Exhibition identity for Re-parer le monde by Kouka Ntadi, presented at the Galerie des Résidents, Montresso Art Foundation, in February 2025, as part of the 1–54 Marrakech Art Fair.

Since the late 1990s, Kouka Ntadi has developed a body of work addressing both intimate and collective narratives. Grounded in the figure of the Bantu, his practice examines the relationship between humans and nature, and reflects on our place in the world through the notions of adornment and repair.

Wer Bringt Den Kuchen? Who Brings The Cake? was a series of art events (talks, screenings, workshops) happening during the year 2024 in Kunstbunker Nürnberg. Designer duo Lucia Schmuk and Elisabeth Thoma created a poster for each talk, keeping the overall same layout but changing the colour duo and the titling font each time. The poster series was selected among the 100 beste Plakate 2024.

The font used for the series title and the name of the place on each poster is Lÿno Stan by Radim Peško, while smaller text is set in Suisse Int’l by Swiss Typefaces. Then are used Gulax, Terminal Grotesque, Gap Sans and the free weight of NaN Holo as unique titling fonts for each poster. The condensed sans used for “The End of the End of Selling Out” is yet unidentified.

Apart from Lÿno and Suisse Int’l, almost all of the selected fonts – if not all – are free to use or open-sourced.

Montresso* Art Foundation is a hybrid institution that supports artistic creation and promotes the diversity of contemporary artistic research through its residency program, Jardin Rouge.

This 10×20.5 cm booklet serves as a general presentation of the Montresso* Art Foundation, designed with a minimal, editorial approach that reflects the foundation’s hybrid and experimental nature.

In the wake of these first itinerant glassworks, designer Nicolas Verschaeve’s itinerant studio continues to reflect on the contingencies that link materials to places, landscapes and the people who shape them.

During a stopover in the Northern Vosges, he stopped off in Meisenthal to question traditional glassmaking techniques in the workshops of the Centre International d’Art Verrier.

Through the creation of a modular wooden mold, a veritable tool for conversation with artisans, he blurs the boundaries between design and production, giving rise to an astonishing repertoire of shapes and uses.

WIP Office (Julie Bassinot and Marie Damageux) used Cardone (Fátima Lázaro, 205TF), Neue Haas Unica (Toshi Omagari, Linotype) and Gap Sans (Alexandre Liziard and Étienne Ozeray).