The Bienal Climática is a meeting place open to the public. Beyond being a cultural event with a broad exhibition program, the biennial is conceived as a space for encounter and dialogue.

Here, the word “climate” goes beyond atmospheric weather. It also refers to the social climate in which we live, how we coexist, work, and relate to one another.

From this broad perspective, the Biennial brings together diverse individuals and organizations to reflect, through art, culture, and landscape, on issues that affect us all, such as the future of employment, the relationship between rural and urban areas, and democratic coexistence.

The 2026 communication is set in ALT Riviera.

Security Guarantees is the title of the Pavilion of Ukraine at the 61st International Art Exhibition – La Biennale di Venezia.

The Ukrainian Pavilion addresses the unfulfilled security assurances provided to Ukraine under the Budapest Memorandum (1994) in exchange for relinquishing its nuclear arsenal. The project reflects on the fragility of peace and the resilience of the Ukrainian people.

At its centre is Zhanna Kadyrova’s The Origami Deer. Installed in 2019 in Yuvileynyi Park, Pokrovsk, on the site of a dismantled Soviet Su-7 aircraft, the sculpture was realized with executive and technical support from Denys Ruban. Rooted in the tradition of park sculpture, it reinterprets this legacy through a contemporary form.

This exhibition was curated by Ksenia Malykh and Leonid Marushchak, with architecture by Oleksandr Burlaka, and technical direction by Denys Ruban.

The visual identity was designed by Ostap Yashchuk with the typefaces KTF Roman (Kyiv Type Foundry) and Periodica (Mint Type). The website was designed and developed by Dmytro Prutkin and Oleksii Nasirov using Times New Roman.

Meteor is a biennial for contemporary theatre and performing arts, organised by Bergen Internasjonale Teater (BIT). In 2025 the festival received a new visual identity developed by PART. The identity is part of a larger design process we've undertaken for BIT and its sub-brands, Meteor, Oktoberdans and Prøverommet — each with its own rhythm, but now united on a shared visual platform.

Where BIT uses three styles of the typeface family Bertin, Meteor uses one: Bertin Square Orientation. The color palette is raw and physical: a powerful orange, a deep maroon and a metallic grey.

The campaign takes shape through print; the hero piece is an A1 format poster printed with  orange and metallic silver sopot colors on coated stock. The poster is the basis for the entire physical campaign: cut and folded into two different program covers, two smaller poster formats that also work as pocket-sized campaign pieces, and finally into wayfinding during the festival. One print, many functions: a circular and tactile approach to festival design.

First held in 2012, Changwon Sculpture Biennale is the only sculpture biennale in Korea. The 7th edition took place in 2024. Its title, “Silent Apple”, was taken from a line in “A Well-Ripened Apple” by acclaimed poet Kim Hyesoon. From the organizers:

The biennale will be introduced in four venues: Seongsan Art Hall, which has been the main exhibition venue for previous Changwon Sculpture Biennales; Seongsan Shell Mound (Historic Site No. 240), a shell tomb discovered in 1973; Dongnam Ground, a former industrial complex workplace; and the MoonShin Art Museum, shaped by a sculptor. The biennale aims to address horizontality in contemporary sculpture, women and labor, urban history and shifts, and changes in community.

Ted Hyunhak Yoon of Major Minority did the identity and graphic design using AC Affix by AllCaps. To accompany Affix, he used KIMM, a custom typeface designed by Jinhyun Park for the Korea Institute of Machinery & Materials, as display font for Korean text, with SM Joong Gothic for smaller bits. The website was created by Eunjoo Hong and Hyungjae Kim.

The Korean text typeface used inside the catalog is yet unidentified.

Society of the Frontline is a guidebook, stemming from the visual and discursive programs of the 2024 Kyiv Biennial in Berlin.

In texts that grapple with survival environments, the destruction of architectural heritage, and the mass psychopolitical devastation suffered by Ukrainian society, the publication sheds light on the brutal realities of a neocolonial war of extermination and exploitation. It amplifies urgent calls for decolonization, bears witness to war zone atrocities, and highlights acts of refuge and solidarity. Contributions from researchers, artists, journalists, and activists—from Ukraine and beyond—ask a vital question: how can artistic creation, critical inquiry, and social engagement converge to forge a radically different future?

With contributions by: Vasyl Cherepanyn, Timothy Snyder, Jan Tomasz Gross, Nataliya Gumenyuk, Ksenia Rybak, Svitlana Matviyenko, Kateryna Iakovlenko, Angelika Ustymenko, Alex King, Yuriy Hrytsyna, Yevheniia Moliar, Franziska Davies, Epp Annus, Yassin al-Haj Saleh, Yurko Prokhasko, Beatrice Patsalides Hofmann, Lena Prents, Felix Ackermann.

The cover design was created by Stefaniia Bodnia. Book design by Uliana Bychenkova, with typefaces KTF Prima and Crimson Text used throughout.

BVH Stef is the new typeface designed by studio vu-huu for La Cité du Design in Saint-Étienne. The new visual identity – based on a large and playful variation of typographic characters – has been launched during the 13th International Design Biennial of Saint-Étienne in May 2025.

During the Biennial, Stef has also been used and displayed all around Saint-Étienne as a way to share the new visual identity in the whole city and to promote exhibitions and events related to the Biennial.

BVH Stef is a new custom typeface collection created for La Cité du Design in Saint-Étienne as part of a design project by studio vu-huu. The new visual identity, which is based on a large and playful variety of typographic characters, was launched during the 13th International Design Biennial of Saint-Étienne in May 2025. The typeface is distributed by b•v-h type.

This catalog has been published as part of the Biennial exhibitions whose theme was Ressource(s), présager demain/Resource(s) – in English: “Foreseeing the Future”.

This typeface includes a wide range of alternates that closely imitate the variations typical of handwriting.

There are two versions of the typeface: a text version and a display version. The display version places greater emphasis on the fluidity of the hand-drawn stroke.

Graphic identity, website design and printed materials designed by Lara Coromina Parcet for CODA, the 2nd Young Architecture Biennal of Catalonia, which took place at Col·legi d’Arquitectes de Catalunya (COAC) in Barcelona during October 2025. The design features Comma Type’s CMM Coda in its Normalized version throughout.

Referencing the musical figure of the coda – an independent ending that rewrites itself, that reiterates, that deforms under its own rules – we claim an ending not as closure, but as a threshold. A gesture that is articulated from inherited frameworks and transforms them into possibility.

Following the manifesto’s call to “recognize failed, unfinished, or obsolete architectures as active parts of the landscape”, the graphic identity was built by gathering textures using frottage. This analogue technique, which consists of rubbing paper with a pencil directly against material surfaces, became the starting point for creating visual impressions of the surrounding environment: non-linear traces of architecture, marks of what is worn, unfinished, or already turning obsolete.

From these traces, a visual system of overlapping textures, lines, patterns, and typography was developed, echoing the manifesto’s idea of a “persistent, dense atmosphere”. In this landscape, ruins are not endings but material to work with, and the biennial’s identity embraces the end (Coda) as a place of possibility, where what remains can be reactivated, layered, and transformed into something new.

CODA was curated by Naiara Albizua & Carmen Salas (objet a) and organized by AJAC Agrupació de Joves Arquitectes de Catalunya under the direction of Dani Montes and Guillem Elvira. Website code by Clara Layti. All photographs by Natalia Vaquero. Risograph printing by Do the Print.

July Type’s typefaces JT Peleton and JT Picolo are used for the catalog to the exhibition Repeat after Me II by Open Group, shown in the Polish Pavilion at the 60th International Art Exhibition, Venice Biennale in 2024. See also the previous post about the audiovisual video installation.

The publication was designed by Janek Bersz of Full Metal Jacket and publsihed by Zachęta Narodowa Galeria Sztuki. It’s available in its bookshop in Warsaw and the official bookshops of La Biennale in Giardini and Arsenale. A pdf can be downloaded from the Polish Pavilion’s website. Made with support from the Berliner Künstlerprogramm des DAAD with funds from the German Federal Foreign Office.

Pictures by Jacopo Salvi, Ewa Mielczarek, and Janek Bersz.

On view from 26 August to 23 November 2025, the 13th Seoul Mediacity Biennale, “Séance: Technology of the Spirit”, opens to the public at Seoul Museum of Art and other venues across the city. Inspired by occult, mystical, and spiritual traditions, key to the proposal is that these alternative “technologies” contest the accelerationist and rationalistic logics of capitalist modernity, and might therefore help us to resist – and reconfigure – the political and intellectual structures that shape our experience.

In response to the curatorial theme, graphic design studio nonplace developed a visual system founded on a series of radiant halos symbolizing spiritual energy. Their arrangement into modular structures expresses the organization of immaterial forces into the patterns and forms of art and techne, providing a flexible, transformable, and infinitely extendable visual system. (Text rephrased from nonplace)

For the identity of the biennale, nonplace chose Noto Serif Korean (see Source Han Serif), accompanied by Moulin Light from Commercial Type.

La stella dentro (“The star within”) is the official catalog of the 69th edition of the International Festival of Contemporary Music in Venice, the Biennale Musica 2025. This edition, under the artistic direction of Caterina Barbieri, is marked by an openness towards contemporary electronic and electroacoustic music, and understanding music as a possibility for expanding one’s perception.

Thus, the catalog, designed by Tomo Tomo, conceals a colourful, psychedelic star within its austere, sidereal cover, and the object itself changes and expands in the hands of those who leaf through it, expressing the dynamics of sensory expansion. Except for a sixteenth of ‘stellar’ images, the book is printed entirely in a silver spot color with a few elements in black and a large amount of white space. Cold, electronic, rarefied.

The typography, on the other hand, interprets the link with the refined tradition of classical music, with a font inspired by the work of Jean Jannon, Robert Granjon and Philippe Grandjean and other – it’s Store Norske Gangster, designed by Arve Båtevik. Used very often in italics and in very small sizes, it creates an interference with the electronic and intergalactic aesthetics of the catalogue and the ‘Biennale’.

The fourth edition of BoCA (Biennial of Contemporary Arts) took place in 2023. Lisbon and Faro were the cities hosting a new and effervescent program from 2 September to 15 October.

Between commissions, world and national premieres by both established and emerging artists, performing in their own language or taking risks to create for other registers, BoCA built its 4th edition on the idea of “Invisible Present”.

Always aware of the current times – cultural/artistic, social and political – artistic director John Romão said he ‘wants to give visibility to living things that are not seen, either because of social, political, cultural, economic, legal or technological conditioning, or because we premeditatedly don't want to recognise the existence of otherness, to validate identities that inhabit the margins’. It is with this desire that the program reflected on issues related to the migrant crisis or gender identity, claiming the physical presence of what is not seen.

BoCA 2023 used two primary colors, gray and yellow, throughout its identity. It used one primary typeface within its permanent, geometric and mutable logo: Neureal by Laura Csocsán (released on ECAL Typefaces) – including for titles and descriptions. LL Replica by Dimitri Bruni and Manuel Krebs (released with Lineto) was used for displaying longer texts within the newsprint pamphlet and for smaller information.

For the 11th edition of the Rencontres Photographiques du 10e, a biennial initiated by the City Hall of Paris’s 10th district and curated by the Fetart collective, Studio Junaru designed a refined yet powerful new visual identity and poster series. Running from October 2 to November 16, 2025, this edition celebrates the vitality of contemporary photography – bringing exhibitions into public spaces, galleries, and cultural venues across the 10th district.

Echoing Emmanuelle Halkin’s curatorial statement, this year’s identity positions photography as a critical and poetic medium for understanding our world. The typography balances geometric precision with human warmth. Surt by Blaze Type sets the typographic backbone with its contemporary sharpness, while Monaako by Altiplano Typefaces introduces a vivid, more narrative tone. Together, they reflect the biennial’s mission to highlight emerging voices through a visual language that feels both open and thoughtful. On the festival website, the sans serif is Manrope by Mikhail Sharanda.

See also the 2019 edition of the festival, using Surt throughout.

Since the founding of the Illustrations Biennale (BIB) Bratislava, designaustria has served as the national nominating body. In this year’s 30th Biennale of Illustrations Bratislava – running from 3 October 2025 to 6 January 2026 at the Austrian Cultural Forum Bratislava – ten Austrian children’s and youth book illustrators are represented.

The works featured in exhibition reflect a wide diversity of styles and approaches, and offer insights into various working methods in the fields of artwork, storyboard, technique, advertising, children’s books, scientific and editorial illustration.

The exhibition poster was designed by Irene Persché, using an illustration by Frau Isa; the typeface is Spektra Tekst, published by Dotless Type.

The visual identity for the 10th International Architecture Biennale Rotterdam (IABR), designed by the Berlin based design practice Stahl R, makes prominent use of Eliza Mono, with Eliza serving as a companion for longer texts. From the IABR website:

Fifty years after the publication of the Club of Rome’s report, the jubilee Architecture Biennale Rotterdam […] combined historical research (as of 1972) with inspiring practical examples (in 2022) and future scenarios (towards 2072). The works exhibited by architects, urban designers, artists, scientists, and landscape designers depicted the causes and consequences of climate change, but also offered perspectives for action.

The 10th edition of the IABR was more than a wake-up call. Rather than simply outlining a bleak worldview, it presented hopeful possibilities for new, more radical courses towards a livable future, and introduced radical, feasible transitions leading to a just and ecologically healthy world.

The 10th IABR presented three architecture exhibitions with more than 150 projects and offered a program of guided tours, (children’s) workshops, field trips, lectures, and debates.

Poster and program for the 2024 edition of the Biennale des Musiques Exploratoires.

I created the graphic design and the photography for the visual identity, the official poster, and the program. The fonts used are Moderat and Moderat GRAME Display, designed by TIGHTYPE.

Biennale des Musiques Exploratoires is produced by Grame (Générateur de Ressource et d’Activités Musicales Exploratoires), National Center for Musical Creation.

Sonic Acts is an interdisciplinary arts organization based in Amsterdam presenting new developments in electronic and digital art forms. Their biennial international festival is an art, theory and technology gathering motivated by changes in the ecological, political, technological and social landscape.

The visual identity for Sonic Acts 2024 edition “The Spell of the Sensuous” was designed by Anja Kaiser and Knoth & Renner, who also programmed the accompanying website. The design pays homage to Georgia O’Keeffe, an artist renowned for her mythic and uninhabited landscape masterpieces. Channeling her distinctive palette, the visuals employ earthly and lively hues hinting at images beyond human senses – a mystical entrancement in O’Keeffe’s landscapes or the liquid interconnectedness of (non)beings.

In An American Place, 1941, remarking on the sensuously intimate and familial act of noticing nature, Giorgia O’Keeffe wrote: “in a way – nobody sees a flower – really – it is so small – we haven’t time – and to see takes time like to have a friend takes time.”

The typographic gesture assumes the roles of observer, chronicler, and perpetual traveler, traversing the linear notes of monospaced typography. Intertwined with the typography, asemic writing plays the role of silent companions. These signs defy conventional decryption methods, evading semantic clarity. Instead, they beckon us to embrace subjective, inquisitive interpretations, inviting us to delve into uncharted territories of understanding.

The visual identity combines the open-source typeface Geist, used for title typography, with CMM Coda in Proportional, Proportional Normalized and Mono Serif cuts, used for body copy and small print.

Mockup showing the poster

Inside Job Staff Biennale 2024 is an exhibition at Tate Modern, London organised by the Inside Job Collective. The project aims to highlight the creative work of Tate staff working across all departments of the museum.

The guidebook features reproductions of all 200 artworks submitted by Tate staff members, as well as documentation photography by Max Reeves. It was designed by Marjorie Dubois and Jed Fielder, and published by the museum itself.

The identity for the 2024 edition of the Staff Biennale was inspired by the typographic stencils used on shipping crates by installation staff behind the scenes. The design uses a bespoke condensed version of TateNew, alongside its Bold weight and Georgia.

Mockup showing the oudoor banner

The 2024 edition of the Adelaide Biennial of Australian Art, entitled Inner Sanctum, ran from March 1 to June 2 at the Art Gallery of South Australia. Curated by José Da Silva, this biennial explored the complexity of the human condition and the search for intimate and spiritual places, sanctuaries that evoke moments of refuge and reflection. More than twenty artists and poets presented works that revolve around themes of memory, spirituality and collective and personal experience.

To design this project, Base Design used Louize and Louize Display designed by Matthieu Cortat and distributed by 205TF.

The wayfinding for the fourteenth edition of the Florence Biennale was designed by Edoardo Matteoni. The compelling motto ‘I AM YOU. Individual and Collective Identities in Contemporary Art and Design’ invited artists and audiences to reflect on the complex interplay between personal identity and collective consciousness in our modern world.

The wayfinding is set in Uncut Sans by Kasper Nordkvist. The lettering of the biennial theme uses a different and yet unidentified typeface selection. See also a previously published post showing the catalogue.