Independent Brand Design Agency London, UK. Amsterdam, Netherlands. New York, USA. Singapore. www.designbridge.com
design Bridge We design for brands. We combine a healthy
them through. Intuition. It’s a word we like and
dose of intuition with intelligence to bring
many people feel afraid of. Why? Because it’s
brands to life through great ideas that reach
something that can’t be easily quantified or
out and connect with people.
measured. That isn’t the case here.
Our creative philosophy is about digging
Our inspiration are those who champion craft,
deeper to discover what makes a brand
originality and storytelling. We dig deep. We
unique. We aim to express this through
combine intelligence, intuition and cultural
beautiful craftsmanship to create solutions
references to find, capture and dramatise
which are a breakthrough in the category,
the powerful personality and truths in a
engaging, simple, bold, enduring and
brand. The ones that can inspire, engage
memorable.
and emotionally connect with people. We aspire to do this in a unpredictable way but
There are plenty of clichés about ‘Eureka!’
with rigour and inspiration. As a team, we
moments experienced in the bath (or on the
explore cultural connections, we go out; eat
bus). But we do think there’s some truth
the brand, drink the brand, socialise with
in the suggestion that the best ideas often
the brand. We live the brand. We challenge
appear when your mind is at its most relaxed.
ourselves to find insightful ways to really get
It’s why we’ve worked so hard to cultivate
under the skin. We are looking for magic, that
such a unique working environment. One
creative spark, the things that make a brand
that encourages curiosity, imagination and
different and the things that will inspire and
open-mindedness. Whatever the project, we
focus us on killer creative routes.
always try to find as many ways as possible to help the people working on it to escape: from the screen and the obvious Google search. Because, while research into a brand may be vital, we think it’s important to find a way to experience it, in order to discover its emotional connection with people. Most great ideas rely on a healthy dose of intuition to see _ 6
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Guinness Harp Identity To compete with the growth of craft beers, Guinness needed to resonate with a younger audience and convey the craftsmanship and heritage behind its own very distinctive brews. Despite the ‘harp’ being the brand’s most recognisable asset it lacked soul, presenting us with the challenge to make the harp sing again. With the brand’s ‘Made of More’ ethos in mind, we strived to add craftsmanship. This led to our collaboration with Gerry Barney, who had illustrated the harp back in the 60s. We drew inspiration from the Guinness Storehouse brewery, with its industrial and architectural details and old labels that reference the River Liffey, a landmark overlooked by the Guinness Storehouse. With letterpress workshop, New North Press we created a striking physical impression of the harp, dramatising the form, hand lettering and wavy lines, which represent the River Liffey. The result is a stylish and premium global icon that represents a brewer of distinction, proud of its craft and heritage.
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Design Bridge Identity It’s not by chance that Design Bridge’s four studios are situated in historic, intriguing locations around the world. For us, it’s vital that each studio is rooted in an inspiring place a setting that has genuine character, warmth and a rich story to tell. In fact, the surrounding spirit of local life, past and present, has played a real part in shaping our company’s culture over the years.
Our new copper accent colour has meaning in each of the four areas we’re based in; it’s a highly auspicious colour in Singapore, it’s synonymous with the royal family, the House of Orange, in Amsterdam, it links to the industrial, bronze age roots of New York City and nods to the raw materials found in the workshops in and around Clerkenwell, London
When it came to refreshing our brand identity, we wanted to celebrate the importance of this ‘sense of place’. Our new identity needed to truly represent our culture and personality. It also needed to be original, beautifully crafted and tell the inspiring story of each local area.
It is important that our communications material, including stationery has a captivating personality and wit. For our business cards, we divided up each of the tapestries into sections, ensuring that each one features a unique element of interest and the right balance of typography and illustration. As a result, the set of 20 business cards for each office have an instantly collectible appeal.
In our London neighbourhood, christened Clerkenwell in the 12th Century after a local clerks’ well, we were drawn to the area’s history of printmaking and craftsmanship. In Singapore, we chose Kampong Glam as our home, originally a Malay coastal fishing village, it had evolved into a bustling Arabic quarter with a vibrant history. In Amsterdam, our studio is a former stables, once home to the horses that pulled the trams and still adorned by large barn doors and the original window shutters. In the heart of Manhattan, New York we’ve got the keys to our very own private garden, Gramercy Park, set in an area that has been home to countless artists and musicians over the years. With the help of further local insights and access to historical archives, we began to uncover many more interesting stories about our surroundings. The result is a set of rich tapestries that bring these stories to life, whilst symbolising the history and spirit of each area. Made up of maps and imagery, overlayed with illustrations and typography, the four tapestries are connected by several common threads; the water that runs beneath, beside or around each studio, the black and white of our identity and the accent of copper. Each artwork features a copper marker to denote each studio’s exact location, alongside latitude and longitude coordinates, which pinpoint our homes in digit form.
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Our compliment slips also act as postcards, cut from different sections of each tapestry and for a change in pace, the company notepads feature the entire artwork. The documents which carry our address, such as the letter, invoice and label, feature small sections of the tapestry to convey a sense of place and continue the theme of connectivity. To bring the tapestries to life and introduce the many different layers of storytelling, we have developed an interactive app for Ipad. The touch sensitive app will allow people to discover the fascinating history and details about each element of the four locations. NOTE: For a playful yet purposeful feel, we created a meaningful set of illustrative ‘emoticons’ to compliment the different templates. For example, a typewriter for the press release, a stopwatch for minutes and an aeroplane for the travel itinerary.
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Illustration Graphic Design Brooklyn, NY, USA. www.leandrocastelao.com
LEANDRO CASTELAO Leandro Castelao is an Argentinean Designer
His most recent achievements are the 2015
and Illustrator based in Brooklyn, NY.
Communication Arts Award of Excellence and the nomination for the Latin Grammy’s
He’s graduated from the University of
Award 15th Edition for his work in Marco
Buenos Aires and has been illustrating since
Sanguinetti’s album 8, art directed by Laura
2007 for clients like Citi Bank, Delta Airlines
Varsky.
and The New York Times. Searching for synthetic shapes to illustrate complex concepts, Leandro found his point of view - a way of communicating through images. His style varies between the real and the imaginary. Simple lines and geometric forms coexist in a complex rhythmical graphic context.
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BACTERIA Client: The New York Times (USA) Art Director: Nathan Huang 2015
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Media Branding and content Buenos Aires, Argentina. www.vimeo.com/injausdesignadvertising www.facebook.com/injausdesign
Injaus Creative Crew Turner Internacional Argentina We create content and build brands that
production and post production phases of
entertain, inform, engage and inspire our
creative on and off air projects, with more
audiences through the platforms of their
than 300 awards achieved national and
choice. Our Mission is to provide cutting-edge
international.
content and creative solutions that inspire and engage audiences across all platforms, making our brands more relevant and desired. Injaus creative crew is a multitalented team assembled by executives of the creative industry: art directors, graphic designers, broadcast designers, illustrators, writers, producers, animators, post producers, editors and 3-D artists who cover all the
GOTHAM Spot for the launch of the series. Based on a model filmed, reflecting the style of the series, plus the Comic imprint that it has. Client: Warner Channel 2016
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Visual arts, graphic design and social sciences Berlin, Germany. www.migrantas.org
Kollektiv migrantas Florencia Young (graphic designer)
analysis of all the drawings from different
Marula Di Como (artist)
workshops Migrantas culls key elements and common themes, translates these central
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Migrantas empowers migrants displaying
motifs visually and design the pictograms,
highly descriptive pictograms in public urban
creating a visual language migration,
space to provide visibility to the thoughts
which is language accessible to everyone.
and feelings of people who have left their
Pictograms enable people from different
own country and now live in another one.
backgrounds to recognize themselves in these
Working with issues of migration, identity and
representations, while others may gain new
intercultural dialogue, Migrantas originated as
insights or modify their own perceptions on
a result of their founders’ experience being
issues of migration. The results of the projects
themselves immigrants in Germany. They
provide acknowledgment and visibility.
realized that their specific situation could
The exhibitions organized by Migrantas allow
have many characteristics in common –as
all workshop participants to meet, share
well as differences– with the experiences
their impressions and collectively evaluate
of other migrants in Germany and the rest
the results. By exhibiting the pictograms in
of Europe, and that both the differences
public the participants of the workshops see
and the similarities could shed light on the
themselves recognized as active subjects in
lives of many migrants across the continent.
the community. The visitors to the exhibition
Migrantas’ work incorporates technical tools
have the opportunity to further comprehend
from the visual arts, graphic design and
the migrants’ experiences and emotions.
social sciences. Members of the Migrantas
Their experiences become literally a part of
collective meet with migrants in their own
the urban landscape and they see how the
organizations, community centers, cultural
city now speaks about them. For this reason,
groups and organize workshops to reflect
Migrantas’ major achievement is to display
together on issues of migration. Migrants
the pictograms in public urban spaces.
from different national, cultural and social
The social, cultural, political, emotional or
backgrounds and also with different residency
intellectual impact of these encounters is
statuses exchange their experiences and
multiple and unpredictable, and it is still
express these in drawings. After a careful
taking place.
MontrĂŠal nous accueille Images of migration in urban space Montreal, Canada Urban action: Display of pictograms in the public space by means of posters, free postcards and projections. The pictograms are the result of workshops in which 45 women and 27 men from Algeria, Argentina, Brazil, Burkina Faso, Canada, Colombia, Chile, China, France, Germany, Haiti, Iran, Martinique, Mexico, Peru, Turkey and Venezuela took part.
Participants were of different social and cultural backgrounds, and had different legal status. A project in collaboration with the Goethe Institute-Montreal and with the support of the City of Montreal, La MaisonĂŠe, Le Carrefour de Ressources en Interculturel and Le Centre Lartigue. 2015
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Bundesmigrant*innen Images of migration in urban space Berlin, Germany Urban action: Insertion of pictograms in the public space by means of banners, posters, billboards and free postcards. The pictograms are the result of workshops in which 110 women from Argentina, Brazil, Colombia, Chile, Greece, Spain, Kurdistan, Turkey, Russia and Syria of different social and, cultural backgrounds and with different legal status took part.
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A project in collaboration with Xochicuicatl and with the supported by Initiative Hauptstadt Berlin e.V.. Funded by the Senate Chancellery Cultural Affairs, the Berlin Senate’s Commissioner for Integration and Migration and the Haus der Kulturen der Welt. 2013
On the Road Images of migration in urban space CDMX, Mexico
Urban action: Insertion of pictograms in the public space by means of street art, posters and, printed and digital billboards. The pictograms are the result of workshops in which 24 women, 1 transgender and 27 men from Argentina, Germany, El Salvador, USA, France, Guatemala, Haiti, Honduras, Italy, Nicaragua, Nigeria, Russia and Togo took part. Participants were of different social and cultural backgrounds, and had different legal status.
A project in collaboration with the Goethe Institut-Mexico and Sin Fronteras. Project with the support of The Governing Mayor of Berlin Senate Chancellery - Cultural Affairs within the City Partnership Mexico City and Berlin. Urban campaign supported by: 5M2, Clear Channel, Raksa and VGM Group. 2016
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Fashion & Graphic Design IrĂşn, Gipuzkoa, Spain. www.loreakmendian.com
Loreak Mendian We see design as being based on ideas –to
Second, start to knead that idea, size it
the contrary it becomes something purely
up from top to bottom, from underneath,
aesthetic, it just becomes make-up.
from one side to another, as if kneading
Regarding inspiration, curiosity is very
dough. Find the essence, the simplest idea,
important in everything that we do. Mixing
rejecting superficiality and ending up only
things up: mixing films with concerts, with
with what is strictly necessary. This is of
breakfast, with sensations, with holidays,
course always the most complicated part,
etc. In general terms, you could say our main
it is not easy to say goodbye to things you
source of inspiration is the contemporisation
have grown attached to (laughs).
of Basque roots. Bringing into the present that
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which makes us what we are, our forefathers:
Mugaritz x Loreak Mendian.
cities, artisans, plastic artists, fashion
Collaboration with Mugaritz, 2 Michelin’s
designers, sports people and our natural
stars restaurant. The world of high cuisine
environment here in the Basque Country.
and fashion gathered in this collaboration, in
We divide the process into two parts: fishing
which based in three of the iconic dishes of
and kneading. First we position our rods, like
the restaurant, we designed three patterns,
a fisherman, without restrictions. You have to
in different techniques and over different
find an idea, and this requires an open mind.
tissue bases.
Tagete Print & Plate 2016
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Malas Hierbas Print & Plate 2016
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Illustration Graphic Design Bilbao, Spain. www.behance.net/enebada
Nuria Hernรกndez Pintor With over twelve years of experience, my
Nine illustrations where the message is the
recent orders summarizes in works in child
key and illustration is the tool.
and adult publishing. Among the latter is this series of nine illustrations made for the magazine Hermes, on the occasion of the publication in its 80th anniversary, a commemorative monograph on the Civil War in Euskadi.
80TH ANNIVERSARY OF THE SPANISH CIVIL WAR Commission to do the illustrations (9 in total) of the commemorative magazine issue for the 80th anniversary of the Civil War in Euskadi.
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Architecture Design Barcelona, Spain. www.josepferrando.com
JOSEP FERRANDO Josep Ferrando combines design and
His work has been exhibited in several
construction with his teaching activities.
countries including the United States,
He has taught classes in several universities
Switzerland, Sweden, Norway, and
since 1998. Some of these include the
Portugal. And prestigious Architecture
Escola Tècnica Superior d’Arquitectura de
Galleries like Aedes Berlin, events like the
Barcelona (ETSAB), La Salle Engineering and
Biennale di Architettura di Venezia and
Architecture School, the University of Illinois
museums like MAM Museum of Modern
at Chicago (UIC), Universidad Torcuato di Tella
Art of Rio de Janeiro.
in Buenos Aires (UTDT), Istituto Europeo di Design Barcelona and Rio de Janeiro, and the Eina School of Art and Design. He has also been a guest professor at Hochschule für Technik Zürich (HSZT) in Switzerland, Escola da Cidade in Sao Paulo, Universidade Positivo (UNICENP) in Curitiba, and Universidade Federal do Paraná (UFPR), Brazil. He has given talks at various universities, including Harvard Graduate School of Design, Cornell University, Universidad de Palermo in Buenos Aires, the University of Illinois at Chicago, and at the International Union of Architects (IUA) conference in Tokyo.
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BIENNALE CHAIR A chair made of one single material, thought for collective spaces. In 2014, the architect Josep Ferrando, in collaboration with Figueras International Seating initiated a project to create a chair for collective settings and more concretely for religious spaces. The project was presented at the exhibition called “In Progress Matter and Light� that the architect took to the XIV Biennale Architettura di Venecia.
The result is the Biennale chair, a modular and flexible unit executed in wood, a single material that is both warm and comfortable. Produced industrially, though based on arts and crafts processes, the seat combines experience and principles of energetic efficiency to generate a flexible and personalized system that answers not only to the specific demands of religious settings, but also to diverse collective settings. Client: Figueras International Seating. 2014
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Photo: Nicolás García
Photo: Rodolfo Parada
Photo: Diego Baloian
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Photo: Nicolás García
Ocho Quebradas PAVILION, CHILE The project (in Los Vilos, Chile) was born after its assignment by the University of Finis Terrae and located within the housing development project 8³, where 8 construction phases, consisting of 8 houses each, will be developed in succession. The assignment consists concretely in generating an entrance, a threshold for the complex of houses that will occupy the second and third phase. The project had to then be constructed by a group of professors and students of the UFT in four days. The territory is limited by the coast facing the Pacific Ocean, a desert of rocks and sand. The pavilion is implanted in this context taking as a reference the two fixed horizons in the landscape: the thin line generated by the ocean, still and invariable, and the blurred and artificial topography of the ancient railway. When inserting the project into this area, we seek a direct relation with the first human construction: the railway. In this way, the two objects reinforce each other. This horizontal perception together with the suggestive image of the railway, draw towards a lineal and infinite movement.
The third element of the landscape which the pavilion takes advantage of is the wind: essential condition to define the construction of the mechanism of this machine. The object defines a threshold between two points on the railway, an entrance for the new residential complex. Two points, 25 meters apart, result from the mechanisms and measures of its construction, of the unity and the aggregation. In the context the pavilion converts itself in a kaleidoscope, a moving wheel with a diameter of 6 meters perceived through the shadows forming the material unity, the movement and the sun. Client: Ocho al Cubo y UFT 2015 Josep Ferrando Architecture Studio: Sebastián Silva Gonzales, Diego Baloian, Helena Ribas, Nathalie Ventura, Ignacia Paris, Marina Mazzamuto, Carlos Pato Professors Universidad Finis Terrae: Andrés Echeverría, Sergio Araneda, Mauricio Wood, Diego Alvarellos Estudiantes 7º y 9º semestre Arquitectura UFT
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Visual Arts Spain / Italy. www.dariozeruto.com
DARIO ZERUTO Being a mechanical engineer by profession
Parallel to the process of creation I have
I have trouble conceptualizing what may
developed a didactic work for public and
I do within the parameters of art and
private institutions in Spain and Italy in
contemporary design. Working with the role
relation to paper fold use as an element of
as an expressive medium, taking the book
creation and design, from the commitment
object as a fundamental reference in any of
with learning by discovering and from the
their meanings already as a single object,
sensibility of the material.
small editions or installations. I am a self-taught, with references in the Bauhaus and conceptual art of the 60s and 70s. To define my work more accurately and appropriating a phrase heard, it can be said that I use geometry as a language. Reaching the volume as a result of crossing textile techniques, binding and folding paper. Where manual component development is a fundamental part, folding, stamping, binding, etc. It is the work process who constitutes the means of expression through repetition of gesture, as a mathematical component remaining embodied in the works. The themes that drive me in this process are essentially numerical successions, geometry and social issues such as citizens’ freedom of movement and historical memory.
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NOSTALGIA Altered book: “Nicolás Guillén poetry anthology” by Dario Puccini, Edizioni Accademia Milano, 1971. Printed paper, leather, cotton yarn and branch. Closed 22 x 11.5 x 21 cm 2010
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Graphic Design Copenhagen, Denmark. www.lilollady.com
JULIE KATRINE ANDERSEN
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Julie is a graphic designer, turned design
she often feels like a 70 year old caught in
professor, turned typographic artist. But
a 30-something’s body. There’s the fact that
overall she just likes to figure out stuff and
she had arthritis at the age of 30. But also
make things, complicated things, things that
that she very much enjoys knitting while
make people go “...huh!?” Like threading
listening to audiobooks. Julie sums up her
32.014 beads four times each or hand
work by saying “It looks like something
piercing 203.224 holes in a piece of paper.
an old lady with an attitude problem could
She goes by the name Lil’Ol’Lady because
have done!”
BIG BALLS I sent out these hand knitted Christmas ornaments to people I admire for having balls! Both to clients and fellow creatives who have dared to take chances. In the card it says “Henri Matisse said: ‘Creativity Takes Courage’ and I think you have BIG BALLS!” Client: Self promotion 2015
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Textile desgner Amsterdam, Netherlands. www.mae-engelgeer.nl
Mae Engelgeer
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Dutch designer Mae Engelgeer attended
In 2014 Engelgeer opened her own studio in
the Amsterdam Fashion Instituut where
Amsterdam, working on product design and
she specialized in textile design, graduating
development, installations, and international
in 2004. Later she was accepted to the
collaborations. Mae Engelgeer’s work has
prestigious Master Course in Applied Arts at
been exhibited at a number of international
the Sandberg Instituut and developed her first
design galleries and fairs and sold in design
collection of textiles at TextielLab.
stores worldwide.
LEVEL Left to right: Mesh, Align, Tone, Balance, Compose, Ritual, Melody. A collection of eight interior surfacing products comprising four upholstery, one drapery textile, and three digital print wallcoverings, presented in Space G5 at Spazio Rossana Orlandi during the Salone Internazionale del Mobile (April 12-17, 2016) in Milan. Graphic elements and diverse explorations of texture evoke the craftsmanship and authenticity of Dutch Modernism.
The resulting collection is a series of patterns that celebrate dynamic equilibrium—asymmetrical, but balanced—clean lines, abstract geometric forms, rich textures, and simple sophisticated detailing. The palette for LEVEL includes a broad range of elegant neutrals and muted hues, many incorporating accents of metallic threads. “Perhaps because of my background in fashion, I always tend to think in terms of a collection in my design process.
The challenge of finding a color combination or a graphic element that can be used in different ways across a collection is very rewarding. The result is a cohesive, contemporary collection that combines sleek, urban 21st Century design with a sense of craftsmanship and authenticity.” Client: Wolf-Gordon Photo: Arman Dowgiert 2016
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CEREMONY A collection of handmade rugs using the combination of wool and hemp yarns. Subtle mixes in material and technique, inspired by Japanese traditional tatami carpets. Produced via ICE International. Photo: Arjan Benning 2016
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Visual / Urban Art Paris, France. www.mademoisellemaurice.com
Mademoiselle Maurice Born and raised in the high mountains of
These openly positive creations, ultra colorful
Savoy, Mademoiselle Maurice is a 29 years
and immediate demands, emanates a
old French artist. After studying Architecture
carousel of emotion or everyone is echoed
in Lyon, she worked in Geneva and Marseille
his own sensibility. Light in appearance, the
and she moved to Japan. Following this
work of Mademoiselle Maurice proposes and
year in the country of the rising sun, and the
raises many questions about human nature
tragic events of 11 March 2011 (earthquakes,
and the interactions that sustain people and
tsunami and nuclear power plant explosion
the environment. Breath of fresh air but
of Fukushima) while living in Tokyo, she
true evolutionary thinking, artistic approach
decided to start composing its artistic and
Mademoiselle Maurice opens, paving colors
urban works in connection with these facts.
duality as attractive as a repulsive reality,
It is based on the legend of 1000 cranes
wide spaces of abstractions in the city.
and Sadako’s story, a little girl who lived the tragedy of Hiroshima.
Some countries where Colors and Paper has been: France (Paris, Marseille, Montpellier,
Now based in Paris, Mademoiselle Maurice
Blagnac, Reims… etc.), Italy (Sicily),
develops and creates in her mini play
Nederland, Sweden (Malmo), China (Haikou),
countless colorful works with the fruits of a
Vietnam (Hué), Australia (Sydney), USA (New
rich influences and career lessons.
York and San Francisco), Mexico, Slovakia
These fetishes medium are paper and
(Kosice), Singapore, Portugal (Lisboa), Japan
thread, she loves to shape these natural
(Tokyo), UK (London), Belgium (Bruxelles,
materials in a complex manner. Rising from
Grece (Athènes)…
the Paris grey, so was born a nebulous breaking works with urban monotony. Real
Some Maurice’s collaboration: Issey Miyake,
punctuation of the city as her life’s work of
Louis Vuitton, Vice Magazine, Google, Action
this imaginative young artist displays radically
Aid, Singapore Hospital, Vice Magazine,
outside the walls of her workspace.
Palais de Tokyo, Upcyclerie, Ministry of Culture, Tudo Bom...
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Mountains and Fountains Installation created with recycled and painted tiles. Colors of the rainbow, a tribute to the Nature and what composed her... Connection with the trees and the sky, with the water and the mountains. Because the city of San Potito is surrounded by mountains and with a lot of traditional fountains in the main streets... Client: Fate Festival (Urban Art Festival) San Potito / Italia 2015
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Infographic Design Barcelona, Spain. www.jaimeserra-archivos.blogspot.com.es
Jaime Serra "To operate in the space of art through
professionals took part voting, organized
the process of expanding the boundaries
by the Society for News Design in the
of another discipline is one of the most
framework of the Malofiej awards, the most
interesting strategies that can be found today
prestigious in the world in this discipline.
in contemporary creation".(1) The proposal of
There are quite a few visual journalists who
Jaime Serra is developed in the unlikely and
regard these works as "just art" (3), which
little busy border between journalism and
Serra lives with discomfort according to a
art. To explore this border area Serra uses
retort he often uses as usual title of their
infographics, an unusual tool in a unique
presentations and workshops: "Infographics
way: subverts the historical character which
cannot be art, but art can be Infographics".
places it at the service of objectivity in order
As part of the same conceptual strategy
to put it at the service of the definition of a
Jaime Serra combines exhibitions in
concrete "I" - often the author himself- with
contemporary art spaces with the regular
any other "I" with which it can be measured.
publication of the same exhibition proposals adapted to editorial formats, in mass media
His term at the head of the Computer
totally away from artistic intentions as the
Graphics’ department of the Argentine
Spanish newspaper La Vanguardia and the
newspaper Clarin (1995/2001) is recognized
French weekly Courrier International. Serra
as a revolution in computer graphics
himself believes that his work has been
language, both for the aesthetic criteria as
developed over the last twenty five years
well as for expanding the topics considered
"from Journalism- with no space for art- to
from the discipline. Works as 'The Right
art -using journalism as space-". Thus, though
Whale', 'Eureka' or 'Bread', which in the late
perhaps paradoxically, from the art and the
nineties assumed "a stylistic break" (2) and
journalism recognized professionals claim
have been repeatedly discussed in doctoral
the fruit for the discipline of their own.
theses in areas ranging from semiotics journalism or design, earned him the recognition of 'most influential computer graphics in the period 1992-2012' in an open vote, in which more than four thousand _ 136
1. 'Three looks to unseat Jaime Serra'. JosĂŠ Luis de Vicente. 'Ten stories and a landscape'. Museum of Contemporary Art of La CoruĂąa. 2015. 2. Malofiej 20, 2013. Archie Tse, Infographics Chief Editor of the New York Times 3. Malofiej 20, 2013. Nigel Holmes. Explanation Graphics, New York.
Datos en los bolsillos
Dades a les butxaques
Data in pockets
Objetos encontrados en los bolsillos de mi hijo mayor durante el primer semestre de 2005, cuando tenía siete años de edad. Distribuidos en la imagen central de acuerdo a cuatro conceptos: juego, dulce, naturaleza y magia, según el porcentaje de espacio que ocupan los objetos de cada concepto sobre el total. La gráfica inferior detalla el número y tipo recogido diariamente.
Objectes trobats a les butxaques del meu fill gran durant el primer semestre del 2005, quan tenia set anys d’edat . Distribuïts a la imatge central d’acord amb quatre conceptes: joc, dolç, naturalesa i màgia, segons el percentatge d’espai que ocupen els objectes de cada concepte respecte al total. El gràfic inferior en detalla el nombre i el tipus recollit diàriament.
Objects found in the pockets of my eldest son during the first half of 2005, when he was seven years old. Distributed in the central image are four concepts: play, sweet, nature and magic, according to the percentage of space occupied by the objects within each concept as a part of the total. The lower graphic details the number and type collected daily.
Jaime Serra
8%
22%
30%
40%
juego joc play
enero / gener / january
abril / abri / april
dulce dolç sweet
febrero / febrer / february
mayo / maig / may
naturaleza naturalesa nature
magia màgia magic
marzo / març / march
junio / juny / june
Printed by HP Designjet Z6200
DATA IN POCKETS Objects found in the pockets of my son during the first half of 2005, when he was seven years old
and distributed according to four concepts: game, sweet, nature and magic, from the inside to the outside of circular graphic.
Poster for the Centre de Cultura Contemporània de Barcelona 2014
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N
Bob Dylan
Prince
Miles Davis Chuck Berry
O
E
Johnny Cash
Elvis Presley BB King
Robert Johnson
Louis Armstrong
729 cigarrillos 27 días 36,45 cigarrillos diarios
S
A FORMER FRIEND Work on two different supports describing, by 729 burns in one and red circles on the other, the author’s cigarette addiction during a trip to the US. The trip runs from Hibbing, border with Canada, to New Orleans, south of the country. Each red circle corresponds to the consumption of a cigarette, originally marked on the map used on the trip by a burn made with the consumed cigarette itself. For the location a GPS was used, so this is very approximate. A summary of the work process accompanies the final art. 2009.
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Exhibition ‘‘Ten stories and a landscape’ MAC, Museo Arte Contemporáneo Gas Natural Fenosa, La Coruña, Spain 16th April- 4th October 2015. Photography: María Meseguer, MAC
N
Un ex amigo
S
í, el tabaco es la peste. Y sin embargo, ahí siguen; acorralados física y moralmente, en contra de toda legislación, del pensamiento social imperante, conscientes del daño físico al que se someten, un número considerable de ciudadanos resiste. ¿Es sólo adicción? Para los fumadores de mayor edad, que sin la información que hoy tienen los jóvenes empezaron a fumar para ser adultos, el primer beso sabe a tabaco. Para muchos, el cigarrillo es el amigo leal que siempre estuvo ahí: cuando nació el hijo, cuando llegó el divorcio, cuando perdieron el trabajo... Dejar de fumar, sí, pero ¿y las cosas que le acompañan? Josep Pla decía que sus ideales a medio liar eran una herramienta para encontrar adjetivos, ¿qué habría sido de El quadern gris sin el humo? Y todavía hay fumadores por parejas que, después de hacerse el amor, encienden un cigarrillo compartido. No es sencillo abandonar la significación de ese acto. En mi caso quizá fumaba sólo por adicción, pero fue por romanticismo que antes de matarlo quise tomarle una instantánea. Tracé un viaje de despedida por la mítica ruta 61, cruzando Estados Unidos desde Canadá hasta Nueva Orleans. Ayudado por un GPS, a cada cigarrillo que encendía marcaba el lugar con una pequeña quemadura en un mapa.
O
E
27 días
729 cigarrillos
36,45 por día
Al llegar al Caribe nos despedimos en silencio. Ya en casa, calqué rojo sobre negro su retrato. Recuerdo de un viejo amigo para mi nueva vida de ex fumador. N
O
S
E
S Opinion column for the Spanish newspaper La Vanguardia, 27th of June 2010. LA VANGUARDIA 27 de junio del 2010
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Collage Barcelona, Madrid, Everywhere. www.theweirdshow.info
The Weird Show The Weird Show (TWS) is an art platform
Against the loop of repetition that social
created by Rubén B (Madrid) and Max-
networks is generating, they search
o-matic (Barcelona) dedicated to the
for inspiration outside collage, internet
showcase of collage (and beyond) through
or even art. What does inspires them?
exhibitions, online / off-line publishing and
“Challenges are inspiring. New things are
workshops & sessions.
inspiring. Forgetting what has been done and reinventing the obvious is inspiring.
Both curators are also collage makers
Music is inspiring. People making beautiful
and had been cutting and glueing paper
mistakes are inspiring. Elegance is
(separately) since the mid 90s, when making
inspiring. Ugly can be inspiring. Adventure
fanzines at their universities. Collage, for
time is inspiring. Friends doing great things
them, is just a way of expressing ideas,
are inspiring. Running in the mountains
situations and stories. Collage is never
is inspiring. Glacial meetings in weird
related to a certain style or aesthetic,
places are inspiring. Open minds welcome
that´s why they aim to showcase the wide
inspiration from almost anywhere”.
possibilities this technique has to offer outside the “National Geographic” and
Since 2010 TWS has done group collage
vintage magazines look that contemporary
exhibitions in galleries and museums
collage has embraced in the past years.
in Europe (Berlin, Madrid, Rotterdam,
“We stress the importance of searching
Trondheim and Barcelona) and America
for new ways of approaching art through
(New York, Lima, San José de Costa Rica,
this technique and seek to expand the
Quito, Montreal) with artists such as:
boundaries of this practice; leaving cliches
Ashkan Honarvar, Charles Wilkin, Cless,
behind and going further, arriving to what
James Gallagher, Alan Ganev, Goster, Sylvia
can be considered “beyond” collage”, says
Stølan, Dennis & Julia Busch, Grande,
Max-o-matic. Through their blog they feature
Oliver Wiegner and Anthony Zinonos
the work and words of selected artists not
among many others.
looking for stale perfection, but freshness and fearlessness. “We just love mistakes that make us think and learn”, as Rubén B states. _ 150
ZOOTURA by Goster. Lima, Peru www.magoconcept.com 2016
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Creed-The-Apple-II-4 by Ashkan Honarvar. Trondheim, Norway www.ashkanhonarvar.com 2014
COLD SPOTS by Charles Wilkin. NYC, USA www.charleswilkin.com 2016
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