Since 2016, telephone booths have no longer been part of Switzerland’s basic public infrastructure. When one breaks, it is not repaired. Yet few people know that calls made from the remaining functional booths are still free of charge – a final public service before these small-scale architectures turn into monuments.

On 4 July 2021, at 11:58 p.m., the artist Johanna Bossart purchased a telephone booth on the online platform Ricardo. Out of this object, ring ring emerged in 2023 on the publicly accessible grounds of Basislager Zürich – a platform for contemporary art that realises the idea of presenting art in public space and invites artists to engage with the site in a specific and responsive way.

Each year, six artists are invited to present a work at ring ring. The telephone booth, as a place of communication, may itself become a thematic point of departure. Each project opens with a vernissage and discussion. The photographer Christian Beutler documents the booth and its transformations, while art historian Sibylle Meier contributes a text on the participating artists and their work.

The visual concept draws on the Swisscom logo of the late 1990s: stylised bars inspired by the sound pattern – or rather, the rhythm – of the ringtone: short – medium – long.

This publication design project was created at ArtCenter College of Design for Communication Design 3 with Carolina Trigo.

This project tells the stories of Hiroshima bombing survivors who transformed their trauma into art, delivering powerful messages of hope and resilience. Inspired by Sadako Sasaki’s 1,000 paper cranes, the design incorporates folded imagery and carefully treated typography that mirrors the act of folding paper—symbolizing both the creation of something beautiful and the delicate balance between strength and fragility.

The work highlights the profound impact of collaboration—not only as a force behind the devastation of Hiroshima, but also as a path toward peace and understanding. Just as collective effort contributed to destruction, it can also be redirected toward compassion, healing, and hope. The binding reflects this tension between delicacy and endurance, honoring the past while inspiring future generations to foster empathy through shared artistic expression.

The typography pairs Neue Haas Unica for its clarity, neutrality, and modern restraint across the body text, while Shippori Mincho introduces a quiet elegance and cultural resonance that reinforces the project’s emotional weight. Together, they balance sensitivity with structural precision, echoing the harmony between fragility and strength embedded in the narrative.

This project was conceived as part of the temporary exhibition Grandeur Nature 2025, led by the Atelier de Didactique Visuelle at HEAR in Strasbourg. The in-situ installation measures 200cm × 100cm and is made of wood and Plexiglas.

I highlighted the former Geistel printing house through four archive photos redrawn in dotted lines. The installation, intended for local residents, combines testimonials and images to revive memories of the place. The drawings on Plexiglas are superimposed on the printing house, inviting a sensitive and participatory reinterpretation of history. Each panel explores a theme (family, lithography, workers), supported by typography that evokes a memory in motion.

Mallory by Frere-Jones Type is the typeface used for Yayoi Kusama: Infinity Mirrors, designed by Miko McGinty. Published by the Smithsonian’s Hirshhorn Museum and Sculpture Garden and DelMonico Books, this is the first publication to focus on Yayoi Kusama’s Infinity Mirror Rooms.

Yayoi Kusama: Infinity Mirrors was the companion guide to the Hirshhorn Museum and Sculpture Garden’s exhibition which celebrated the legendary Japanese artist’s 65-year career and was one of 2017’s essential art experiences.

From DelMonico Books:

World-renowned Japanese artist Yayoi Kusama has worked in a variety of media, including painting, sculpture, performance art, and installation. Kusama’s iconic Infinity Mirror Rooms, which originated with Phalli’s Field in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama’s “self-obliteration” in the Vietnam War era to her more harmonious aspirations in the present. By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize the body of work amidst the resurgence of experiential practices within the global landscape of contemporary art. Generously illustrated, this publication invites readers to examine the series’ impact over the course of the artist’s career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

Moving light as living matter: fluid motion, gentle glow, and subtle shifts. Studio DRIFT’s kinetic installation transforms light into something alive – it breathes, expands, and contracts in harmony with nature’s own rhythm.

Our campaign follows that flow. Inspired by the organic choreography of the artwork, we translated its movement into visual form: type that floats and drifts across space, layered with translucent patterns reminiscent of the shylights’ delicate structures. The result is a calm, immersive visual language that captures the sense of lightness, motion, and quiet awe that defines the installation itself.

Ugly Society is a fictional media art exhibition conceived as student project at ArtCenter College of Design.

It explores the darker sides of contemporary society through immersive installations. Featuring six internationally renowned artists—Harun Farocki, Wong Ping, Hito Steyerl, Cao Fei, Sungsil Ryu, and Julian Rosefeldt—the exhibition presents critical perspectives on surveillance, capitalism, digital alienation, and cultural fragmentation.

I developed the visual identity of the exhibition, including the exhibition poster and printed catalog. The design reflects the tension between digital aesthetics and raw social commentary, aiming to create a cohesive yet unsettling atmosphere that mirrors the themes of the artworks. Each design element—from typography to layout—was crafted to invite viewers into a provocative, immersive experience.

House of Kong was an immersive installation featuring music, art and artefacts from the virtual band Gorillaz that took place from August 8 to September 3, 2025, at the Copper Box Arena in London.

With high lowercase x-height and short ascenders and descenders, Pitch lends itself to tight line spacing for a high-impact effect. The design team behind the House of Kong event used Pitch on posters, leaflets and large banners directing visitors around the exhibition venue.

On August 5, at the Romania Pavilion of Expo 2025 in Osaka, representatives of the governments of Ukraine and Japan explored the immersive exhibition of contemporary Ukrainian art titled Home Beyond the Dawn (Дім за зорею).

Tatiana Berezhna, Acting Minister of Culture and Strategic Communications and Ukraine’s General Commissioner at Expo 2025, addressed the participants and guests with a welcoming speech.

Home Beyond the Dawn, running until August 12, is a 30-minute video installation featuring works from 30 Ukrainian artists. The project was first presented in Mexico and now has the opportunity to introduce itself to an Asian audience at EXPO 2025 in Japan.

It was curated by Natalia Matsenko, Yuri Yefanov, and Clemens Poole, and featured adapted works by Kateryna Aliinyk, Yehor Antsyhin & Lucy Ivanova, Katya Buchatska, Bohdan Bunchak, Dmytro Chepurnyi, Timur Dzhafarov (John Object), Zhanna Kadyrova, Semen Khramtsov & Rina Khramtsova, Sytuatsiini klumby (Anna Nykytiuk, Dasha Chechushkova, Kseniia Shcherbakova), Anastasiia Leliuk, Yevhen Maloletka, Viacheslav Mashnytskyi, Sasha Maslov, Daniil Nemyrovskyi, Viacheslav Poliakov, Sofia Pomohaibo, Georgiy Potopalskyi (Ujif_notfound), Polina Raiko, En Rozen, Vasyl Sai, Pavlo Sirko, Elena Subach, Sergei Sviatchenko, Stanislav Turina, Yuri Yefanov, and Anna Zvyagintseva.

Yuri Yefanov provided the visual direction and composition. 3D modelling, digital artwork reproduction, and CGI support was done by Pavlo Sirko, and the sound design and score by Georgiy Potopalskyi. Mila Kostiana was in charge of the graphic design and used Ufficio Display for the typography. The Japanese font is Kozuka Gothic, see comments.

The first physical release of Collisions.cc takes the form of a limited 12″ vinyl with a foldable 24×36″ poster. The edition features an original orchestral composition by Beni Brachtel, created for Ersan Mondtag’s installation Monument eines unbekannten Menschen in the German Pavilion at the 60th Venice Biennale, 2024.

The design employs an early version of Hagel Regular, a contemporary serif typeface by scifipoetry, to set the textual elements of the sleeve and poster. The typeface’s sharp detailing and calm rhythm complement the layered themes of memory, architecture, and sound that shape the installation.

Isaac Julien: I Dream a World is the first US retrospective for the British artist known for his immersive, multichannel video installations.

Julien's films revisit the past to create spaces of cultural memory that invite us to reframe our priorities in the present. In response, we wanted to source typography that was historically-grounded. As a newly acquired FAMSF artwork and one of the centerpieces of the de Young presentation, Lessons of the Hour (2019) served as the catalyst for typographic research. “Lessons of the Hour” is a poetic meditation on the life and work of writer, orator, and abolitionist Frederick Douglass. We chose EK Roumald as a typeface that recalls the Scotch Roman typographic tradition of Douglass’s time. Roumald’s contemporary features – most notably its curvature and the softness added to the counterforms to create an almost blurry feel – also served as an appropriate nod to the dreamlike quality of the artist’s work. In constructing the title lockup, we explored treatments that were fragmented, generating a sense of movement or choreography across the page. This was intended to reference the kind of visual rhythm the artworks possess in the multichannel installation format.

The presence of mylar in Once Again... Statues Never Die (2022) led us to incorporate reflective materials into the title wall graphics using chrome vinyl. The gallery didactics were primarily housed in a central atrium, where individual films or pairs of videos branched off in a “choose your own adventure” style. The FAMSF design studio commissioned the fabrication of photographic facsimiles to accompany each didactic text and embedded these aluminum mounted prints into the surrounding text. The composition of text and image employ the same visual rhythm and movement that inspired the title lock-up.

This book provides a broad overview of Makiko Furuichi’s work, centered on her site-specific installation for the MASC in Les Sables-d’Olonne, France. Her art navigates a liminal space between charm and unease, reflecting the Japanese concept of niyari. Drawing from childhood memories in Kanazawa, Japanese folklore, manga, and Western painting, Furuichi’s imagery features vibrant yet unsettling natural scenes populated by strange creatures and spirits. Known for her fluid, intuitive technique, she works across mediums such as watercolor, oil painting, and large-scale installations, adapting her dreamlike universe to diverse spaces. This publication accompanies her 2024 exhibition at the Musée d'Art moderne et contemporain de l’Abbaye de Sainte-Croix.

The book’s graphic design is by Jean-Philippe Bretin and Ewen Guehenneux who used the Henry typeface by Matthieu Cortat, published by 205TF. Released in May 2024, this bilingual edition (French/English) measures 21×26 cm and comes with a clothbound hardcover. Available from Les Presses du Réel.

This art piece reflects on humanity's capacity for change, juxtaposing the cyclical motion of a blue bouncing ball with the cunning lyrics of David Bowie's “Space Oddity”. The LED curtains symbolizes the intersection of technology and existential thought, questioning whether or not our actions are genuine, while also allowing us to attempt to transform our patterns. Through its minimalist yet evocative design, the work invites viewers to ponder the fragility of our planet and the limits of human agency in shaping its future. And there is an empty chair in front, adding the narrator’s dimension.

It’s on display till the end of January 2025 at Bar Ton, Bucharest. See also the OM NORMAL website.

This catalog was published on the occasion of Déjà Vécu / Already Lived, the solo exhibition by artist Asunción Molinos Gordo at Museo Centro de Arte CA2M, curated by Andrea Pacheco González. It features photographs of the art installations, most of them made especially for this exhibition, texts written by the curator and guest authors, and a final section showing parts of the research and development for each piece.

Typeset in ABC Marist, a typeface inspired by other designs in the Old Style genre that have been reinterpreted in different times in history, like Jenson and Golden Type. Besides its characteristic wide uppercase proportions, prominent serifs and high legibility, it felt appropriate to choose a contemporary revision of a type style from the past. Small texts like image captions are set in ABC Monument Grotesk.

The bilingual (Spanish and English) catalog was published by Museo Centro de Arte CA2M, with texts by Andrea Pacheco González, Daniel Gil-Benumeya, Anouar Majid, Gabriela Wiener, and Asunción Molinos Gordo. One text is translated to Arabic and set in 29LT Zarid Text. The hardcover has 288 pages and measures 220×280 mm.

The fresh interface design of Amigo & Amigo mirrors the lightness, playfulness and empathy of the interactive light art studio, which specialises in installations for public spaces.

Their website, designed by A Friend of Mine, features vibrant images and videos documenting their work. Sans Plomb appears as the logo and headline typeface next to the expressive Easy Grotesk for body text, supported by Quadrant Text Mono in capital letters for navigation.

Cara Catastrofe is a project about the fascination we have for disasters and catastrophes and the macabre attraction we feel towards these phenomena. Using objective and subjective data, the artwork represents how the concept of the future has shifted from positive science fiction imagery to a catastrophic and apocalyptic one, and how people become accustomed to these scenarios day after day.

The data-driven video was projected on the wall of the Alto Forno of the former Gazometro in Rome during Videocittà 2023 (a festival of digital vision and culture) behind the stage where various artists played, including The Blaze and Dixon. As such, it was part of the collective exhibition Futura, together with studios and designers from around the world.

The soundtrack was recorded by Tommaso Marconi, featuring an edit of “high’n’bike”, a track from his latest album Pretend to be Human.

The video is made of four different layers working together simultaneously. The alteration of the typography is driven by data about the intensity and duration of disasters. The background color indicates the origin of each event. The whole artwork is divided into a grid that allows for the comparison of multiple events within the same category. Additionally, there is a selection of comments and headlines from Italian and international social media platforms (such as Facebook or Reddit) and newspapers. The black shapes expanding from the windows of the structure to the whole stage represent data about victims.

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).

To mark its new 2024 season, Station V by Vilogia is presenting a brand new exhibition giving students from three schools in the Lille area carte blanche. Accompanied by their tutors, more than 60 students have worked collectively on the theme of “Cohabiting” during workshops, mobilising their artistic and scenographic skills. Throughout the year, their works will be displayed in turn in the windows of Station V, on Lille’s Grand Place. They will reflect a diversity of viewpoints and perspectives on the world from the young people of today.

The first exhibition will run from January to March: Mot à Mot, created by Léa Seiler and Lucas Sabathié, two students from ESDAC. The exhibition is a representation of five concepts linked to cohabitation: communication, learning, work, wandering and entertainment. It is a participatory exhibition through which visitors can interact and have fun by combining different words. It invites visitors to explore how writing and images can create links. Léa and Lucas chose to work with the Dina Chaumont Display, which fits in perfectly here with its colourful modularity and invites the viewer to play with it.

The publication documents a public art project in the tourist area of the Grossglockner High Alpine Road, one of the most important and best-visited tourist attractions in Austria. It presents its planning and construction history in the 1920s and 30s, when the road was propagated as a heroic masterpiece of engineering and key building of the Austrian national consciousness of the young First Republic and the corporative state, as well as the changing role of fine art from its complicity with the tourist production of longing to a sometimes hyper-critical attitude, which was recently exacerbated by climate change, which is paradigmatically represented here in the melting of the glacier.

The project interpreted the motorised tourist experience along this road as a theatrical co-production of mobilised actors in a stage set consisting of landscape, road and vehicles of all kinds: a multi-part and far-reaching course of artworks of various genres was successively constructed in several stages during the three summer seasons from 2020 to 2022: Paintings, sculptures and a container cinema, which comment poetically and critically on the high alpine driving and nature experience along this High Alpine Road and the history (histories) inscribed in it. Parallel to this, the Museum of Modern Art in Carinthia functioned as a base station for art-historical contextualisation and a ‘safe space’ in which more delicate paintings, sculptures and installations were presented that would not have withstood the extreme weather conditions on the mountain – or that were only created in parallel to the work on the mountain by those in the museum.

The special format of this publication is inspired by one of the first folders published to advertising the road in 1933: the fold-out cover opens to reveal a wide road map showing a historical photo collage by Robert Haas, which visualises attractions on both sides of the mountain passage that are far apart from each other in just one image. This collage formed the centrepiece of the Austrian pavilion at the 1937 World Exhibition in Paris.

See more images on the website of designer Theresa Hattinger, or flip through the book on Issuu.

2024, the catalogue has been awarded a prize in the category "Art Books" by the Hauptverband des österreichischen Buchhandels and the BmKOES in the competition for "Die schönsten Bücher Österreichs 2023".

Project Projects (now Wkshps) used Aero as the unifying element in a series of posters announcing Jesper Just’s film installation, Intercourses:

The film is set in a suburb of the city of Hangzhou in China, which is built as a full scale architectural copy of parts of the French capital of Paris. In contrast to the many other recreations of cities around the world, people actually live in this area. Here, Chinese signs and lettuce fields clash with a reproduction of the Haussmann boulevards and a smaller version of the iconic Eiffel Tower.

In his work on Intercourses, Jesper Just has thus taken his inspiration from the principal aim of the Venice Biennale, which was to represent his country in another country. The replica city, the artificial pastiche of a city, is the essential artistic feature in this total installation, which via poetic and sensuous images thematises highly relevant subjects such as a sense of cultural belonging, globalization and alienation.

Just explains, “I’ve worked in the past with the idea of architecture performing, with a building or structure as a main performer, a main protagonist. And here there was the possibility of working with a whole city. I was thinking about ways to make the city the protagonist or mediator between these characters, making them connect via the architecture. I wanted to explore how you could take something as superficial as this architecture and then turn it into something connecting humans.”

Aero was also used on the project website.

What do the broken stones make us contemplate? What memories are inscribed in the material? Can vulnerability be found within the stones? And what kind of care work might be assigned to us by them? What does it mean to think – to work with the fragments, the fallen, and the remnants of the city?

Das Gebrochene der Stadt (“The Brokenness of the City”) by Fanti Baum and Sebastian Klawiter embarks on a performative exploration of the poetic potential of the stony over the course of ten days and constructs a radically diverse sculpture – composed of spolia, stones, used materials, and whatever else the city may provide. In this way, a provisional constellation is created, one that doesn't coalesce into a whole, but perhaps that is precisely why it reveals itself as a formation of Stuttgart; undiscovered.

The typography mirrors the fractured essence of brokenness by dismantling the format into distinct individual components, which iterate and, in doing so, construct a fresh and innovative composition.