Mariza Aditore Antiquaria
Mariza Aditore is an antiquarian and a self-taught silk-screen printer. She has a small shop stand in her hometown market where she sells every Monday her antiquary objects. We took this opportunity to create a visual identity and experiment screen-printing on different objects and elements. The printing production is all made by Mariza herself in her own in-house workshop. This workflow gives us a lot of time for experimentation and discussion. We work remotely. Usually, I share some 3D prototypes and mockups of the final expected result, she tests it and give me feedback afterwards about the outcome.
We started by printing useful objects for her shop stand, now we’re digging with goodies and more useless objects just for the purpose of trying things. More objects to print, more images to come. [Original scans, images and photos: Mariza Aditore; 3D simulations by me]
Kino Kino Kino Cinéclub
Kino Kino Kino a film club, which takes place in Clermont-Ferrand, focused on the scandinavian cinema. Since 2017, it has been continued by Roman Girardeau, a young sculptor, photographer and sound artist in his own workshop in the suburbs of the city.
The graphic system is based on a very precise iconography coming from nordic archives. The purpose of these iconographies is to gather graphic documentations relevant to the theme and the period of the film.
Les Playlists Urbaines
This project is CD design for the sound experiences of Roman Girardeau. In his practice, the artist creates urban noises with the help of sound effect made by mechanical sport objects. It has been produced on a limited edition of 30 CDs.
Alt du är – HDK Högskolan
The young norwegian artist Siri Vensen dedicate her practice to performative art and theatre. She planned a public presentation of her theatre project Alt du är at the HDK Högskolan.
Rekonstruktion der Zukunft
It was nothing less than the first step of a journey into a new dimension: when theatre reformer Adolphe Appia, father of Eurhythmics Émile Jaques-Dalcroze, architect Heinrich Tessenow, and artist Alexander von Salzmann met in Hellerau in 1911, their design for the Great Hall at the Festival Theatre created the ideal space for theatre in the twenty-first century. The stage built by Appia using flexible elements and von Salzmann’s shadowless room of lights made it possible to explore completely new modes of expression and staging. Le Corbusier, van de Velde, and Mies van der Rohe all drew lasting inspiration from this.
For Reconstructing the Future, the Appia stage with its original lighting design was rebuilt in the Festival Theatre for the first time, more than a hundred years after its conception. The project curated by Héctor Solari and the accompanying publication make the historical concept accessible to a contemporary audience and locate the Hellerau stage within the history of modernist theatre. [Text from the publisher: Spector Books]
City3 is a trans-disciplinary laboratory for socio-spatial reflection, research, experiment and intervention.
Founded in Brussels in 2013, City3 brings together architects, urbanists, researchers and artists. Supported by a common structure, we organise projects in varying alliances and associations with the ambition of having both an artistic and cultural, as well as a socio-spatial relevance. I've been contacted to create the website and main identity of the organisation.
Chinafrika. Under construction
The exhibition Chinafrika is part of a research project of the same name initiated by curator Jochen Becker. It represents a snapshot of an ongoing work process, produced together with film maker Daniel Kötter and Working Groups in Guangzhou, Cape Town, Lagos and Lubumbashi.
The identity, signage and poster were designed by Markus Dreßen and we designed together the catalogue of the exhibition.
Ornament: tools and system
In the idea to challenge my attraction for moderate, minimal and straightforward design, I questioned the place of ornament in the field of graphic communication, investigating my personal subjective aversion towards the decorative.
Starting from my definition of functional ornament and accessory ornament, I decided to focus my reasoning on the main role and justifications of decorative. Eventually, I admitted that ornament could be a creative tool. In order to accept the new re-emergence of ornament, I tried to justify this idea throughout my analysis. In addition to these thinkings, I questioned the arrival of computation as an insidious agent, a tool enabling the ornament more easily.