The front features a big red heart, accompanied by the text “Tee syrjähyppy” (“do a side jump” = “have a fling”) in caps from Helvetica and Poster.

A book of matches as an advertisement from a Finnish party-dress shop in the center of Helsinki called Syrjähyppy (“affair”, literally “side jump”).

On the inside, there is a recipe for the Syrjähyppy Cocktail and also an advertisment for a restaurant called Budapest on the same street.

The back with the addresses and phone numbers features the same typefaces as the front.

The inside with the recipe additionally has Alexandra for the restaurant’s name, two weights of Permanent, and tracked-out Commercial Script.

Stare at Your Scars Until the Sun of Your Eyes Makes them Grow Flowers is an exhibition with Anna Niedhart and Robert Seidel, curated by Isabella Sedeka/XPinkyBerlin.

The graphic design for the exhibition is done by Rainbow Unicorn, using Skriftkompani’s Store Norske Gangster (in italic caps) together with Blaze Type’s Surt Extended (in roman caps).

The show is on display at Projectspace Kimgo in Berlin from May 25 to June 15, 2024.

Raye the Store is showcasing hundreds of products of the most innovative and exciting food, drinks and wellness brands. It brings together a meticulously curated collection of selective brands in one store with innovation, nutrition, and design at its core.

Based on a minimalistic grid system, the typographic identity is flexible to adapt a fresh look from edition to edition. So far, eight pop-up events have been taking place in the birth city of raye — London, UK. Each one has been branded with a signature color and typeface, which together with the iconic grid system formed the basis for the unique look.

Edition number 08 is a special edition focusing on brands and products in beauty and health care. To emphasize this unique edition, instead of choosing a particular color a specific material was used: silky silver surfaces were combined with the clean, elegant Gilda Display and the project’s brand typefaces Space Mono and Xanh Mono.

See also previously posted editions of Raye the Store.

Green Theory is a Canadian planter and site furnishings manufacturing company and design studio.

Burnkit recently redesigned Green Theory's website and identity, using Store Norske Skandia from Skriftkompani.

The art biennale Anozero’21—22: Meia-Noite was curated by Elfi Turpin and Filipa Oliveira in Coimbra, Portugal. Coline Sunier and Charles Mazé’s visual identity is based on the combination of two symbols, ○ and /, extracted from Anozero’s existing graphic identity to create a continuity with previous editions. In the designers’ hands, ○ becomes a moon ? and its fluctuations ???????? and / becomes the night ////////// and ////////// its ////////// troubles and uncertainties //////////, evoking the biennale’s curatorial project. From abstraction to narrative: from a circle to the moon (or a disco ball?), from shading to twilight.

All communication materials are set in Charles Mazé’s Mercure (Abyme, 2021), Regular, Italic and Transcript. The choice of a serif typeface gives a literary and scientific aspect to the communication – an echo to the Joanina library in Coimbra and its incarnation of western knowledge – and differentiate the design from the past visual identities of Anozero.

Pidginization as Curatorial Method: Messing with Languages and Praxes of Curating by Bonaventure Soh Bejeng Ndikung was edited by Steven Henry Madoff and published by Sternberg Press:

In this compelling rethinking of curatorial practice, renowned museum director, curator, and writer Dr. Bonaventure Soh Bejeng Ndikung proposes that Pidgin languages and pidginization as a mode of being and doing offer a decolonialized reinvention of communicative practices—a space in which the boundaries between disciplines of knowledge collapse and sociopolitical, economic, ethical, and spiritual concepts and questions are renegotiated. Written as a series of powerful anecdotes, the book grounds its provocative ideas in personal, cultural, and political histories of challenge and improvisation, and argues, as Ndikung writes, that “pidginized curating is a curating that combines works, ideas, practices, and languages in resistance to canonical conventions, cultural stasis, ossified practices, dead rhythms, and singular forms.”

Designer Bardhi Haliti used Magister [more specifically, Magister ST, see comments] to typeset the book’s headers, subheaders, page headers and body text. The perfect-bound softcover has 64 pages and measures 112×178 mm.

The same typography was used for the other volumes in the “Thoughts on Curating” series, see Curating the Complex & The Open Strike by Terry Smith and Unannounced Voices by Zdenka Badovinac.

Coming Soon is a group exhibition taking place at Lafayette Anticipations (Paris, France) from 28 February to 15 May 2024. The exhibition looks at our relationship and ways of being towards what is ahead, eludes and awaits us. Between predictions, oracles, systems of anticipation and capitulations, the exhibition mixes commissions from contemporary artists with historical objects.

For the exhibition’s visual communication, Pierre Vanni used Modale Antique along with Riccione.

In the visual identity and editorial material for Vancouver-based Fox Real Estate Group, a condensed version of Pantasia Novus SFRG Regular, custom made by Wei Huang, is paired with Neue Haas Grotesk Regular.

Dead Minutes is a storytelling game by Tom K. Kemp about systemic change in an undesirable afterlife. You, the players, will decide what this hell, underworld or land of the dead is like, what its problems are, how change happens there, and what the complications might be when altering something so big, involving so many dead people, over so much time. It’s a game about impossible seeming actions at impossible seeming scales, making difficult choices, and dealing with unexpected outcomes.

As the players, you will act both as authors of this story, making zoomed-out, informed decisions about what happens next to the potentially billions of people in the afterlife, and also as point-of-view characters within the story, who are being impacted by these decisions and respond to them as individuals. The game will tell you when to make these switches in perspective.

You will all be working together to tell this story coherently, but will also be critical about the events that you create together, attempting to bring tension, gravity and stakes to the narrative. Throughout the game, you will all take on different responsibilities in order to help you do this.

By the end of the game, together you will have told a complex story about the afterlife, why it was bad, what dead people did to change things there, and how some of them feel about it long, long after.

This book contains the instructions you need to play the game, an essay by artist and theorist Patricia Reed, and a series of invented afterlives by writers Chris Beckett, Habib William Kherbek, Samuel Clarice Mui Shen Ern and Selma Selman.

Commissioned by STRP Eindhoven. Risograph printed and bound by no kiss? on EOS 100g/m² and EOS 120g/m² paper in black colour. Edition of 200, 36 pages.

The book, the exhibition and interrelating practices is my Master thesis for ECAL Lausanne.

Originally the book was intended as an industrial object, to be widely distributed and to be a mass medium. As we can observe, over time the book has retreated in certain areas while strengthening in others. Today we find a smaller section that enjoys great popularity in parts of contemporary art, literature, graphic design and smaller publishing scenes. (...)

Considering a book and the page itself as a space and seeing parallels between exhibition visitors and readers of books, I’m convinced that active engagement with other practices stimulates interrelationships and broadens perspectives, ways of thinking and working and expands horizons. In the following work I explore not only the different spaces, but also the different approaches to practices associated with the production of books in conjunction with exhibitions. I talk to different people from the fields of art, curation, publishing and editorial design about methods and processes, overlaps, intersections, interrelationships, about roles and responsibilities and practice reflection.

The book contains Interviews with Rory McGrath, Oliver Knight (OK-RM, InOtherWords) and Thomas Poulsen (FOS), Julia Born and Adam Szymczyk, Markus Dressen (Spector Books).

Terraforma fanzine is a synthesis of the festival’s spirit and DIY statement. The publication features the whole festival program, a map, an introduction essay to Organic Music Societies written by Lawrence Kumpf, and a sustainability statement.

For the design of this fanzine, the studio Countersubject used the typeface Exposure, designed by Federico Parra Barrios (205TF). The art direction of the festival is handled by Ada Karayel (Threes Productions).

See also the previous post about the Terraforma identity.

The variable font Chens Sans is at the heart of the new website of Asuntos Gráficos, a “space dedicated to sharing knowledge about graphic design and creativity. A podcast / blog for curious people where we explore various topics and points of view to help you or inspire you in your creative day to day.” The project is initiated, designed and published by Chensio Studio.

Chens Sans’s variability allows us to dynamically adjust weight, enhancing coherence and visual uniformity across the site. Additionally, this variability empowers us to make optical adjustments in light/dark themes, ensuring visual consistency.

Leveraging Chens Sans, we’ve built a modular website that facilitates the indexing and readability of articles while elevating the editorial/textual aspect.

Terre Augmentée (Augmented Earth) is a realistic fiction project inspired by nature, highlighting the interdependence of living beings, using two layout principles. The first involves a system of layers to build and deconstruct the layout. The second principle offers a free reading path, with the narration unfolding through page references, in the same way as browsing the Internet is done from link to link. This experimental book is part of a research project into the concept of the ecosystem book, made at ESAG Penninghen.

From Mousse Publishing:

Conceived as a monographic reader, Vika Kirchenbauer: Works, Scripts, Essays 2012–2022 compiles for the first time an extensive, decade-spanning collection of Kirchenbauer’s seminal and profoundly perceptive essays, the scripts of her widely celebrated moving image works in conjunction with selected video stills, as well as exhibition views. This volume offers substantial insights into the Berlin-based artist, filmmaker, writer and music producer’s research inquiries and aesthetic vocabulary. It also includes Kirchenbauer’s two latest texts, exploring the relation between violence and visibility within the Western paradigm as well as the complex entanglements of European religious music and colonialism—research that has also fueled her solo music project COOL FOR YOU since 2015. This compendium is extended through novel essays by Oakland- and Los Angeles-based archivist, curator, and artist Leeroy Kun Young Kang and by Warsaw-based feminist philosopher and activist Ewa Majewska.

The typefaces used for the book design are ABC Monument Grotesk Mono by Dinamo / Kasper-Florio and Mule by Samira Schneuwly.

Feminist Exposure — Feminist practices of the exhibition and archive by Federica Martini and Julia Taramarcaz

A rich anthology featuring four essays published in French, three previously unpublished contributions and a reference bibliography. With contributions from Nicole Schweizer, Rebecca VanDiver, Amelia Jones, Cecilia Canziani, Julia Taramarcaz, Federica Martini, and Olivia Alexandra Fahmy

Three typefaces in use: Bandit by Silvan Lanz, AllCaps; Tempos Mono by Samara Keller; Mule by Samira Schneuwly.

From ZAINA:

Anchored in the heart of Barcelona, art gallery Mayoral unveils a new space dedicated to contemporary art with an exhibition entitled “Mater”. Featuring works by Pia Camil, Carolina Caycedo, Catalina León, Cinthia Marcelle, and Marga Ximenez, the exhibition explores the subversion of materials and traditional methods to open new horizons. With this new space, Mayoral aims to keep contributing to the city’s artistic proposal by promoting the dissemination of contemporary art.

The typography for “Mater” is inspired by the experimental character of the artworks presented in the exhibition. Similarly, the detailed texture used in print and digital communication forms an intricate graphic composition that brings together all the artists’ works on display.

Note that the title, set in Plain Form's Ready Active, features a modified E.
Text and information are set in Feature (Commercial Type) and ABC Oracle (Dinamo).

The catalogue Oh, How I’ve Tried … by Susanne Kutter, with an essay by Gregor Jansen, was published on the occasion of Kutter’s exhibition Stille im Auge des Zyklons at Marburger Kunstverein. The bilingual German/English publication was edited by Michael Herrmann and Carola Schneider of the Marburger Kunstverein, designed by Rimini Berlin (18×24 cm, 112 pages, softcover) and published by Distanz Verlag (ISBN 978-3-95476-534-8). The book is set in HAL Timezone and HAL Four Grotesk, published by HAL Typefaces.

From the publisher’s website:

THE RIVALRY BETWEEN NATURE AND CULTURE

Susanne Kutter’s (b. Wernigerode, 1971; lives and works in Berlin) art spans a range of media including installation and performance art, sculpture, photography, and video. Her multimedia works probe the relation between nature and culture, with a focus on natural disasters. She portrays man’s dominance over nature as well as his dependence on it, which foils his desire for continuity and safety.

In addition to the nature–culture complex, the exhibition Stille im Auge des Zyklons at Marburger Kunstverein delves into the changes in Western society: the withering of lasting and profound relationships and the vanishing of an educated middle class whose life has been informed by the model of compromise and a preference for choices and conduct that have been sources of social stability.

Description of the book by Farmacy Kitchen:

Farmacy’s new book is an insurgent manifesto for a radically different way of eating and farming. It traces a path from the health of the soil to the health of human beings, with food as the connecting agent between our mental, physical and planetary wellbeing. A collaboration between researchers, artists and writers, the Farmacy Manifesto on the Future of Food is a handsomely produced pocket-sized tour de force through the interconnected topics of soil ecology, industrial agriculture, the medicinal qualities of food, the gut-brain axis and regeneration, charting a bold path towards the renewal of our civilization. The book is authored by Aurora Solá and art directed by Carol Montpart. It features botanical image sequences by Batia Suter.

“What is honoured in a country is cultivated there.” —Plato, The Republic, Book VIII

El Origen de la Noche / The Origin of Night is an immersive sound installation by 4Direcciones Audiovisual (directed by Diana Rico and Richard Decaillet) working in collaboration with a group of traditional authorities from indigenous communities of the north-west Amazon, as well as anthropologists, musicians and linguists.

To design the identity of the exhibition, Mia Paltrow-Murray, graphic designer at the Philadelphia Museum of Art, used the typefaces Exposure by Federico Parra-Barrios and distributed by 205TF, Serial B Blur by Mario Julián Gutierrez (Dum Dum Studio) and Neureal by Laura Csocsán (ECAL Typefaces).

Studio Claus Due designed the catalog Mr. Remember using KF Zuka (Kanon Foundry) and Bogart (Zetafonts). The catalog was published by Louisiana Museum of Modern Art in connection with their large, in-depth exhibition of works by American artist Alex Da Corte (b. 1980) in the summer of 2022.

From Louisiana:

The exhibition catalog contains both an overview of Da Corte's work and exhibitions up to the present day and is rich in photos from the large staged and all-encompassing exhibition with Da Corte throughout Louisiana's west wing.

Alex Da Corte, despite his young age, has long been well known in Louisiana, which first exhibited a work by the artist in 2003.

Da Corte works across many forms of expression with an emphasis on sculpture, video and installation. He uses a wide range of materials and references: from cheap, mass-produced objects to exclusive design, from children's television to the masters of art history, and from French poetry to American pop music. He often appears himself in disguise in his films – such as everything from Skipper Skrek to Eminem and the Statue of Liberty.

Some of the references are easily recognisable, but in Da Corte's processing there is an alienation or a displacement of the familiar. His art constantly moves back and forth between the cheerful and funny and the dark and melancholic, which gives the works a deep emotional resonance.

See more images on the website of Studio Claus Due.