functioning of language.
During the Biennale, posters bearing multiple versions of this symbol will be installed as context-specific displays in Copenhagen, Hong Kong, New York, Paris, and Shanghai. Much as the exhibition in Venice exists within a liminal space between copy and original, these graphics engender locative disorientation and occupy an ambiguous area of mediation to suggest another experience, just outside of reach.
A catalogue of the history of medicine from the eponymous exhibition by the same name, forging links in heaven and earth, art and science. A true voyage to the fantastical iconographic realm.
Published under the direction of Gérald d’Andiran, with the assistance of Vincent Barras, Charles Méla, Sylviane Mwessaerli and Elisabeth Macheret-van Daele, Schwabe Editions, Basel, 2010, 2nd edition, 2011.
Project Projects rolled out the first issue of the Print magazine which, they write, ‘relaunched in January 2011 with an editorial concept focused on collaborating with different contemporary design practices for each issue.’
Exhibition design by B.ü.L.b grafix who wrote: “Mostly black and white with a touch of vintage pop pink lipstick trace, a largescale graphic action. This exhibition of Cindy Sherman’s early works, alongside and resonating with a selection of recent pieces from local collectors features large scale signage typography as well as micro-typography in the accompagning show booklet and flyers. A silk-screened poster calls for attention and visitors on the street with its vibrant colour.”
Australia firm Parallax Design created the packaging programme for Joto Sake. They write: ‘Joto is a range of artisanal Japanese sakes developed for the North American market.’
‘To Western consumers, traditional Japanese sake labelling is indecipherable and largely indistinguishable. Joto’s packaging opts for bold colour and infographics describing each sake’s brewing process and tasting notes.’
‘The logo developed for the company was inspired by the geometrical minimalism of Japanese design, but contains a visual delight for the sake aficionado. Sake is traditionally drunk from a snake’s eye cup—a white porcelain vessel with two blue rings printed on the inside that allows the drinker to judge the sake’s clarity and purity.’
In a write-up about the project, Fast Company writes: ‘Though the branding was designed for the peculiarities of Shake Shack’s original site, it has managed to scale to franchises placed in more typical storefront locations, and even airports. “I think the modernness of it is somehow perfect in keeping with the quality of the food. It’s a contemporary fast-food chain with a high-level product—as opposed to McDonald’s, which is also modeled after 1950s burger chains but serves downscale food,” Scher says. “In retrospect, if you’d done a million years of focus testing and consumer studies, you wouldn’t do a better job. It shows you the charm of the happenstance.”’