maraprpreview2005

Kiko farkas Chris Buck Young &laramore Society for News Design Gerard DuBois Mexico Poster Biennial fxhibit I

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March/April 2005 Eight Dollars www.commarts.com

by Ellen Shapiro

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""11'm~'"rrns an ythms of •us o Farkas, principal ·-,__--o Paulo, Brazil.

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t shows. Forms and rhythms are evident in everything he does: film and concert posters , logos and annual reports, children's books. His intuitive, hands-on approach doesn't force clients into a particular graphic style; it infuses the client's persona-whether a record label or a bank-with graphic wit and virtuosity. In Kiko's work you see squiggly pen-drawn lines, bold brushstrokes, whimsical characters and faces, hand-lettering, undulating patterns of geometric shapes, photography and illustration (his own). And color. He works in bright primary hues, in stark black-and-white, in all kinds of subtle tonal ranges.

"I developed a personal lexicon of graphic solutions, which includes working with my handsdrawing, painting, cutting with shears, tearing paper, collage, scanning things I find on the street," he explains. "Many designers don't mix their 'artistic' and 'commercial' sides. I can be corporate when needed, but I'm never afraid to be na·ive or primitive. So, naturally, with time, most of the studio's clients are tuned into this philosophy of work. " One of those clients is Orquestra Sinfonica do Estado de Sao Paulo, which has kept Maquina Estudio-consisting of Kiko, his longtime design assistant Elisa Cardoso, intern Caio Campana and administrative assistant Andrea Giminez-busy with concert programs, tour programs, kids' programs, institutional brochures and posters. In 2003 , to promote the orchestra's weekly and monthly concert programs, Kiko created 67 elegant, visually complex-you'd never call them naive or primitive-limited-edition posters for display in the foyer of the Sala Sao Paulo Concert Hall.

Last spring, he was honored with a solo exhibition of those posters at Sao Paulo's Instituto Tomie Ohtake, the museum and cultural center named for the Japanese-Brazilian woman painter. At the opening, more than a few members of the international design community "discovered" Kiko (the same way Columbus "discovered" America-it was there all along).

Imagine the scene: 100 or so designers, from almost every country in Latin America, and from Japan, India, Australia, Denmark, The Netherlands, Lebanon, South Africa, Canada, the U.S.A. All, speakers or attendees at the I COG RADA (International Council of Graphic Design Associations) Design Week, mingling in the airy, Modernist space, sipping white wine, nibbling cheese maws, making small (and large) talk; in Portuguese, Spanish, variouslyaccented versions of English. And stopping dead in their tracks in two galleries lined with Kiko's virtuoso symphonies of color, form and line. Hints of Albers, Vasarely, Franz Kline, Matisse, Op art and Abstract Expressionism, hand and technology, yet with a totally original sensibility that ranges from wide black brushstrokes to intricate, layered patterns of kaleidoscopes and butterflies. Exulting in total graphic freedom, Kiko had made the cadences, harmonies and emotions of classical music-from Mozart and Tchaikovsky to Berlioz and Villa-Lobos (of course) to Tan Dun- come to life on paper.

Kiko! Who is Kiko? asked the gringos.

Kiko is that slight, unassuming guy with curly hair, everyone soon learned.

"Brilliant!" "Amazing! " "Wow! " "I consider myself, above all, a technician," says Kiko modestly. "That's why my office is named Machine Studio. " Right : Orquestra SinfOnica do Estado de Sao Paulo poster. 331/2 x 491/4, printed in Lambda process on f2 matte photographic paper. Elisa Cardoso, assistant designer; John Neschling , Orquestra Sinfonica do Estado de Sao Paulo, client .

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March/April 2005

Communication Arts

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Namn: Robin M 1roam Carlsson. Fodd: 1979. Famifj: Mam ma Maria Carlsson, pappa Wilhelm Cmlsson, styvmnmrhn Dcnizo Karnbuda. tv~ smAnyskon, pojkvfi n. Yrke: Musiko1. Bor: Sooor· maim i Stockholm. Karriiir: Slog igcnom 1995 mod debutalbumct Robyn is horc. 1999 kom My truth och i slutel av 2002 Dont stop th e music. Gjerde succc\ iivcn I USA mod debu1albumc1. men . med andrn albumct kom utland~karriaren av sig. Aktuell : Turnopremiar pa Katalin pa onsdag.

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BLAZES' WRATH Toll in property und lite mounts

as fires continue their mnrch .

. OUfllERN Ci\t.IFOR'l lA FIRE.

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ENGULFED INFLAMES

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March/April 2005

Gerard DuBois

This page: Easing into Death , 2003 cover. 11 X 12 .

Blake Dinsdale, art director; Illumination magazine, client .

Emperor's New Clothes, 1999. 125/s X 125/s. Brent

Hatcher, art director; Red Herring magazine, client.

Right : "Les Exe/us, 2002. Book cover for a novel by the Nobel Prize of Literature recipient Elfriede Jelinek." 9112 X 15. Benedicte Roscot, art director; Elfriede Jelinek, writer; Seuil Publisher, client .

Bullying, 2001. 11 3/s X 13. Michel Rousseau , art

director; Reader's Digest, client .

1889, a play. 183/4 X 10. Owen Phillips, art director; The New Yorker, client .

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March/April 2005

The 8th International Poster Biennial in Mexico This page: Henri M artinez, M ontenegro Communications, M exico.

Se So/icita , Honorable Mention, Advertising . 47 5/a X 693/4.

Gabriela Ortiz/Cec ilia Garnica/Francisco Aguirre/Alejandro Lopez, Mcc ann -Erickson Mexico . Nescafe clasico , Nestle Mexico , First Place, Adve rtisi ng. 47 5/s x 693/4.

Right: Timo Andrew Berry, Finland . Libertad de expresion [Freedom of expression), First Place, Ecological Themes . 27112 X 393/s, offset. lyama Koji , Japan. Series: (top) Mordaza [Gag) and (bottom) Parpado [Lid). Third Place, Posters Against Impunity. 283/4 X 40112. plotter.

Chaz Maviyane-Davies, Zimbabwe . Expulsar [Eject]. Second Place, Ecolog ica l Themes. 27 1/2 x 393/s, offset.

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March/April 2005

SE SOLICITA

2

Emily Shur

Location:

New York City and Los Angeles.

Duration :

Six years.

3 Staff: Two computers, one cell phone and me.

Education : Honors graduate of Tisch School of the Arts at New York University.

Cultural Influences: Music,

faces, shadows, chemistry, energy (both good and bad), the south, the east, the west, but not the north, Irving Penn, William Eggleston and too many women to name.

Environment:

Hopeful.

Philosophy: If it

stops being fun, I can no longer do it well.

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March/April 2005

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