We went to exhibitions (1,2,3,4,5,6, etc.) and concerts (1,2,3,4, etc.). We traveled (1,2,3) and tutored. We celebrated the 10th anniversary of the Responsive W. We had chance encounters with books (1,2,3), buildings (1,2) and people (1,2). But mainly, we’ve been working on upcoming projects: exhibitions in Rome and Milan, a publication for IICD, and a couple of other things (for Portikus, for Stedelijk Museum, etc.) – so stay tuned for that. In the meantime, have a great summer!
Added to that, there was a paperback, a solo exhibition, a fundraiser button/badge, a fundraiser skateboard, an issue of High, a t-shirt, and various contributions to other projects (1,2,3,4,5,6, etc.). We participated in group shows (1,2,3,4) and interviews (1,2, etc.), We did some light travelling (1,2,3,4, etc.), reading, and teaching. And oh yeah – we celebrated our 25th anniversary as a studio (and we’re looking forward to the next 25 years). Happy holidays, everybody!
In the meantime, we worked on plenty of smaller projects – from t-shirts to buttons, from stickers to paperbacks, from prints to posters, from postcards to pamphlets, from record sleeves to solo exhibitions, from contributions to donations, from interviews to essays, etc. etc. We’ve been teaching, travelling – what not. And now it’s time for a break – so have a great summer, and catch you on the flip-side!
Since 2017, Experimental Jetset have been developing the graphic language of the Moscow-based V–A–C Foundation (and of all its affiliated sections, such as GES-2 and Zattere). Based on the notion of a diagrammatic language, the acronym V–A–C was transformed into a labyrinthic diagram of rotating axes, mapping all kinds of associative relationships and activities (as they appear within the universe of V–A–C). The graphic language (which includes templates and manuals for signage, murals, printed matter, clocks, online media, etc.) is already being implemented (while being constructed), in collaboration with the V–A–C in-house graphic design team (headed by Lyosha Kritsouk) and type designer Roman Gornitsky – it will be fully ready in december 2021, in time for the opening of GES-2.
We’re working on a capsule collection for Patta (to be released in 2022) – but that’s top-secret yet. And did we tell about the compact graphic language we developed for Echobox Radio? We wrote some essays, answered some interviews, worked on some unrealised projects, were part of a couple of shows, did the usual reading and teaching – and that’s about it. Let the summer commence!
The installation comes with a full apparatus of graphic footnotes – a series of wall texts, a sequence of 14 offset-printed placemats, a set of three screenprinted aprons, and an ongoing run of menu sheets. Above all, there will be the upcoming paperback, to be released by Roma Publications – further information will follow.
We continued teaching, and maintained our Provo Tumblr (in addition to Instagram and FB). We’ve been nominated (1,2) and archived (SM, MAD, Yale, etc.). In the meantime, we’ve been working full-time on two huge projects (in Moscow and NYC), to be announced next year. And that was all for 2018 – on to 2019.
We’re now slowing down for the summer – but the rest of 2018 will be filled with more Moscow, more teaching, a lecture in Ljubljana, a pavilion in Berlin, a project in NYC, etc. Looking forward to it.
Wishing everybody a great holiday, and all the best for 2018!
In 2016, we had two solo shows: Provo Station at GfZK, and Word-Things in Time-Space at Riot. We did the exhibition design for Space Embodied (HNI). There was The No-Thing, an all-purpose protest banner (a, b, c) we created for The Thing Quarterly.
For TTQ, we also made a series of seasonal t-shirts, and a tote-bag. The Athens Recorder was a publication we designed and edited for photographer Johannes Schwartz. We made some other books (EP2, VB, EVL), went on a West Coast tour (LA, SF, Seattle, Portland), did some more traveling, and gave lectures in Leipzig and Ravenna. We were interviewed. We continued teaching at WT. Other things we did: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, etc. Anyway – have a great holiday, and all the best for 2017!
More information can be found here (and here), while a first selection of photos (installation views / details) is uploaded here.
East-coast-wise, we're very happy that a selection of our work will be shown during an exhibition at NY's Drawing Center. The show will run from February 19 to March 20, but our section of drawings will be on display from March 4 to March 13.
First of all, we launched our monograph (w/ zine and bag), published by Roma. We designed a publication for Melanie Bonajo. We created a site-specific mural for an exhibition in Zürich, and we revisited Lost Formats for Fotomuseum Winterthur (see also here). We designed some signage for Hacked. There were two new issues of High (1, 2), some loose contributions for group shows (1, 2, 3, etc.), and we did some interviews (1, 2, etc.). We gave a workshop at Krabbesholm Højskole, together with Linda van Deursen. We did some talks (NYABF, UCLA, C-H, Winterthur, PrintRoom, etc.). We visited Tokyo (to work on Mash), and did two lectures there. We've been teaching at WT and Artez. And now we need a rest. All the best for 2016, everybody!
And secondly, we collaborated (with EventArchitectuur) on the exhibition design of the current International Architecture Biennale of Rotterdam (IABR), currently taking place at De Kunsthal in Rotterdam. A review can be read here.
Curated by Angela Jerardi, and taking place at the CAFA Art Museum in Beijing, 'Game Theory' is a group show for which we did the exhibition design and graphic design. Part of the 2nd CAFAM Biennale, 'Game Theory' will run from February 28 to April 20, 2014. Contributors, collaborators, participants and subjects include (in no particular order) YKON, Constant Nieuwenhuys (New Babylon), Temporary Services, The Yes Men and Experimental Jetset (Two or Three Things I Know About Provo). Special thanks to Chris Lawrence and Herman Hake.
Looking forward to Glasgow – we’ve never been there, so we’re quite excited. Hope to see some of you there!
Throughout the whole year of 2012, we have been working on the graphic identity of the Whitney Museum. Today (May 21, 2013), this new graphic identity has finally been unveiled on the website of the Whitney. A short movie, in which we introduce the new graphic language, can be seen there. A long, essay-sized background story can be found here.
In short – we have been responsible for the development of the graphic identity, while the actual application of this new language will be taken care of by the in-house design team of the Whitney. Needless to say, we are extremely grateful to have been given this opportunity.
Later this year, we hope to add another update (if time permits, that is). In the meantime, we hope you’ll enjoy the new features.
In addition to the graphic design, we also wrote a short text for this first issue of EP: ‘Socialism as a Graphic Language’, a brief introduction to the work of Ettore Vitale. Some spreads from EP1 are shown on the Facebook page of Sternberg Press.
More information can be found on ManyStuff.
The display also includes a video installation by French artist Aurelien Froment, and a series of photographs by Johannes Schwartz. The exhibition runs until May 13, 2012. More information can be found on our Facebook page, and on this Romanian weblog.
More information on the posters can be found on the Walker weblog.
More pics of the exhibition can be found on the weblog of Maurer United.
Website developed by Jonas Lund. Further information on High can be found here.
Currently, we’re working on some other VB projects as well -– we’ll keep you updated on that.
Exhibition running from 14 May to 26 June, 2011. More information can be found at the website of NAiM / Bureau Europa.
For Club Céramique, we also designed the posters, invitations, announcements and the typography in the exhibition. A picture of one of the posters can be seen here:
Basically a small and subjective archive of printed matter, the installation will focus on the role of printer and activist Rob Stolk (1946 – 2001) within the Provo and post-Provo movements. The exhibition will run from February 18 to March 13, 2011. More information can be found here. For recent updates, please check our Facebook page.
We installed the mobile on the spot; a picture of that can be seen here. On display at Graphic Design Worlds, running until the end of March, 2011.
To be sold during the event as a piece of rock merchandise, the shirt is basically a recreation (or abstraction) of the taped sweater Paul Weller is wearing on the sleeve of The Jam’s ‘This is The Modern World’. The shirt comes with a small fanzine, in which we reflect on the notions of past and future in modernism. Limited edition of 50, numbered and signed. Screenprinted by SMLX, on fair-trade Earth Positive shirts. For enquiries, contact Graphic Design Museum Breda.
To emphasize the educational theme, we came up with the idea of referring to sums and calculations. For the occasion, we also designed a (yet-to-be-named) typeface, which we plan to launch in the near future. The sheet of stamps can be ordered here. More information can be found here and here.
For this exhibition, we designed the invitation, two posters (A2 and A0), some signage and a simple hand-out. The show will run from 12 September, 2010, to 16 January, 2011, at NAiM / Bureau Europa, Avenue Ceramique 226, Maastricht (NL).
Because Earthlight on the Moon is brighter than Moonlight on the Earth.
C/S/F is actually a travelling exhibition: it first took place in 2007, at the Storefront in New York City, and has been touring ever since. The website of the original NYC show, designed by Project Projects, can be seen here. Further information about the Dutch edition of C/S/F can be found on the website of Bureau Europa. Next week’s opening features a program of public lectures, so when in the neighbourhood, do drop by.
‘Antibodies’ runs from March 13 to June 6, 2010, at NAiM / Bureau Europa, Avenue Céramique 226, Maastricht. (Photo via Design News).
Thanks to Silvia Roses, Laura Meseguer, Ramon Prat, Bartomeu Mari and everybody else involved, for making this event possible. (The above image is a twitpic that we 'borrowed’ from a person called Kaaliss; sorry for that).
If we ever get the time, we will certainly publish a transcript of the lecture on our website; we hope to have a chance to update our online archive later this year.
Dan Vlahos (from Shepley Bulfinch) just wrote a short text about the poster on the SB weblog. For his article, we sent him with some quick, early, ‘back of the envelope’ ballpoint-pen sketches, to provide some background information about the design process; these sketches can be seen here.
And while we’re on the subject of lectures; as some of you might know, we did a lecture in Dublin last year (see our previous post). On the occasion of that event, we were asked by the organizers to design a shirt, to be sold (as merch) during the conference. Shown below the shirt we came up with:
If you’re interested in getting one, you should contact The Small Print, to see if they have any left. Thanks to AB for the photograph!
The private opening will take place on September 10. Press releases (PDF) can be downloaded here and here. A program (PDF) can be downloaded here.
The desired new location is an abandoned office-building in “Bos en Lommer”, an area of Amsterdam that is part of a select group of districts known as the most problematic and poorest neighborhoods in The Netherlands. By relocating the Rietveld academy to such a poor district, the reasoning goes, the district will be elevated to a higher standard. It’s a way of reasoning that’s either terribly naive, or really patronizing. Poverty can only be solved by looking at underlying social-economic factors; it cannot be solved by moving an art academy to the “wrong side of town”.
A more logical solution for the lack of space at the current location would be to control the increase of students. The Rietveld should stay a small, high-quality unit, not an anonymous factory of mass education.
Please sign the petition here.
Address: NAiM / Bureau Europa, Avenue Ceramique 226, Maastricht, the Netherlands.
In our opinion, it’s a phrase that should not be taken literally, but spiritually. The Internationale was originally intended to be sung to the tune of La Marseillaise; in the same spirit, we think that old forms are here to be loaded with new meaning, until they burst. We need to make these old forms our own, so that they can become new. The ghost of the past, as an agent of change.
H.R. Holst by M. de Klerk, 1921.
After Minneapolis, we triangulated our flight and spent two hectic days in NYC. We went to some exhibitions, hung out with Daniëlle van Ark, saw Wavves and Vampire Hands at the fabulous Cakeshop, and psych-legends Yahowa 13 at the Knitting Factory. At the Knitting Factory, we actually ran into an old friend: Christelle Gualdi, currently touring the globe as Stellar OM Source. It’s a small world after all.
The lecture can be found online (via YouTube, Walker channel or i-Tunes), but we don’t know whether we should be happy about that or not; the way we see it, you were either there, or you weren’t. A webcast will never capture an actual lecture. Mumbling and stumbling should be experienced live, not on video. Just our opinion.
And while we’re on the subject of recording lectures: we recently came across this item. To paraphrase The Specials: Why must you record our lectures? / Are you planning a bootleg LP?
We keep warning people that speaking in public is not our strongest point, to put it euphemistically. But still people keep inviting us. We usually say no, but once in a while we are pushed into giving an actual lecture. In short, we will be doing a talk at Walker Art Center, Minneapolis, on Tuesday March 24, 2009. The title of the talk will be ‘Friendly Ghosts’. See the details here.
And while we’re on the topic of Minneapolis, here’s a couple of our fave bands from the Twin Cities: 1, 2, 3.
A limited edition of 50 sets has been published by the museum store. The set, a plastic tube containing three A1-sized screenprinted posters, comes signed and numbered. For enquiries, contact Laura Snapper at the Zuiderzeemuseum. More images can be seen here.
Gejaagd door de Wind runs from March 22 to November 22, 2009.
Right now, it’s hard to sum up all the marvelous people who made this trip memorable; we’ll keep that for a later post. For now, we just want to thank Catherine Griffiths for organizing this, inviting us, and well, what not. What a beautiful trip this was.
An interview we did for NZ weblog Cheese on Toast can be read here. A two-part interview we did for Typeradio can be heard here and here (BTW, Erwin wasn’t there during the recording of that last interview; he managed to escape).
In February 2009, we will be travelling to New Zealand, to give a lecture during TypeShed 11, in Wellington. We dread the idea of doing the actual lecture, but we are psyched to travel to NZ. When around, do check out TypeShed; it promises to be an interesting conference, featuring speakers like David Bennewith and Luke Wood.
So what did we do? First of all, we restructured the whole site; we can now upload items much easier. Secondly, we added some new features: a homepage that randomly picks four items every time it refreshes, a preview mode that shows all the archived items as thumbnails, just to give two examples. Last but not least, we added a lot of new items to the archive.
There are still some technical bugs haunting this site. When viewed on a PC, some images might appear bitmapped. We are trying to solve that right now. [edit: fixed]
The only thing we still have to do is wishing you a happy New Year. To speak with John Lennon, let’s hope it’s a good one, without any fear.
Other designers that have used the ‘dripping Netherlands’ drawing include Irma Boom and Harmen Liemburg.
The show runs from November 4, 2008, to March 29, 2009. The invitation (front- and backside) can be seen here. More information can be read here. Weblog We Make Money Not Art reviews the show here.