Autumn / Winter 2013/14 — ISSN 1867–6510 DE: € 18 CH: CHF 25 UK: £ 18 US: $ 28 Others: € 21
Typography and Graphic Design
Slanted
ART TYPE
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Alex Hanimann → P 282 Untitled (QT EB I), 2011, gouache on assembled papers, 222 x 200 cm
Cover: Lutz Fezer, men was born free and he is everywhere in chains, acrylic paint on signed photo. Courtesy Gallery Otto Schweins
Editorial is content Works → 1 Studios → 141 Essays → 190 Interviews → 230 Index → 280 Imprint → 287
Allen Ruppersberg → P 284 Untitled, undated, poster, printed ink on poster board, 22 × 14 inches
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Ed Ruscha → P 284 California Grapeskins, 2010, acrylic on canvas, 96.8 × 162.9 cm. Courtesy of the artist and Gagosian Gallery
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Ed Ruscha → P 284 Scream, 1964, oil on canvas, 195.1 × 170 cm. Courtesy of the artist and Gagosian Gallery
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Navid Nuur → P 283 Please release the receiver, 2007–2008, emergency blanket, sun reflecting rooftop paint, 140 cm × 230 cm, from a series of 3 + 1 AP. Courtesy of the artist, Max Hetzler, Berlin / Paris, Plan B, Cluj / Berlin, and Martin van Zomeren, Amsterdam
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Johannes Wohnseifer → P 286 � Mirror Men, 2007, plexiglas letters, stainless steel mirror polished, 35 x 1.9 x 200 cm, edition of 3 � Braun Sugar, 2004, acrylic on aluminium, 140 × 100 cm, unique. Both courtesy of the artist and Johann König, Berlin
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Mark Titchner → P 285 Be Real, 2009, billboard, Torun, Poland. Courtesy of the artist and Vilma Gold, London
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Allen Ruppersberg → P 284 You & Me, 2013, part of High Line billboard installation view, Edison ParkFast, West 18th Street at 10th Avenue, New York. Photo by Timothy Schenck, courtesy of Friends of the High Line
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Lars Breuer → P 280 Proof of Authority, 2012, exhibition view: Museum für Konkrete Kunst, Ingolstadt
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Stefan Marx → P 283 Perfect From Now On, 2009, ink on paper, 150 × 198 cm
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Lutz Fezer → P 281 go fuck yourself, you sold out scum, get out of our neighborhoods, you make everything boring and ugly, 2009, acrylic paint on signed photo. Courtesy Gallery Otto Schweins
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Stefan Marx → P 283 ↑ And Suddenly It’s Morning, 2010, blanket, annual bonus for Kunstverein Hamburg ↓ So Glad, 2012, record cover for Smallville, 31.5 × 31.5 cm
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Mirko Borsche → P 280 Unplugged, 2012, hand painted posters, 70 × 100 cm, exhibition view at Pinakothek der Moderne, Munich
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Michel Majerus → P 283 splash bombs 1, 2002, acrylic on cotton, 280 x 400 x 4.5 cm. Kravis Collection, New York, © Michel Majerus Estate, 2002, courtesy neugerriemschneider, Berlin
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Lola → P 282 ↑ was es ist (what it is), 2011, cotton, toner, nitro-cellulose thinner, acrylic binder, 50 x 60 cm ↓ keine verantwortung (no responsibility), 2011, cotton, toner, nitro-cellulose thinner, acrylic binder, 50 x 60 cm
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Astrid Klein → P 282 The only thing greater than…, 1980, collage, 116 x 87.5 cm. © Astrid Klein, courtesy Sprüth Magers Berlin London
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Rosson Crow → P 280 The Dakis Joannou Collection at the New Museum, 2010, oil, acrylic and enamel on canvas, 108 × 144 inches
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Rosson Crow → P 280 The Nest, 2009, oil, acrylic and enamel on canvas, 96 × 122 inches
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Christian Vetter → P 285 Untitled, 2011, acrylic on paper, 42 × 59.4 cm
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Dennis Hopper → P 282 Bill Cosby (map to the stars), 1965. © Dennis Hopper. Courtesy The Hopper Art Trust
Dennis
Hopper 97
Dennis Hopper → P 282 Bad Heart (downtown Los Angeles), 1961. © Dennis Hopper. Courtesy The Hopper Art Trust
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Shannon Ebner → P 280 XSYST, EKS, EXSIZ, XIS, 2011, four chromogenic prints, 63 × 192 inches. Installation View, Hammer Museum, Los Angeles, CA. Courtesy of the artist and Wallspace, New York
Shannon
Ebner 102
Shannon Ebner → P 280 Ampersand, 2009, chromogenic print, 63 x 48 inches, edition 1/4 + 2 APs Courtesy of the artist and Wallspace, New York
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Shannon Ebner → P 280 Distressed Holy, 2010, inkjet print, 9 x 7.098 inches, edition 2/4 + 2 APs. Courtesy of the artist and Wallspace, New York
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Neasden Control Centre → P 283
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E&B engelhardt und bauer
Questions
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Studios
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How would you describe your practice in the field of art and design?
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The internet provides a permanent visibility of new graphic design and online portfolios. It seems that this might contribute to ten dencies of self-exploitation and the copying of design approaches and work. How do you handle online visibility and publicity re garding your person(s) and your work?
Contemporary visual identities in cultural contexts often follow a conceptual, experimental and / or selfreflexive approach. Why? Does this field differ from other public fields like education, politics, socioeconomics, in it’s audience?
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Studios
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What role does typography play in your work?
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143
Studios
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Do you see a new way (in historic terms) of the function and use of typography in contemporary visual culture?
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Experimental Jetset
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We’re very comfortable describing our practice as “graphic design,” period. What we especially like about the notion of “graphic design” is its historical and ideological weight, and the way in which it is grounded in a material base. Moreover, the notion of “graphic design” is quite an inclusive, broad concept – in our view, the term is almost elastic, and can be stretched to describe quite a wide array of activities. Sure, graphic design is an infrastructure that can seem quite restrictive from the outside (and even from the inside), but still, we believe it is a platform that can offer more space than one initially thinks. There certainly have been periods in our practice, especially right after we graduated, during which we could have “crossed over” from one infrastructure to another infrastructure – from the “design context” to the “art context,” so to speak (not that these two contexts are mutually exclusive, and they certainly overlap – but you get the idea). Right after we left the academy, we created quite a number of installations for art spaces: Black Metal Machine (1998) for Bureau Amsterdam, 31 Flavours of Doom (1999) for De Gele Rijder in Arnhem, Modular Meaning (1999) for Stedelijk Museum Amsterdam, Kelly 1:1 (2002) for Casco in Utrecht, etc. During this early period, we could have easily chosen a very different path. However, around the turn of the millennium, we made a (more or less) conscious decision to stay loyal to the infrastructure of graphic design, rather than trying to “cross over” into the infrastructure of art. We felt a need to search for personal freedom within the practice of graphic design, rather than outside of it. Or, better said, we wanted to “internalize,” rather than “externalize,” our sense of freedom. It was probably a very masochistic impulse – trying to expand the medium of graphic design from the inside, rather than making our great escape to the outside. It certainly isn’t an easy path we have chosen. But at least, we have chosen it ourselves – in that sense, our whole graphic design practice can be regarded as one total, self-initiated project. Or better said, a self-inflicted project.
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Experimental Jetset → P 280 Studios
Experimental Jetset → P 280 Studios
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We totally understand your point. We have to admit – we are basically a “pre-digital” graphic design studio. We graduated in 1997, so our education took place in an environment without internet. Also, we really are part of a certain generation of students who didn’t possess their own computers during their school years. For most of us, a computer was simply too expensive (Apple computers were pretty high-priced in those early years). Each week, you could spend a couple of hours in the “computer room” of the academy – but other than that, most of us were working without a computer. It was only after graduation that most of us managed to get enough funds to actually buy a computer. But moreover, we were completely “offline” – there was no chance to access internet in the mid-90s. So we had no idea what other students, in other academies, were working on. In retrospect, we were designing in a sort of (relative) vacuum. This situation has certainly changed – and we believe, for the better. By being exposed to the work of young designers and students all over the world, we think that today’s students have much more knowledge than we had at that age. We think many young designers are producing brilliant work. There’s certainly a sort of accelerated evolution going on. So in general, our feeling is positive. But we agree that there are also problematic sides. We don’t really share your concerns about copying – our main concern would be the general feeling that “everything has been done before.” The abundance of information about graphic design can lead to a certain apathy, a sort of paralysis. There is so much being designed today – why add anything to it? Thoughts like this can cause students to become fed-up with graphic design, even before they properly started designing. It breeds a certain kind of sarcasm, of cynicism, amongst these students. And that’s a real shame – as there will be time enough to get cynical and grow bitter later in your career.
We can’t really speak for other designers, or for the commissioners – and we also don’t really believe in the notion of “the audience.” All we can say is that this “self-reflective approach” has been an integral part of our personal design practice from the very start – and we hope this approach comes through in all our work, not just in the projects we developed for museums. To us, it is important that the designed object always refers to its own medium, or to its own material dimensions. We want to keep the viewer / reader constantly aware that he / she is looking at a humanmade object – an object that is made by humans, and thus can also be changed by humans. So that would be the main way in which we consider our work as being “self-reflective.” In our work, we really try to emphasize the notion that humans are shaped by their material environment, and in turn have to shape this environment themselves. To speak with Marx and Engels: “If humans are made by their surroundings, then these surroundings have to be made human.” That is more or less our guiding principle. In the case of graphic design, this basically means that we want to “break” the spell of the image, and continuously want to reveal the fact that a printed object is “just” ink on paper – nothing more, but certainly nothing less. The graphic identity we recently designed for the Whitney Museum is a good example of that. It basically consists of a zigzag-shaped line, occupying the available space within a given format. By doing so, the zigzag is effectively emphasizing the material proportions of the designed object. The zigzag breaks the spell of the image, emphasizing the “thingness” of the design.
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The studio does have a webpage, but what is basically published on it is a small fraction of the things that the studio does, thinks, and is working on. Most of the projects are just documented in fractions there in one way or another, but the real thing is still the context of each project and its actual content. As, for example, when we design typefaces, we usually only design them for a certain project and in relation to a specific book or body of art work. Many of these typefaces are only applied once and afterwards sometimes not even ever get used again. In particular, these typeface only come to life through the current book and the reader activating it. The text and its content. On a webpage that many times is only a representation of it, but not the real thing. The same counts for our architectural or more spacial projects – they are about inhabiting a space and being activated through its actual usage!
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Typography and also contemporary visual culture are always changing and are in constant flux, but in historic terms the future will simply tell.
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It’s still a key element in the thinking and approach of the whole studio practice. On a daily basis there a typographic experiments done that are sometimes actually never put to use but help us to get closer to define a project or a simply thinking process.
Not necessarily, of course, there are some great ones, which are more experimental. But actually I think, if you look at most museum or especially gallery identities, or even independent artist’s spaces, a lot of them look very similar and are often even the opposite of experimen tal. I think that things always depend on the people you work with and that they are in dialogue with. You might be able to work on the very boundaries of pushing ideas in education or politics. Especially education, I think, is the key to many problems. Through education, many things could really be changed.
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Studio Manuel Raeder → P 285 Studios
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↘→ La letra E está por doquier – The letter E is everywhere, 2012
The exhibition The Letter E is Everywhere consists of display structures and furniture pieces as well as books, prints, objects and textiles designed by Studio Manuel Raeder, juxtaposed with other objects found during an exploration of local handcraft production in Oaxaca. The exhibition also features three furniture pieces developed as a result from this research, in collaboration with Oaxacan artisans. The exhibition and catalogue propose an open narrative through the objects on display and question the position contemporary design plays in the dialogue between people and every day objects.
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Studio Manuel Raeder → P 285 Studios
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Thonik
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It’s attractive to work for clients from the cultural field, because culture is part of their practice. Culture means that you relate to existing designs when you are designing. What’s special about Thonik is that outside of the cultural sector, in the public domain in a broad sense, we can make things that contribute to graphic culture. Most agencies have their strongest projects within the cultural sector. Thonik has succeeded in answering the questions of clients, be effective within their field and at the same time have a cultural value for those projects. The designs are not only functional, but also have a cultural value and social relevance.
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The four pillars of Thonik’s practice are: – independence – culture – skills – openness
Thonik → P 285 Studios
Images rotate extremely quick because of the internet, that’s why images have to be more concise than ever. Images should be understood even easier and in the same time they have to be more flexible.
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Typography is our field of expertise. Openness, working “transmedial” and enabling different persons on different levels to influence the process are key to a good practice. Typographical skills, that’s the point where Thonik is the expert. It’s important to be the expert on one aspect of the process. In general, Thonik works on bigger communicative projects, of which the core image is most often a graphic image. As an expert, your influence is most present in the beginning of a project and after that it will vary per outcome. That’s why sometimes within a project some parts have a more typical Thonik look than others.
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With Thonik by you you can choose from over a 1,000 images from over a 100 Thonik projects and create your own Thonik book. You can order your book to be delivered to your doorstep, or you can download it for free. Your book will be published online in our Thonik by you library.
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Thonik → P 285 Studios
↘ Museum Boijmans van Beuningen, 2006–ongoing
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In cultural designs, Thonik experiments with identities: for Museum Boijmans van Beuningen in Rotterdam Thonik shifted the identity from the logo (representing the institute), to the program or the content – by introducing an elaborate graphic language to connect the whole communications program.
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Jeffery Keedy → P 282 The Global Style
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The Global Style Modernist Typography after Postmodernism
Mr. Keedy Mr. Keedy is an educator, designer, type designer and writer, who has been teaching in the Graphic Design Program at the California Institute of the Arts since 1985. His design work has received recognition for both institutional and commercial clients in brand ing, packaging and publication design. His design work and essays have been published in numerous publications. For Slanted magazine, he wrote a critical essay about the typog raphic style in arts and cultural communication.
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Jeffery Keedy → P 282 The Global Style
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As a reaction to the postmodernism of the 80s, and 90s, modernism reasserted itself (did it ever really go?) with a new-ish style of typography that has become ubiquitous in cultural institution around the world. The good old International Style has been upgraded to a bigger and better (or at least easier) Global Style. Over the course of about thirty years the various radical and experi mental modernist styles coalesced into the Swiss Style of typography. Which grew and spread across Europe and to the Americans and was renamed the International Style. It was the style for typography for three more decades until the late 80s when postmodernism deconstructed its hegemony. But postmodernism set too many designers adrift, up a creek without a paddle (not enough rules), and their nostalgia brought them back to the safer and familiar shores of modernism. The International Style designers turned their backs on local and regional traditions and created a new universal visual language that became the default style of corporate capitalism. It gave imper sonal companies an identity so they could be easily recognized but not really known (that would come later with branding). To this day the International Style is still in full force at most airports, and government offices of western superpower nations. History does not repeat itself but it rhymes. What the International Style was to commercial corporations, the Global Style is to cultural institutions. It is the new typographic style of institutional art and cultural production. You can see it at your local museums and art galleries, or at just about any arts institution of any kind, anywhere in the world. Thanks to the internet it is more wide spread than the International Style ever was, and it is becoming a universal visual language on a global scale. For most graphic designers Modernism is not an unfinished project, it’s an unending one. Where postmodern typography was a frag mented, de-centered, self-regulating (some might say self-defeating) system, for making meaning. The Global Style, like the International Style before it, is a prescriptive, language of specific formal com positional rules that when followed will successfully convey a message while expressing a specific mood or emotional response. These rules that elicit the desired emotional response are what constitutes the style. The emotional response that one has to the old International Style is that it is contemporary, sophisticated, cool, calm, and rigorously logical. And that is exactly how it’s supposed to feel. Designers wore lab coats at Unimark, to show that they were not artists, they were calculating professionals. But now after half a century the International Style is pretty familiar. It’s lost some of its snootiness
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Pamela C. Scorzin → P 285 Typographie und Topographie
Jeffrey Shaw, The Legible City, 1988–1991, Interaktive Installation. Foto: Jeffrey Shaw
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Alexander Negrelli → P 283 Sign on Canvas
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Sign On Canvas Die Signatur als typografisches Element in der Kunst
Alexander Negrelli Alexander Negrelli ist Designer, Künstler und Autor und lebt und arbeitet in Berlin. Nach einem Forschungsstipendium an der Jan van Eyck Academie in Maastricht, während dessen er das Buch Kommando Otl Aicher veröffentlichte, widmet er sich nun wieder vermehrt dem Schreiben. Für Slanted hat er sich mit einem typografischen Element in der Kunst – der Signatur – auseinandergesetzt.
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Carolina Laudon → P 282 The Story of the Futhark
� Björketorp Runestone in Blekinge, Sweden. © Henrik Sendelbach, Wikimedia Commons � The Glavendrup Stone in Denmark. © Danielle Keller, Wikimedia Commons
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Ian Lynam → P 282 The Collective Individual
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The Collective Individual
Ian Lynam Ian Lynam is a graphic designer and writer living in Tokyo, writing on a regular basis for Slanted magazine. In his essay he introduces Jiwon Lee, a Korean graphic designer who is passionate about design – in the true sense of the definition. Read why ...
Mirko Borsche Ich finde es spannend, dass sich die Kunst gegenüber unserem Berufsstand öffnet Mirko Borsche (Visual Leader 2007) bewegt sich mit seiner Arbeit oft an der Grenze zwischen Design und Kunst. Flo Gaertner und Lars Harmsen haben sich im Oktober 2013 mit ihm über visuelle Autorschaft und inhaltlich basierte Gestaltung unterhalten.
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Mirko Borsche Interview → P 280
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↘ Schaustelle Poster, 2013
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Mirko Borsche Interview → P 280
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↑↓ Schaustelle Grotesk, 2013
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Mirko Borsche Interview → P 280
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↑ Zeitmagazine Cover Nr. 37–42, 2013
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Mirko Borsche Interview → P 280
↓ Bayerisches Staatsorchester Saisonplakate, 2013–2014
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Q Leider haben wir nicht die Möglichkeit dich persönlich zu sehen, um dir die Fragen zu stellen. Dafür sehen wir dich auf Skype. Los geht’s also mit unserer ersten Frage: Wie wichtig ist die Auswahl von Schriften für deine Projekte und welche sind die Kriterien, nach denen du die Schriften auswählst? A Die Auswahl der Schriften ist bei uns sehr wichtig, weil sie das Fundament für alles bietet, was wir tun. Das ist der Moment, in dem wir uns überlegen, wie sich das Projekt anfühlen muss. Wenn ich die Schrift nicht finde, mache ich sie selbst. Meistens bearbeiten wir Schriften bis wir sie so haben, wie sie für uns funktio nieren. Zunächst ist die Auswahl relativ willkürlich. Wenn es eine Antiqua sein soll, beginnen wir mit der Times, wenn es eine Grotesk sein soll, mit der Helvetica. Dann tasten wir uns langsam vor. Q Wie muss man sich den Prozess vorstellen, wenn ihr eine bestehende Schrift verändert oder ganz neu entwickelt? A Ich kann das konkret an den Projekten Danton und Schaustelle erklären. Danton ist ein sehr experimentelles Theaterstück, das in einem ehemaligen Seziersaal stattfindet. Durch die Mitte des Buches gibt es einen diagonalen Schnitt. Den Satzspiegel ordnen wir diesem Schnitt unter, nur die Bildwelt wird von ihm zerschnitten. Dazu haben wir eine Schrift gesucht, die die Eigenarten dieser Inszenierung transportiert: Sezierung, Veränderung, Zerstörung. Wir haben aber keine gefunden. Da die transkribier ten Seiten im hinteren Teil in der Sabon gesetzt sind haben wir nach einer Groteskschrift gesucht und diese dementsprechend umgewandelt. Mit der Helvetica haben wir einen Klassiker genommen und dort die Ecken abgeschnitten. Bei der Schaustelle waren wir uns lange nicht sicher, welche Schrift wir verwenden. Dort geht es um diesen Moment, das Interims artige. Alles ist zusammengesteckt und wir wussten, dass die Architektur wie ein riesiges Baugerüst aussehen würde. Wir haben versucht eine Schrift zu finden oder zu entwickeln, die die Offenheit dieses zusammengesteckten Baugerüsts vermittelt. Letztendlich haben wir die Times und Helvetica ineinander geschoben und innen und außen am Gebäude angebracht. Mit der Typografie haben wir das Konzept erklärt. Q Eine Menge interessanter Designs finden in den letzten Jahren in Publikationen aus dem
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Mirko Borsche Interview → P 280
kulturellen Kontext statt. Ermöglichen solche Kontexte vielleicht in besonderer Weise eine selbstreflexive Art der visuellen Kommunikation? A Wir haben verschiedene Kunden, zum Beispiel die Neue Sammlung, die Schaustelle oder die Bayerische Staats oper, das Symphonieorchester des Bayerischen Rundfunks oder das Thalia Theater in Hamburg. In der Herangehens weise funktionieren alle sehr unter schiedlich. Die größte Bildwelt mussten wir bei der Staatsoper aufmachen. Die Oper per se ist etwas, das extrem visuell ist. Ein Nachteil bei Opern ist, dass wir gar nicht wissen, wie das Stück aussehen wird, wenn wir die Plakate entwickeln. Das gibt uns aber auch die Möglichkeit, eine bestimmte Bildwelt / ein übergeord netes Thema oder Subthema für ein Jahr aufzumachen. Dann suchen wir einen Illustrator, Künstler oder Fotografen, der mit uns diese Bildwelt erschafft. Mit den Dramaturgen und mit dem Regisseur reden wir lange über Schlüsselszenen und mit den Bühnenbildnern über Farben. Irgendetwas aus dem Stück findet man immer im Plakat wieder. Q Greift die Staatsoper auch mal die visuelle Sprache von dir auf oder finden sich später in den Stücken diese Dinge wieder? A Nein! In den Stücken findet sich nichts von mir wieder. Bei den Programmbüchern handeln wir anders als bei den Plakaten. Die Drucklegung erfolgt oft erst vier Tage vor der Premiere. Das hat dann meist überhaupt nichts mit der Bildwelt zu tun, die wir für die Saison schaffen. Das wird mit Augenmerk entwickelt, dass dieses Buch dann auch fünf bis sechs Jahre weiter an den Opernbesucher verteilt werden muss. Q Ist die Staatsoper ein Kunde, der dir Narrenfreiheit gibt, sodass du die Bildwelten ohne Einschränkungen schaffen kannst? A Es gibt viele inhaltliche Einschränkungen, darüber wird sehr viel diskutiert. Es ist auch so, dass die Dramaturgen und Regisseure Vorschläge oder Ideen haben. Am Ende kommt dabei ein Buch mit Einzelkünstlern heraus, die sich nicht unserer Gestaltung für die komplette Saison unterwerfen müssen, sondern jeweils neu 200- bis 250-Seiter erarbeiten können. Bei der Autorenwahl sind wir frei, erarbeiten das aber sehr nah mit ihnen zusammen. Teilweise gibt es sogar zwei oder drei Künstler, die in einem Programm
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werkeln, weil die Stücke so komplex sind oder wir verschiedene Bildwelten gegenüberstellen. Q Kuratierst du die Künstler oder kommen die Vorschläge auch von der Staatsoper? A Es ist immer eine Zusammenarbeit. Es gibt keine richtige Präsentation. Dadurch, dass wir die ganze Zeit daran arbeiten, ist es anders als bei den Saison-Plakaten, bei denen es mehrere Präsentationen beim Intendanten Herrn Bachler gibt. Bei den Programmen ist es so, dass sie noch in der letzten Woche entstehen. Da muss schon während des Prozesses klar sein: Wie finden wir das? Je nachdem, wie wir mit dem Budget auskommen, können wir dann Geld für Veredelung ausgeben. Manchmal fragen wir 10 bis 15 Veredelungen in einer Strichliste an. Am Ende wären zwei oder drei sinnvoll, aber wir müssen abwägen, was wir uns überhaupt leisten können. Q Bekommen alle Künstler ein Honorar? A Natürlich. Alle werden ganz normal bezahlt. Manchmal gibt es noch Rest budgets, mit denen wir Leute anfragen und dann ehrlicherweise sagen, wie viel Geld noch zur Verfügung steht und ob sie sich trotzdem darauf einlassen wollen. Teilweise gibt es extrem aufwen dige Programmbücher, dann entstehen wieder Programmbücher für die wir selbst illustrieren und fotografieren, um Geld zu sparen. Ähnlich ist es auch beim Zeit Magazin. Wenn wir eine richtig teure Produktion haben, kann es sehr gut sein, dass in der Woche darauf die Illustrationen von mir sind. Q Bei den Lead Awards hat man gesehen, dass die Zeit mit deiner Arbeit zu einem Ergebnis gekommen ist, von dem andere nur träumen können. A Etwas, das unserer Branche inzwischen extrem fehlt ist, dass wir auch als Berater gesehen werden und nicht nur als diejenigen, die etwas bunt anmalen und lustig aussehen lassen. Man braucht wirklich eine Vertrauensbasis, gerade wenn man einen unterschiedlichen Geschmack hat oder anderer Ansicht ist. Trotzdem gibt es natürlich Meinungs verschiedenheiten. Q Dieses Verhältnis von Kunde zu Agentur hat auch damit zu tun, wie bekannt und gut man ist. A Für die meisten, mit denen wir arbeiten, sind wir ein unbekannter, kleiner Laden. Q Ist eure Arbeitsweise, etwas aus dem Thema oder Kontext heraus abzuleiten, doch
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Mirko Borsche Interview → P 280
am besten im kulturellen Bereich möglich? Weil es eine Offenheit beim Gegenüber gibt? A Im Endeffekt geht es immer um Auftragsarbeit und Befindlichkeiten. Aber es ist natürlich einfacher mit Leuten zu arbeiten, die inhaltlich denken. Damit meine ich nicht Kulturinstitutionen per se. Das Wichtigste, auf was wir bauen, ist Vertrauen. Wenn das Vertrauen nicht vorherrscht, sind wir ein zu kleines Büro, um die Arbeit trotzdem stemmen zu können. Wenn uns der Kunde nicht vertraut, müssen wir uns von ihm trennen, was schon öfter der Fall war. Wenn er aber mit uns gut umgeht, ist es egal, ob das ein Schmuckdesigner oder Harper’s Bazar, die Zeit oder die Staatsoper ist. Wir versuchen Konzepte zu finden, die für unsere Kunden funktionieren. Es geht mir auch gar nicht um meine Autorenschaft, sondern um eine gemeinsame Autorschaft mit dem Kunden. Wir treten nicht als Werbeagentur auf, die versucht, alles perfekt einheitlich durchzudeklinieren, sondern als jemand, der ständig auf den Markt reagieren kann. Bei einem Wochen magazin wie der Zeit musst du versuchen, deine Themen zu verkaufen, dich jede Woche am Kiosk präsentieren und um Käufer zu buhlen. Gleichzeitig möchten wir auch einen gewissen Anspruch abliefern und die Leute ein bisschen herausfordern. Dabei gilt es die Waage halten. Ich warne die Leute relativ früh, wenn es zu eigenwillig wird, wozu die Kunden auch manchmal neigen, wenn sie im Kunst segment arbeiten. So etwas kann man im dritten Schritt angehen. Im ersten Schritt sollten wir zunächst eine gute, konstante Zusammenarbeit entwickeln, das Klientel nicht vergraulen und für einen Grundwert an Qualität sorgen. Das ist, glaube ich, die härteste Arbeit. Wir wollen wirklich, dass die Marke – und damit verstehe ich auch die Oper oder ein Symphonieorchester als Marke – ihre Kernwerbung qualitativ im Griff hat. Zuallererst sollten die Programm plakate gut aussehen, das, was in der ganzen Stadt hängt und zeigt, was gespielt wird. Wenn sich ein Kunde auf die Qualität eingelassen hat ist es auch einfacher, beim Besetzungszettel zu kämpfen. Viele Agenturen arbeiten zu 95 % so wie es der Kunde will, um dann 5 % mit aller Gewalt irgendwas ganz Verrücktes zu machen. Wir finden es toll, wenn wir verrückt dabei rumkommen, aber es ist nicht Sinn und Zweck unserer Arbeit.
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Mark Titchner The typography was supposed to be as anonymous as the voice behind the text
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Mark Titchner Interview → P 285
Mark Titchner is an English artist and a nominee for the 2006 Turner Prize. His works confront the viewer with a proposition for a type of modern revolution. The following interview was conducted by Christiana Teufel and Jan Kiesswetter in May 2012 to get an insight in Titchner’s creative work.
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↘ We want to make dreams a reality, 2004, digital print on aluminium. Courtesy of the artist and Vilma Gold, London
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Helmo We practice graphic design with an artistic approach and art with a graphic design approach
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Helmo is an independent graphic design duo from France: Thomas Couderc and Clement Vauchez. They are renowned for their colorful and unorthodox work for clients and for their self-initiated side-projects. This year they had a refreshing poster exhibition during Une Saison Graphique in Le Havre where Lars Harmsen got interested in them. So he got in touch with them and conducted this interview in September 2013.
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←↑↓ Palais de Tokyo, 2011, font creation (4 weights + variations) and visual identity. Commissioned project by Palais de Tokyo, Paris (Contemporary Art Center / France)
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↘ Ed Fella Plakaty, 2011, hand lettering, printed announcement for exhibition in Poland, 11 x 17 inches
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↘ Letters On America, 2000, original hand lettering and paste-up
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Q The theme of the book BRIGHT! is typography between illustration and art. A Yes, I would say my current typography or graphic design; whatever you want to call the work I have been doing for the last 20 years or so, is exactly between illustration and art. But this was not always so. I began my career as a commercial artist in 1957. Back in those days, a “commercial artist” was like an illustrator who was also sometimes responsible for the layout and the typography ... or it could also be the other way around. For me, this practice goes back to the late 1950s. We did it all: what was at that time called “design illustration,” which meant coming up with a design concept that included doing both the image and the typography. And if needed, maybe some hand-lettering also. Q You had already started working with those sketchbooks earlier. A Yes, my high school art education in 1955 was loosely based on a Bauhaus model. We had the foundation course and we also learned a lot of 20th-century art history: remember that “modern art” was only fifty years old at the time! But this period was shaped by constructivists, surrealists, abstractionists, and the Bauhaus idea that art and design, while maybe different as practices, were one and the same in kind, with no real separation between them. So you could be a painter one day and a graphic designer the next. That wasn’t really feasible in the art and design culture during my time, but it was certainly true back before and in the 1920s. But nowadays I think it’s again possible. I made my “commercial art” into an art practice during and ever since the late 1980s. It’s what gave me my current reputation and has earned me all those awards in the graphic design world. I even received a gold medal from the AIGA, our national professional association. I didn’t win it for all the commercial years of Detroit automotive stuff, but for those decidedly non-commercial sketchbooks and fliers that were in some sense, a “decon struction” of my professional typography and illustration, not the real thing. Q When we were making this book, we were pleasantly surprised by typography’s success in art. It seems that typography has grown very strong in the arts during the past ten years. A Yes, I think typography’s success may be even more strongly due to what happened
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to art in the 20th century. While the image was paramount at first, later the focus was on more formal or non-objective aspects of art. The image disappeared and only those aspects remained: colorful abstract expressionist paintings to extreme minimalist paintings entirely in one color, for example. But as that devolution continued into ever more polemical and conceptual art, artists became interested in meanings that needed words and texts, so artists started using them increasingly. They sometimes became the art entirely. Before that designers had always been the ones who dealt with words and texts. Now we all do: another linguistic turn in the culture, I guess. Q Blurring of borders between disciplines happens a lot in art schools. Authorship is becoming increasingly important for students. A We could just as well call our program “art design” rather than “commercial design” because our students create independent projects that in many cases are closer to practices in art today. Sure, afterwards they’re going to leave school and go to work professionally in the commercial world, but their learning process was more about authorship. My 55-year career is a good example: the first 30 years informed and financed my next 25 years as an “art” designer. Nowadays you can wear both hats: you can simul taneously be a professional designer and an art designer. One project might be an exhibition of your own work or ideas and the next one could be an advertise ment for a client. An good example of this is the German group Vier5. I met them in France last summer. Are you familiar with their practice? Q Yes, Vier5: Marco Fiedler and Achim Reichert. A They do beautiful work, a lot of their work is for art museums, and some of it borders on art. You can ask if it is already art or is it still design? They create posters with very smart typography, usually using their own fonts. They did the poster for the 22nd International Poster and Graphic design Festival in Chaumont, but that was only the tip of the iceberg: it was so much more than what designers would have conventually done. Instead of saying, “Oh, let’s make a cool poster. We’ll hang it up around town to announce that there’s going to be a big poster festival.” They did that, with red and black posters that
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carried all the necessary information, but sometimes the posters were blank, in a solid red without a single word printed on them. They also had little red kiosks and painted red boards all over the place, which could be interacted with. It was amazing in how they integrated the whole town into their announcement of the festival with additional installation and performative spaces. It was an expanded experience that was so much more than merely hanging up a poster. Is this art or is it design? Surely the answer is that it’s both! Q When I look at your work, I see someone who loves wordplay. A Perhaps that comes from my having begun life with two languages: German and English! But I’ve always liked literature and poetry, especially the Modernist variety, which is full of wordplay. In taking Modern art classes in high school, and more specifically, in learning about Dada, it became a part of my knowing about avant-garde practices. If you studied in the 1950s, the focus was still on all that high culture stuff with endless new styles and esoteric experiments with form. And yes, that included the words. Q You once said in an interview, “I wish I could be historic, but I won’t be as historic as Paul Rand.” A I did? Well, maybe now I’ve become as historic as he, but I could never have known beforehand. I would have been happy to be a footnote to the history that I was part of. It would have been more the Milton Glaser and Push Pin Studios era than Paul Rand. But never the less, now it’s actually happened: somebody wrote an article years ago comparing me and Paul Rand as examples of modernism and postmodernism. He was the reigning figure and I came of age at just the right time to reject the work and ideals, even if I actually believed and admired them, of American Modernism because they represented the establishment for my gen eration. The first thing young rebels do is pass by their fathers and look to their grandfathers for inspiration. They look back and say, “Wow! See all that crazy stuff they did with weird typography in the Victorian era. And look at Art Moderne and Art Nouveau!” In the 1960s, art nouveau evolved into a “Sixties Style” with hippie posters in the forefront. All this was part of the “Push-pin generation.” Art Déco
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came back big time in the mid sixties. I did all the trim for Chevrolet Dealer promo tions in 1970, and it was done in a neo-Art Déco lettering style. This all became even more mixed up and excessive in 80s and 90s: in the so called “post-modern” period. And for me, also with a big dash of the American vernacular Rand, Weingart and Massimo Vignelli are all greats, and they were completely right in and for their era, but they were reluctant to let the next generation express its interests. That’s why I call myself an “exit-level designer,” which I’ve actually been for the last 25 years. I don’t compete with the current generation on their ground. Whatever they do, they need to do in their own way, whether I like it or not. Now I say to my students, “It’s your turn.” So I gladly pass the baton to them. The old guard basically said, “Hey, we’re modernists. We’ve discovered the only truth, only this way, the only answer ...” But now we can be whatever we want, whatever the context (or just the desire) requires: be a modernist today, a postmodernist tomorrow, and a classicist the day after ... and Oh, maybe even an artist! Q How did you meet Rudy VanderLans? A He was part of the scene here at CalArts in Los Angeles. We already knew Emigre Magazine at Cranbrook. I think issue number four came out when I was a student at Cranbrook in 1985. Sometime during the first years that I began teaching at CalArts we went on a field trip with the students to San Francisco and we visited Emigre at their tiny studio in Berkeley where they published the magazine. Then in 1991, Jeff Keedy and Rudy VanderLans did that issue about me, Emigre Number 17. Half the magazine was devoted to my work. What really made me famous was that issue when it came out, with all my flyers in it, and everything else I had done to date with this new kind of expressive deconstructive typography. Ironically it was all handmade work published in the most cutting edge computer font magazine of the time! Q Did your connection to Rudy VanderLans lead to your having the Fella part in the OutWest Typeface? A In 1993, Laurie Haycock, who was the art director of Design Quarterly magazine, commissioned me, Matthew Carter and Zuzana Licko to create display typefaces that she planned to use in an upcoming
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Index
� P 82 / 83, 86, 95
Stefan Brüggemann, London (UK), Mexico City (MX) stefanbruggemann.com Stefan Brüggemann (Mexico City, 1975) lives and works between London and Mexico City. His work combines a conceptual practice with a rough and critical attitude that questions its inner activity at the same time as it reflects on our sociological context. He mainly works with text, using vinyl and neon as its supports, but also explores other media, creating installations, videos, paintings and drawings.
� P 49, 230–239
� P 6, 35–37, 76
Mirko Borsche, Munich (DE) mirkoborsche.com After working as an art director for advertising agency Springer&Jacoby, jetzt magazine, Mini-International BMW Group and NEON magazine, Mirko Borsche founded his design studio Bureau Mirko Borsche in Munich in 2007, next to being creative director for DIE ZEIT and all publications of Zeit-Verlag. Portrait photo by Fritz Beck.
Lars Breuer, Cologne (DE) larsbreuer.de galeriedonatz.de gallerikant.dk Lars Breuer was born in Aachen in 1974. He studied at Academy of Fine Arts Münster and Düsseldorf and at the Heinrich Heine University Düsseldorf. Since 2004, he is part of the artist group Konsortium. His work appears in public collections of Museum Folkwang, Essen; Ludwig Forum, Aachen; and Wilhelm-Hack-Museum, Ludwigshafen. Photo by Oliver Bartenschlager, Zurich, 2012.
� P 81
� P 78 / 79
Sico Carlier, Vanves (FR) sicocarlier.com The great divide: client oriented work versus self-imposed deadlines, the vernacular and the corporate. His works have been put forward in places such as Printed Matter, Colette, Reina Sofía, BNF, and featured in I-D, Dazed&Confused, Fantastic Man, The New York Times.
Rosson Crow, Los Angeles, CA (US) honorfraser.com Rosson Crow studied painting at Yale University. Her work is in the collections of the Musée d’Art Moderne Grand Duc Jean (Luxembourg), Musée d’art contemporain (Nîmes), Modern Art Museum at Fort Worth, and the Zabludowicz and Dakis Joannou collections. She is represented by Honor Fraser Gallery in Los Angeles.
� P 102–112
� P 32 / 33
Shannon Ebner, Los Angeles, CA (US) wallspacegallery.com Shannon Ebner earned her BA from Bard College (1993) and her MFA from Yale University (2000). Solo exhibitions include, among others, Sadie Coles, London, UK (2013); Hammer Museum and LAXART, Los Angeles (2011); Kaufmann Repetto, Milan (2010); Wallspace, New York (2009, 2007, 2005). Selected group exhibitions include, among others, Deagu Photo Biennialcurated by Charlotte Cotton, Daegu, Korea (2012); The Ecstatic Alphabets / Heaps of Language, The Museum of Modern Art, New York (2012).
Paul Elliman, London (UK) wallspacegallery.com Paul Elliman’s work follows language through many of its social and technological guises, in which typography, human voice and bodily gestures emerge as part of a direct correspondence with other visible forms and sounds of the city. In 2012 his Found Fount, an ongoing collection of objects and industrial debris in which no letter form is repeated, was part of the exhibition Ecstatic Alphabets / Heaps of Language at New York’s Museum of Modern Art. Photo: PE, Detroit Central Station, Winter 2004, singing Yeats’ Down By The Sally Gardens.
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� P 148–152
Experimental Jetset, Amsterdam (NL) experimentaljetset.nl EJ is a small Amsterdam-based graphic design studio founded in 1997 by Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Describing their methodology as “turning language into objects,” their work has been featured in group shows and solo exhibitions internationally. EJ are currently teaching at Gerrit Rietveld Academie and Werkplaats Typografie. In 2007, a large selection of work by EJ was acquired by MoMA.
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� P 269–274
� P 53–55, 263–268
� Cover, P 39, 42 / 43, 45
Hannes Famira, Berlin (DE) famira.com kombinat-typefounders.com coopertype.org Hannes Famira is the founding principal of the Kombinat-Typefounders. He is a graphic designer, a type designer and a teacher of both disciplines. After 20 years in the Netherlands, Switzerland and the United States he now lives in Berlin, Germany.
Edward Fella, Valencia, CA (US) edfella.com edfella-yestoday.com edfella.tumblr.com Edward Fella is recognized for his eccentric letterforms and compositions, which came into fruition in the 1980s and subsequently influenced the course of expressive typography in the ensuing decades. A self-described “commercial artist,” Fella began his career in Detroitʼs advertising world of the 1950s, and nearly 30 years later entered graduate school at Cranbrook Academy of Art. For the past 25 years he has been a faculty member at CalArts.
Lutz Fezer, Cologne (DE) meurer-verlag.de Lutz Fezer was born in 1973 in Karlsruhe. He studied at Karlsruhe Academy of Fine Arts from 1994 to 2000 and is co-curator at the tower fm since 2006. His works have been shown in exhibitions at, among others, Villa Romana, Florence; Hamburger Bahnhof, Berlin and Transmission Gallery, Glasgow.
� P 62
� P 22 / 23
� P 84 / 85
Luca Frei, Malmo (SE) lucafrei.info Luca Frei was born in 1976 in Lugano. He lives and works in Malmo.
� P 161–164
James Goggin, Chicago IL (US) practise.co.uk James Goggin is a Chicagobased British and / or Australian graphic designer from London via Sydney, Stockholm, Copenhagen, Auckland, and Arnhem. He runs a graphic design practice named Practise, writes occasional design criticism, teaches and lectures internationally. Portrait: James Goggin, Passport Photo Colour Test, Rainbo Club, Chicago, November 30, 2011.
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Gilbert & George, London (UK) arndtberlin.com For five decades, to international acclaim, Gilbert & George have been making art that is visionary, shocking, relentless, moral and richly atmospheric. Over this period, they have shadowed London’s moods, identifying within the city’s sleepless thoroughfares all of the messy, precious, undeniable aspects of the modern human condition. Photo by Bernd Borchardt, installation view of London Pictures, ARNDT 2012.
Liam Gillick, London (UK), New York City, NY (US) meyerkainer.com Liam Gillick (*1964) is an artist based in London and New York, where he teaches at Columbia University and Bard College. He was nominated for the Turner Prize in 2002 and the Vincent Award at the Stedelijk Museum in Amsterdam in 2008. His works are part of the public collections of, among others, Tate Modern, MoMA and Guggenheim.
� P 73, 75
Tommy Grace, London (UK) inglebygallery.com Artist, graphic designer and musician, currently based in London. Born in Edinburgh and graduated from ECA, also works collaboratively with artist Kate Owens. Selected exhibitions include: 1st Athens Biennale (07); Ingleby Gallery, Edinburgh (09, 11); Jerwood Space, London (10); and Dienstgebäude, Zurich (12). Photo by Duncan Marquiss, still from an 8mm celluloid film, courtesy Ingleby Gallery, Edinburgh.
� P 2, 57, 58, 88 / 89
Karl Haendel, Los Angeles, CA (US) yvon-lambert.com Karl Haendel was born in 1976 in New York. He studied Art Semiotics and Art History at Brown University, Providence and received an MFA from the University of California in Los Angeles, where he lives and works today. His solo shows included exhibitions at, among others, Yvon Lambert, Paris and the Museum of Contemporary Art, LA. Photo by Blaise Adilon.
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� P 14 / 15, 17
� P 144–147
Johannes Wohnseifer, Cologne, Erftstadt (DE) johannkoenig.de Johannes Wohnseifer (born 1967, Cologne) lives and works in Cologne and Erftstadt. Works by him are represented in collections such as those of Christian Boros, Susan and Michael Hort, Harald Falckenberg and Saatchi. He had solo exhibitions at Presentation House Gallery, Vancouver and Museum Ludwig, Cologne, amongst others. Photo by Albrecht Fuchs.
Michael Worthington, Los Angeles CA (US) counterspace.net Michael Worthington is the founder of Counterspace, a graphic design studio with a typographic focus, specializing in editorial and identity work for cultural clients. Originally from England, he moved to Los Angeles in 1993 and has taught at the California Institute of the Arts (CalArts) since 1995.
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� P 186–189
Zak Group, London (UK) zakgroup.co.uk Zak Group is a London-based office with an international reputation for creating design and art direction for cultural institutions and private companies.
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Imprint
Publisher
Production
Slanted c/o MAGMA Brand Design Wendtstrasse 4 76185 Karlsruhe Germany T +49 (0) 721 824858-50 magazine@slanted.de slanted.de
Slanted Magazine #22 Editor in chief (V.i.S.d.P.) Lars Harmsen Editors Flo Gaertner, Florian Fecher, Jan Kiesswetter, Julia Kahl Managing Editor Julia Kahl Art Direction Flo Gaertner, Lars Harmsen Graphic Design Julia Kahl Graphic Design Contemporary Typefaces Florian Fecher ISSN 1867-6510 Frequency 2 × p. a. (Spring / Summer, Autumn / Winter) Slanted Weblog Editors in chief (V.i.S.d.P.) Lars Harmsen, Uli Weiss Managing editor Julia Kahl Editors See: slanted.de/redaktion The publisher assumes no responsibility for the accuracy of all information. Publisher and editor assume that material that was made available for publishing, is free of third party rights. Reproduction and storage require the permission of the publisher. Photos and texts are welcome, but there is no liability. Signed contributions do not necessarily represent the opinion of the publisher or the editor. Copyright © Slanted, Karlsruhe, 2013 All rights reserved.
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Sales & Distribution Slanted magazine can be acquired online, in selected bookstores, concept stores and galleries worldwide. You can also find it at stations and airports in Germany, Switzerland, Italy, Spain and the Netherlands. If you own a shop and would like to stock Slanted magazine, please get in touch with us. Contact Julia Kahl, T +49 (0) 721 824858-50 julia.kahl@slanted.de Slanted Shop (best!) slanted.de/shop Stores (all over the world) slanted.de/allgemein/stores Amazon Marketplace amazon.de Stations and airports IPS Pressevertrieb GmbH / ips-d.de International distribution Export Press SAS / exportpress.com Distribution Switzerland Niggli Verlag, niggli.ch ISBN 978-3-7212-0878-8 Distrubution US Ubiquity Distributors, Inc., / ubiquitymags.com Subscription Subscribe to Slanted magazine and support what we do. Magazines via subscriptions are at a reduced rate and get shipped for free directly at its release. slanted.de/abo National (DE) Jahres-Abo, 2 mags, € 32 2-Jahres-Abo + premium, 4 mags, € 62 Geschenk-Abo, 2 mags, € 32 Studien-Abo, 2 mags, € 26 Probe-Abo, 1 mag, € 14 International Subscription 1 Year, 2 mags, € 38 Subscription 2 Years, 4 mags, € 75 Advertising We offer a wide range of advertising possibilities on our weblog and in our magazine – print and online! Just get in touch. More information at slanted.de/mediarates Contact Julia Kahl, T +49 (0) 721 824858-50 julia.kahl@slanted.de
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Selection of design awards for publications by Slanted
VG Bild-Kunst
ADC of Europe 2010, 2008 ADC Germany 2013, 2012, 2011, 2010, 2008, 2007 Annual Multimedia 2008, 2013 Berliner Type 2008 (Bronze), 2009 (Silver) Designpreis der BRD 2009 (Silver) European Design Awards 2011, 2008 Faces of Design Awards 2009 iF communication design award 2007 Laus Awards 2009 Lead Awards 2008 (Weblog des Jahres), 2007 red dot communication design awards 2008 Type Directors Club NY 2011, 2008, 2007 Werkbund Label 2012 Acknowledgement Thanks a lot to all participants of this issue. They are spread all over the world and now united in this magazine (alphabetical order): Mirko Borsche (Bureau Mirko Borsche), Lars Breuer, Stefan Brüggemann, Sico Carlier, Rosson Crow, Shannon Ebner, Paul Elliman, Experimental Jetset, Hannes Famira, Edward Fella, Lutz Fezer, Luca Frei, Gilbert & George, Liam Gillick, James Goggin (Practise), Tommy Grace, Karl Haendel, Alex Hanimann, Thomas Couderc & Clément Vauchez (Helmo), Dennis Hopper, Jeffery Keedy, Astrid Klein, Carolina Laudon, Lola, Chris Lozos, Ian Lynam, Michel M., Michel Majerus, Stefan Marx, Metahaven, David Millhouse, Kate Moross, Stephen Smith (Neasden Control Centre), Alexander Negrelli, Navid Nuur, Ruben Pater (Untold Stories), David Peacock, Daniel Pflumm, Project Projects, Allen Ruppersberg, Ed Ruscha, Stefan Sagmeister and Jessica Walsh (Sagmeister Walsh), Stefan Sandner, Paula Scher (Pentagram), Aurel Schmidt, Pamela C. Scorzin, Jeffrey Shaw, David Spiller, Manuel Raeder (Studio Manuel Raeder), Anthony Sheret and Edd Harrington (The Entente), Thonik, Mark Titchner, Christian Vetter, Johannes Wohnseifer, Michael Worthington (Counterspace), Zak Kyes (Zak Group) A big thank you to Wolfgang Wick (interview with Hannes Famira), Ken Johnston and Sue Hartke (Corbis) and Kevin Quach. Special thanks go to Norbert Brey and Gerhard Schwöbel (E&B engelhardt und bauer) and their printers for the wonderful printing. Thanks also to Ahmed Badran (Iggesund) for the fantastic cover material and especially to Britta Ketzler and Hanspeter Albrecht (Berberich) who supported this issue with an excellent range of high quality papers inside the magazine.
This issue does not include all artists we wanted to present in the field of typography in art. VG Bild-Kunst is an association and represents the copyrights of creators (over 52,000 members) of visual art in Germany. It concludes licensing agreements with users, in which it stipulates the conditions of usage. It monitors receipt of the agreed remuneration and distributes the royalties to the rights owners. In addition, it is committed to and supports the strengthening of copyrights on national and international level. Although the association operates on a non-profit-making basis and the revenue generated from exploiting the assigned usage rights and royalty claims is distributed in full to its members, the licensing fees were so high that our self-published magazine Slanted cannot afford them. Some of the artists we wanted to present in this issue: Peter Blake, Alighiero Boetti, Max Ernst, Claire Fontaine, Kendell Geers, Juan Gris, Raul Hausmann, Jenny Holzer, Robert Indiana, Ferdinand Kriwet, Sol LeWitt, El Lissitzky, Lázló Moholy-Nagy, René Magritte, José Parlá, Francis Picabia, Pablo Picasso, Man Ray, Alexander Rodchenko, Kurt Schwitters, Gino Severini, Lawrence Weiner and many more.
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Alex Hanimann → P 282 Untitled (UOY MAI), 2011, gouache on assembled papers, 220 x 197.3 cm
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