Page 392-395 from Contemporary Graphic Design

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MARTIJN OOSTR A “Realities of reality”

Martijn Oostra postbus 17356 1001 JJ Amsterdam The Netherlands T +31 20 688 964 6 info@martijnoostra.com www.martijnoostra.com

392 Martijn Oostra

Biography 1971 Born in Waalre, The Netherlands 1994 Worked for Atelier Fabrizi, Paris 1995 Graduated in graphic design at the Arnhem Institute for the Arts; began working as afreelancedesignerandundertook several projects with the Arnhem-based graphic designer Martijn Smeets

agency; granted rights for the BlackMail font to 2Rebels, Montreal 1997 Founded own studio in Amsterdam; granted rights for five fonts to 2Rebels,Montreal 1999 PARK 4DTV television station broadcasted video art works “2e Kostverlorenkade” and “Omdat bouwvakkers ook wel eens moeten” (Construction workers have to go sometimes, too) Professional experience 2000 Granted rights for Erics1996 Worked at an advertising Some font to 2Rebels,Montreagency and a communication al; began writing for Adfor-

2002 “Foam in het Vondelpark”, Amsterdam 2004 “Dig the City”,Architektuurcentrum Amsterdam; “Bellamy by Night”, Amsterdam; “Open Atelierroute Westerpark”, Amsterdam 2005 “GreyTones”, Dutch Design Week, Eindhoven

PARK 4DTV; Quality Services Int.; Quote Media; Randstad; Transportdiensten (Rotterdam); Shift!; Stadsdeel De Baarsjes (Amsterdam); Stadsdeel Westerpark (Amsterdam); Stap TK&O; Stichting Gezondheidszorg voor Dansers; Stichting Hooghuis; Sybolt Meindertsma; TegenClients wind; Theater Instituut NederAd!dict; Adformatie; Arcam; land; TMPW; Vandejong; Carp*; CDR Associates; Cred- Wire; Vormgevingsassociatie; its; Cult Uur; De Zin; Dorp & VeRes Recent exhibitions 2001 “CityJam No.2”, Arnhem; Dal/Fontshop; DrukGoed; “KXvNX”,Arnhem G.A.N.G.; I-Jusi; Items; LUST; matie and published other essays 2004 Designed lighting system for EU Urban II Project in Amsterdam and participated inthe“BellamybyNight”shop window project in Amsterdam 2006 Photo reportage titled “The State of Education in the Netherlands in 2004/2005”for the Inspectorate of Education in the Netherlands


Visie, Inspiratie, Vernieuwing

Losse nummers â‚Ź

j,85

I!IIIIIIIIII IIII I

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“Throughout the caboodle of my extensive media output, I strike the fluff from ornamental aesthetics, baring the skeletal transition points read entirely from the heart of the complex social systems that superintend media nomenclature. By isolating the framework of these all-consuming, furcating structures (that are oft far-from-equilibrium, but whose basic textures are embedded in the selective codes of natural human endurance), I harvest the mechanistic hazards hardwired in the basest of signals for my own trope. In my terrain, the cybernetic management of elemental jeopardy, the curt feedback to interposing traffic and the synthetic colours that curtail inquiry, all condition my audience to assimilate these ‘realities of reality’ and shed any individualistic inquiry in favour of a passing glimpse into the empyreal automata of rather dull things. (Thank you! Jack Anderson).”

»Bei dem ganzen Medienplunder, den ich so produziere, säubere ich die Ästhetik des Ornaments von Flusen und lege die skelettartigen Übergangspunkte frei, die ich ausschließlich aus dem Herzen der komplexen Sozialsysteme herauslese, der jede mediale Nomenklatur unterworfen ist. Indem ich das Rahmenwerk dieser alles verschlingenden, sich verzweigenden Strukturen isoliere (die häufig weit davon entfernt sind, ausgeglichen zu sein, deren Grundtexturen aber in die selektiven Codes der natürlichen menschlichen Duldungsfähigkeit eingebettet sind) ernte ich die mechanistischen, zu primitivsten Signalen handverdrahteten Zufallsprodukte meines eigenen bildlichen Ausdrucks. Auf meinem Gebiet konditionieren das kybernetische Management elementarer Wagnisse, knappe Rückmeldungen auf den sich dazwischen drängenden Datenverkehr und synthetische Farben (die Nachfragen verhindern) meine Kommunikationspartner so, dass sie diese ›Realitäten der Realität‹ verdauen und jede individudalistische Anfrage zugunsten eines flüchtigen Blicks in die himmlischen Automatismen eher langweiliger Dinge aufgeben. (Danke! Jack Anderson)«

Previous page: Project: “Vruchtbare Aarde” (Fertile Earth) magazine restyling, 2005 Client: Vruchtbare Aarde/ Uitgeverij Vita Leven

Above centre: Project: “Shift! Commercial – April Fare”magazine submission with “Commercial”theme, 2002 Client: Self

394 Martijn Oostra

Above left: Project: “Shift! Commercial – Same Location” magazine submission with “Commercial” theme, 2002 Client: Self

Above right: Project: “Shift! Commercial – Willy” magazine submission with “Commercial” theme, 2002 Client: Self

«À travers le bazar de ma foisonnante production médiatique, je dépoussière l’esthétique ornementale pour mettre à nu les points de transition structurels perçus exclusivement depuis le coeur des complexes sociaux qui président à la nomenclature médiatique. En isolant l’ossature de ces structures envahissantes (souvent loin d’être équilibrées, mais dont la texture s’imbrique dans les codes sélectifs qui portent la pérennité de la nature humaine), je récolte les obstacles mécanistes intrinsèquement liés aux signaux les plus vils pour les détourner au profit de mon propre trope. Dans mon domaine, la gestion cybernétique du péril fondamental, les brèves réactions aux flux médiatiques et les couleurs synthétiques qui tronquent l’investigation, tout conditionne mon public pour qu’il assimile ces ‘réalités de la réalité’ et se débarrasse de tout questionnement individualiste au profit d’un éphémère aperçu des automatismes célestes qui se cachent derrière des choses plutôt ennuyeuses. (Merci ! Jack Anderson).»

Following page (both images): Project: “Ad!dict Food” magazine submission with “Food” theme, 2004 Client: Ad!dict


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