.moving pictures experimental garage (.mpeg) is a platform for contemporary video art and experimental film run by Filmische Initiative Leipzig FILZ e.V. It showcases monthly rotating moving image works after dusk in a video display window in Leipzig, Germany, and facilitates cultural participation in public spaces for people of different age groups, backgrounds, and areas of interest.

The website mpeg-art.space serves as the platform’s second home, designed to mirror and digitally extend the physical space in Leipzig. The city’s local time and current light situation is reflected as if on the garage’s blurred window. The work currently on view is shown within a digital simulation of the recessed black space inside the garage. An archive documents all works shown since the project’s inception and includes synopsis, stills and interviews.

The typeface CMM Coda Normalized Proportional was chosen alongside the existing logotype set in Berthold Block Regular to match its softness and proportions.

Design and development by magma design studio.

The exhibition Paik Nam June - Lee Lee Nam: IN PROGRESS at Daejeon Shinsegae Gallery commemorates the late media artist Paik Nam June’s 90th birthday. Daejon-based design studio (NO-NAME)PRESS developed the graphic identity and typographic concept.

The visuals echo some of Paik Nam June’s pioneering artistic techniques, particularly the interference of the flow of electrons in color TV sets. The narrowly proportioned letters of Oldschool Grotesk Compressed are overlayed on RGB electron beams that change color while the letters flow in and out. In addition to the series of motion graphics, the exhibition also uses the typeface in signage and various pieces of ephemera. While the large-scale display typography is mainly in English, the more text-heavy Korean applications appear to use Sandoll GothicNeo.

This book is the catalog accompanying the exhibition Get Life / Love’s Work by British artist Ed Atkins. It was shown by the New Museum in New York City from June 30 to October 3, 2021. The publication includes texts by Erika Balson and Mark Leckey.

The cover shows a face from close up, taken from a video shown in the exhibition. The artist already worked with this high-definition computer-generated character and his close-up face in video print before (see The Worm, 2021). The type simply is in Neue Helvetica, a classic choice for contemporary art books (cf. the Peter Cain monographs), in white caps at the bottom center.

From the publisher:

Over the past decade, Atkins has created a complex body of work that considers the relationship between the corporeal and the digital, the ordinary and the uncanny, through high-definition computer-generated (CG) animations, theatrical environments, elliptical writings, and syncopated sound montages. With these filmic and text-based artworks, Atkins tracks forms of feeling, living, and communicating hidden behind or curtailed by technological representation, which unfold into sensitive and often somber narratives.

At the New Museum, Atkins will premiere a new project that focuses on the ways bodies and technologies are intertwined, particularly in the field of digital communication and telepresence. As always in Atkins’s work, technology is analyzed as a theoretical and even allegorical interrogation of itself, rather than in any literal terms.

Pan Books edition. The type on the bottom appears to be the wide light weight of Eurostile and the same typeface but in a normal width of bold weight.

Two covers for the 1979 edition of British author and screenwriter Douglas Adams’ comedy science fiction franchise: an eponymous novel, published by Pan Books in the UK, and the double LP featuring the four episodes, released by Original Records in the UK and Canada.

The art group Hipgnosis and illustrator Ian Wright were credited for designing the cover for the original British release, which included three Filmotype fonts shown in this example. Also, it was one of these examples of video art used for the design.

First, there was Fleet. VGC then copied the face as C-13 in or before 1972, and this font was digitized by Castcraft in 1990 as OPTIFleet. Omaha (named after a city in Nebraska in the United States, also by VGC as M-15) comes with the big capital letters in the center [edit: it’s Monroe, see comments] and Orlando (copied as G-25) for the back cover.

Front cover of the LP. The title set in Omaha has alternate glyphs for D, N, and P. [More info on Discogs]

Back cover. The text on the left side was set in Univers.

Program leaflet for a cycle of conferences on contemporary video art organized by the Musée de l’image in Épinal, France. Designed by Cyril Dominger using Arlt and Arlt Título (Alejandro Lo Celso, PampaType).

The Clock by Swiss-American artist Christian Marclay is a 24-hour video installation, composed of thousands of fragments found in cinema and TV scenes that refer to the time of day. The work received the Golden Lion at the 54th Venice Biennale in 2011, and has since taken thousands of visitors to dozens of museums around the world.

For the exhibition foyer at the Instituto Moreira Salles in São Paulo, the communication design was conceived as a contemporary version of old cinema signs, with three-dimensional letters supported by horizontal shelves. GT Haptik was chosen for two reasons: its geometric letters, especially the O that we cut and turned into a C, slightly rotated for its two appearances in the word “CLOCK” (as a reference to the passage of time); and the absence of overshoots in the capitals, which made the lettering installation easier. In addition, a tabloid with the same graphic identity was designed, featuring an exclusive interview with the artist.

Timelapse of the installation of the wall lettering.

The exhibition Tristes Anthropiques at Le Cabanon aimed to create a dialogue between the video works of Céline Burnand and Nina Wiesnagrotzki.

Double-sided A2 poster and two-part A5 flyer, offset

Designed by Johanne Roten, using GT America Expanded by Grilli Type and Lausanne by Nizar Kazan.

Emerging Other, Special Exhibition for Arts Council Korea & Rijksakademie Residency Amsterdam, The Netherlands.

Arko Art Center:

Arko Art Center of the Art Council Korea is pleased to open a special joint exhibition ‘Emerging Other’ with the artists who participated in the residency program at the Rijksakademie. ‘Emerging Other’ is the exhibition which allows to understand how the artists’ experience brought the expanded perspective and access to the artwork in an unfamiliar space and time as well as a relationship with new others, and how this environment influenced to their creation. In this context, what ‘emerging other or generating other’ shows is not attributes of continuous linear time (past-present-future) but multi-dimensional concept of time which newly emerges by the relation with the internal and external elements. In other words, in the presented works – Min Oh’s video work which illustrated structural exploration of time by grafting musical elements, Goeun Bae’s video which reinterpreted a document of an accident happened in a certain period, Kwang-Ju Son’s work which represented her experience at the Rijksakademie as confinement and suppression, Go-eun Im’s video which made historical time being present, Jisan Ahn’s painting where the artist tried to keep the suspended time, and Shiu Jin’s work which shows the way of restoration of a certain time –, time does not mean linear ‘past-present-future’ structure. Rather, it is possible to think the concept of time as diverse structure in a relative way. Sung Hwan Kim and a lady from the sea’s video and Go-eun Im’s interactive video which showed the tangled interactive way to others, also reflect metaphorically their experience at Rijksakademie with others in a certain period of their life.