Victor Verhelst and Corbin Mahieu collaborated on a bold new identity for Kunsthal Mechelen. The designers were inspired by the ironwork in archival photos of the garage and developed a font for Kunsthal Mechelen, based on the existing KTF Labyrinth by Kyiv Type Foundry. Times New Roman Bold Condensed is used on the website and posters.

Kunsthal Mechelen is a generous house for contemporary art that extends across several locations in Mechelen, both indoors and in public spaces.

Cover photo by Rafael Prado / Viva o Balão

Fan fiction magazine Danke is a biannual literary journal edited by Marion Regenscheit and Lucien Haug. In Danke, authors find space for a new, constructive approach to (old) texts.

The magazine’s editorial team, consisting of Lucien Haug, Marion Regenscheit, Richard Stoiber, Dorothee Elmiger, Chris Möller, Svenja Viola Bungarten, and Mazlum Nergiz, together with the authors Svenja Reiner, Dietmar Dath and Scholastique Mukasonga, presents the first issue of Danke.

Display fonts of different type foundries and type designers supplement every issue. Among them are KTF Cirk, KTF Labyrinth, KTF Rublena, KTF Metro Sport and KTF Compact by Kyiv Type Foundry. Danke magazine also uses the fonts Rhymes, Selecta, Signs, Eurocat, OCR-X, Modelo and Cornbread by Maxitype, BC Prkno by Briefcase Type Foundry, and Kiddo by notyourtypefoundry. The origin of Cosmic Cult is unknown.

The cover shows the country’s name in three scripts: Latin (Qazaqstan), Cyrillic (Казахстан), and Arabic (قازاقستان).

The author of the book, Alima Bisenova, writes:

Qazaqstan, Labyrinths of Post-Colonial Discourse responds precisely to this internal intellectual demand of Kazakh society for reflection on the problems of postcoloniality, for rethinking the (Soviet) past and understanding its current “place in the world” as a “small” (from the point of view of geopolitical influence) country, torn apart by cultural contradictions. How to talk about the “inconvenient past”, how to find one’s own identity and one’s own voice despite the “pressure of the metropoles”, and how to get rid of post-colonial complexes? The authors of the book, in their research, have intensely worked and reflected on many of these issues, and the time has come to present their thoughts and reflections to the judgment of an interested reader.

The book was designed in the summer of 2022 in Germany by Yevgen Anfalov, assisted by Ukrainian designer Olesia Bachyns’ka. Yevgen took the robust format of 130×195 mm so the volume is easy to carry, despite its thickness and thanks to its lightweight. The book is text- heavy: its layout follows the reader’s pragmatism. There are enough margins and room for footnotes, and all the cross-references are set in margins and linked to respective images. The book is unique of its kind as it is the first collective work on Kazakh post-colonialism.

The main language is Russian, functioning as a lingua franca for all post-Soviet countries. As original texts in Kazakh Cyrillic were set, language support of the body face was of big importance. The main carrier of the book's identity is the font KTF Labyrinth, made by Yevgen specifically for its occasion. It takes on the metaphor of a labyrinth as derived from the book’s title and is being used on the cover as well as on the chapter titles (pp. 3–4).

Due to the poor resolution of some delivered visual materials, they were digitally reconstructed as on p. 15. A special “book within a book” section features “post-colonial fiction” (pp. 21–22), marked by black margins, as if it were a scan of a smaller book. All in all, the book was made under limitations in paper stock due to sanctions on Russian suppliers (using the only suitable materials that were anticipated "blindly" at the distance) and printed at rather a fast pace, including night shifts – most likely resulting in a slight misplacement of the cover, which is shifted downward to 3 mm. All the print supervision was handed out to Anuar Duisenbinov, the project manager, who did his best to describe the outcome via smartphone videos and using LANGUAGE. The book production reflects its time and social conditions for sure. However, the book is an important lecture on Kazakh culture and has come to the world in a print run of 1,000 exemplars. It’s available from Tselinny.

L’Effet de Serre is a group exhibition at Abbatiale Bellelay, Switzerland. From the description (translated):

A group exhibition on the body, its metamorphosis, the soul, its non-existence and its consequences, with works by Benedikt Bock, Emilie Ding & Alizée Lenox, Richard Frater, Thomas Julier, Max Kriegleder, Claire van Lubeek, Léa Katharina Meier, Jean-Charles de Quillacq, Margaret Raspé, Virginie Sistek, Terre Thaemlitz, in an installation by Jan van Oordt, at the invitation of Sylvain Menétrey, curator of the Abbatiale Bellelay, assisted by Katia Leonelli.

The exhibition poster was designed by Emmenauel Crivelli of Dual Room, making early use of KTF Labyrinth, together with Selecta.