1. Mevis & Van Deursen with Moritz Küng


            2. BB: As practising designers, what is your relationship to education?

              LvD: Teaching allows me to address the discipline of graphic design much more broad and experimental as when working as a designer.
              Next to that it allows me to work on subjects and content with students that I probably would never get near to as a designer.

              BB: Both of you have extensive experience with education – not only from your long-term involvement at the Gerrit Rietveld Academie in Amsterdam (Linda is the Director of the Graphic Design Department), Werkplaats Typografie in Arnhem (Armand is the Head of the program) or Yale University in New Haven (Linda is a visiting critic), but also from your many visits to various other educational institutions around the world. Based on your experience, do you think one can still distinguish different approaches and ‚national styles‘?

              LvD: I think about that question a lot. My students come from all over the world and they all seem to be interested in a certain visual style.
              Perhaps this internationally recognized style represents something content driven, something more intellectual and experimental rather than commercial?
              Next to that there seems to be a need to understand where this language comes from. Each graphic language is developed in relation to other cultural expressions, so despite certain stylistic elements appearing everywhere, at its best graphic design will also reflect (or include) something more local or personal.
              I think I am still able to tell the difference between something coming from England or France, or from Germany or Switzerland. But I have to admit it is sometimes a bit of a shock to be confronted with graphic design coming from a country with hardly any tradition in it that is perfectly en vogue. Mostly it is made by designers who studied abroad.
              I also think Belgium is an interesting example. Compared to the rich history in The Netherlands it was never really a design country. Lately however there are a few programs and young designers that start leaving an imprint on the way design manifests itself. So suddenly there seems more room for interesting design in Belgium where similar work in The Netherlands would be totally marginal.

              AM: It’s undeniable that there are different approaches, and styles. I would not immediately call them ’national’, since I don’t think in terms of nationalities, nor in terms of borders. As much as we travel nowadays, work travels too. I remember vividly from when Linda and I were still at school (almost 28 years ago), that Michael and Katherine McCoy were visiting the Rietveld Academy. They were both co-chairing the graduate program in Design at the Cranbrook Academy of Art. They showed us work which was amazing to us. They opened a world of completely different design aesthetics, very inspiring at that moment, and very different from the international style ’Dutch Design’ as we saw around us. It shows how much has changed. It’s impossible that new worlds are introduced to us, just like that. We have almost live access to anything, nothing can stay hidden. Everything is out in the open. But within schools we see styles, similar to what we saw at Cranbrook, which is because teachers and students live kind of together in this school environment. They reflect on each other.

              BB: Having spent years at the Gerrit Rietveld Academie both as students and teachers, could you tell us about some of the shifts and changes in graphic design education in retrospect? Would you be able to speculate on where you think graphic education is heading?

              LvD: The difference at the Gerrit Rietveld couldn‘t be bigger than how we were educated in the early 80s. I remember we had entirely different assignments which reflected very different types of design practices and interests. One for instance was to propose a color scheme for an industrial object on a huge scale (I remember I choose an aircraft). Next to that we were asked to analyze commercials and reveal a certain use of language. In retrospect I had no clue what I was trying to achieve with either project and how it would help me as a designer.
              We were all rather ignorant and without direction and education did not offer much help. Next to that we hardly ever made something real. There were very few assignments and typesetting was out of the question since it was incredibly expensive.
              The computer changed everything: design was never that accessible and as a result education became more focussed, more grounded and referential.
              It is hard to make predictions. There has never been as much attention for art education as in the past ten years. There is more education offered and next to that there are more informal opportunities to learn graphic design than ever before. Education has become a goal in itself, rather than a structure to learn something else.

              AM: It’s a bit hard for me to speak about the Gerrit Rietveld Academie, since I was never a teacher there. But I had a good time as a student at this school. Somehow I don’t think so much has changed between how I remember my time there, and how I think of education, or act as a teacher today. The centre in education is the student. This was not different when I was studying. Teachers were trying to point out to us that we should try to come up with our own stories. The role of the teacher was mainly to help structuring our thoughts, to avoid that we would end up with a big mess. If I think of myself as a teacher I also try to help students to articulate what they want to say, how, and why. And in the future, what to say about it, it will not be that different I suppose, we have different tools, but ideas come from inside and respond to the outside. So responses might be different in the future, but furthermore I don’t think the evolution goes that fast that we are different human beings within a couple of generations.

              BB: As recipients of the Brno Biennial Grand Prix Award in 2012, you have been invited to prepare an exhibition of your work. You decided to invite your friend and long time collaborator Moritz Küng. Can you tell us a little bit about your approach to this exhibition?

              LvD: It is always a problem for designers to make a show about graphic design work, let alone their own work. Armand and I thought about it a lot and finally decided to give the problem to someone else. After we asked Moritz he got back to us, almost within a day, with a proposal we both liked and it felt as a relief: this is how easy it can be. How come we are not able to come up with something like that ourselves? You would hope that people think the same when you work for them.

              AM: Well, it’s not easy to do a show about yourself. I mean, we’re not used to exhibit work. The work we do is also not meant to be exhibited. So I, or we,  thought about it mainly in terms of avoiding it. How to deal with it, and fulfill what’s required (doing an exhibition), without doing it. We had many talks about it, but there was hardly any progress in our thinking, except that we were sure that we didn’t really want to do it ourselves. At a certain point Linda mentioned our good friend Moritz, who is a fantastic curator, very outspoken in his practice, an unconventional thinker, I would say he is much more of a maker, or an artist himself. It didn’t really had to sink in, I was immediately for. Linda wrote him an email, and within two hours he replied with a complete worked out proposal. It was a great idea that he had, quite provocative and absurd, but with humor and irony. But there are more layers, and it‘s conceptually quite interesting in what it can also mean. I don’t want to say much about it, since it’s so much nicer to experience it, and leave the thinking to the audience.

              MK: The reason why Linda and Armand invited me as a curator to “design” their exhibition in Brno is probably related to the fact that we have been collaborating together since the end of the ‘80ies; they developed many identities, posters, flyers and catalogues for exhibitions or symposia I’ve organized. The way I approached this commission was quite simple and straightforward, since I’ve ever been skeptical about what I call “the art of display” – the display that is drowning out the actual exhibit – be it by creative solutions for showcases, modular display systems, colorful backgrounds for walls or specific spatial arrangements – and in favor for “less is more”, though not being afraid of the void. Since the exhibits of Linda and Armand were all related to clients from the art world – museums, artists, publishers – I proposed to incorporate this fact in the presentation by simply framing everything (the stationaries, posters and most important the books) and labeling it accordingly, but in turn with oversized captions. By doing so, the information of the captions (on collaborators, sizes, papers, weights, letter types, printing modes, print runs, etc.) becomes the true exhibit: the work of a graphic designer.

              BB: Moritz, as a curator and book editor, what is your relationship to graphic design?

              MK: Since my father was a graphic designer himself, I always felt strongly related to this discipline, although I didn’t had the real talent for it. During my studies of architecture design at the Rietveld Academie in Amsterdam I was very much attracted by the graphic design department, where I actually met Armand and Linda. We came along well, became friends and worked since then on many projects together. Although I often didn’t understand their decisions, I was intrigued by their unorthodox approach. And since I worked a lot with artists, they had – for me at least – an equal status. The same goes for the graphic design or the book in relation to an exhibition: the printed matter represents a “space” on it’s own that is in my wat of working equally important as the one of a gallery. Since I’m very much interested in a site-specific approach by reacting on the particularities of a given context, the graphic design hasn’t just a self fulfilling prophecy, but acts in my view as a catalyst and interpreter between the exhibit and the exhibition.

              BB: What were your favourite subjects at school?

              LvD: Subjects when we were studying? I loved any subject that was taught well. Perhaps I have always been paying more attention to the teacher?

              AM: Before going to the Gerrit Rietveld Academie I studied at another art school, Akademie St. Joost in Breda. At this school I was for the first time in my life exposed to art, and art theory. It blew me away. I had never been in a museum of modern art before going to art school, nor did I know any other artists than Dali, or Escher. I didn’t know galleries, or anything about the art world, how it worked and what it was. So I could not even make a choice what to do, for me it all felt the same when I entered, and I ended up in the design program, because it felt less restricted. From the moment that I entered school I didn’t had a real interest in design, but was much more attracted to art, which hasn’t changed till today. In the introduction year I tried to mimic work of Ben d’Armagnac, did a performance with a fellow student, made mini pieces of land art, as a way to absorb what was new to me, with a main interest in conceptual art. For me design has always functioned as a medium in which I was able to express my, or our, ideas. It has never felt as if I was a designer, working in the field of design.
              I still see the projects that we do as ways to do work. This will be called design of course, since it operates within this context. I’m not claiming that we do art, since the work doesn’t live as art, it lives as design. But at the same time I also don’t think that I would approach things very differently from when I would have worked as an artist. Same person, same mind, same ideas, same work. It might have looked differently, but in it’s core, it would all be not that different. I even feel strong connections between things that I did as a kid, although I didn’t know there was something called art, and ideas I come up now. I haven’t changed that much, except that I have learned how to direct my ideas and interests better, and let them work for me. It’s all quite natural and organic, it’s all process, such as life itself. When it comes to define a practice I prefer to see it as an open space in which things can happen and in which you try to do your thing.

            3. Mevis & Van Deursen (NL)

              Armand Mevis (1963, Oirsbeek, NL) and Linda Van Deursen (1961, Aardenburg, NL) established their office for graphic design in 1987 in the Dutch Capital after having graduated at the Rietveld Academy Amsterdam. They designed numerous books for artists such as Rineke Dijkstra (NL), Peter Downsbrough (US), Aglaia Konrad (AT), Walter Niedermayr (IT), Gabriel Orozco (MEX), Bas Princen (NL), Cerith Wyn Evans (GB) or architects as Delugan Meissl Associated (AT), Christian Kerez (CH), Office Kersten Geers David van Severen (BE) and SANAA (JP), developed numerous corporate identities as for the Dutch fashion designers Victor & Rolf or the City of Rotterdam, Cultural Capital in 2009, and created templates for Dutch magazines as Metropolis M or De Groene Amsterdammer. Armand Mevis is Head at Werkplaats typography in Arnhem and Linda Van Deursen is Director of the Graphic Design Department at the Gerrit Rietveld Academy; both are teaching at the School of Art, Yale University, New Haven (US).
            4. Moritz Küng (CH)

              Moritz Küng (1961, Lucerne, CH) is an exhibition curator and book editor working above all at the intersection between art and architecture. He worked together with Mevis & Van Deursen since 1988 on more than thirty occasions, mainly the production of exhibition catalogues and artists’ books. He lives in Barcelona.
          1. Publications

            Biennial News

            Summer & Fall issue

          2. Contents

          3. Summer Issue

            Interviews with: Åbäke (GB)The first time Francesco Spampinato heard the word Åbäke dates back to 2002, associated with electronic music label Kitsuné, which is also a quintessential parisienne fashion brand. In fact Kitsuné is just one galaxy – collateral and not even representative – of the Åbäke universe, a London-based design studio behind which lurk Patrick Lacey, Benjamin Reichen, Kajsa Ståhl and Maki Suzuki. Active since 2000, the Royal College of Art alumni count clients like the British Council and the Serpentine Gallery, and collaborations with fashion designers such as Hussein Chalayan and Maison Martin Margiela, artists such as Ryan Gander, Johanna Billing and Martino Gamper, and bands such as Air and Daft Punk.

            As the term Åbäke suggests, however, the Swedish word for a large and cumbersome object, Francesco suspects that the group supports the burden of design on commission only to learn rules and conventions that it is happy to deconstruct at other times. Åbäke, indeed, is also responsible for meta-design projects, independent, transdisciplinary, strictly collective and often participatory: the dialogical digital platform for architecture Sexymachinery (2000–2008), the relational culinary events of Trattoria (2003), the publishing project Dent-De-Leone (2009), the propaganda for the imaginary Victoria & Alferd Museum (2010), and the spy agency Åffice Suzuki (2010).

            For Åbäke constantly attracts the attention of the art world: most of its projects do not certainly meet criteria of functionality, but raise questions about how design conveys the forms of transmission of culture. Publications, curatorship, talks and workshops, indeed, are integral part of their activities. So when Spampinato invites the group to be part of his book on art collectives, Åbäke agrees to contribute if Francesco writes in exchange this biography, inserting himself, “so it isn't authorless,” in third person, putting thereby in crisis the role of the critic and the conditions under which he normally associates intellectual values to cultural phenomena.
            , Sulki & Min Choi (KR)Sulki & Min are Seoul-based graphic designers. Sulki Choi studied communication design at Chungang University, Korea, and Min Choi at Seoul National University, Korea. Both earned their MFA degrees in graphic design at Yale University, New Haven, US. They worked as researchers in design at the Jan van Eyck Academie, Maastricht, the Netherlands, from 2003 until 2005. Since they came back to Seoul, Sulki & Min have worked mainly in cultural area, collaborating with institutions and individuals for the design of graphic identities, marketing materials and publications. In 2006, they held their first exclusive exhibition at the Gallery Factory in Seoul, for which they received the Art Award of the Year from the Arts Council Korea. They have participated in many exhibitions at institutions including Frankfurter Kunstverein, Moravian Gallery in Brno, Ningbo Graphic Design Biennale, Anyang Public Art Project, Arko Art Center, Platform Seoul, Gyeonggi Museum of Modern Art, CCA Wattis Institute for Contemporary Arts in San Francisco and Walker Art Center in Minneapolis. They also make and publish books through their own Specter Press, often collaborating with contemporary Korean artists and writers. Sulki & Min worked as graphic designers for the BMW Guggenheim Lab, a collaborative project initiated by the Guggenheim Foundation and BMW, during its three-year operation in New York, Berlin and Mumbai, for which they created an interactive graphic identity system based on on-line participation. In 2013, Min Choi curated Typojanchi, an international biennial of typography in Seoul, as the curatorial director. Both Sulki Choi and Min Choi teach graphic design and typography, at Kaywon School of Art & Design and the University of Seoul, respectively. , Koenraad Dedobbeleer (BE)Koenraad Dedobbeleer is an artist, occasional curator and amateur publisher from Brussels, Belgium. He spends an important amount of his time in the European capital, sharing life with his wife, the no less than brilliant artist, Valérie Mannaerts and their daughter Claude Konrad Mannaerts.

            Recent exhibitions include amongst others: Gusiform Gyros at Lisson Gallery, London Weather Permitting 9° Bienal do Mercosul, Porto Alegre Hearsay, Rumours, Bed-sit Dreamers and Art Begins Today at Galerie Micheline Szwajcer The Desperate, Furiously Positive Striving of People Who Refuse to Be Dismissed at Extra City Kunsthal, Antwerp Der Brancusi Effect, Kunsthalle Wien, Vienna

            He recently published the book Compensating Transient Pleasurable Excitations with Roma Publications of Amsterdan and together with Kris Kimpe put together a travelling lecture (UP) BAR which originated last March at La Loge, Brussels.
            , Linda Dostálková (CZ)Established studio The Bestseller Creative Platform (together with her sister Daniela Dostálková, in 2005). She is the head of the graphic design department Text Form Function at the Faculty of Fine Arts in Ostrava. She currently studies at the Werkplaats Typografie in Arnhem. She graduated from scenography at the Janáček Academy of Music and Performing Arts in Brno in 2003, studied new media at the Academy of Fine Arts in Warsaw from 2001 to 2003, and from 2000 to 2001 architecture at the Faculty of Architecture of the Technical University of Liberec. The concepts behind her work are often derived from her studies of performing arts. She is interested in implications of scenography to graphic and exhibition design. , Kurt Finsten (DK)Art historian and architect. Engaged in graphic design, lighting design and painting. Since 1991 director of Krabbesholm Højskole, a Danish art college specialized in art, photography, architecture, design, and graphic design. , Rudy Guedj (FR)Rudy Guedj is a French graphic designer based in Amsterdam. He graduated from the Gerrit Rietveld Academie in 2013. Could it be on autonomous or on commissioned works, his practice often involves the use of drawing. His work generates narratives, typographical or abstracted signs, and explores reading structures and possibilities of the line. , Elisabeth Klement (EE)Elisabeth Klement (1987) is a graphic designer based in Amsterdam. She currently works at the graphic design department of the Rietveld Academie. Together with Laura Pappa she organises the annual Asterisk Summer School in Tallinn. & Pieter Verbeke (BE)Pieter Verbeke (1982) is an arts organiser based in Amsterdam. He is a librarian at the Gerrit Rietveld Academie and has organised exhibitions and projects relating to art collecting and publishing. Since 2011, together they run art book shop and exhibition space San Serriffe in Amsterdam. , Vladimír Kokolia (CZ)Professor Vladimír Kokolia (* 27 November 1956, Brno) is a painter, he lives and works in Veverské Knínice and Prague. He graduated from the AVU academy in 1981. Vladimír Kokolia has had over 90 solo exhibitions and has taken part in 300 groups exhibitions, for example, at the Documenta IX in Kassel. In 1990 he was the first artist to win the Jindřich Chalupecký Prize for artists under thirty-five. Since 1992 he has headed the Graphic Art II department at the Academy of Fine Arts, Prague, and for the last three years has been the vice-chancellor for studies at the academy. Between the mid-1980s and mid-1990s Vladimír Kokolia was the frontman and lyric writer in the E rock trio. He has been practising Chinese tai-chi of the Chen family for over twenty-five years. Kokolia’s outstanding results in composting earned him the Miss Compost of the CR award in 2007. In 2012 he received the Prize from Dalibor Chatrný for the best artist over thirty-five. , Joris Kritis (BE)Joris Kritis (1983) studied graphic design at Sint-Lucas Ghent and was a participant of the Werkplaats Typografie between 2006 & 2008. Since 2009 he is working as an independent graphic designer. From 2009 till 2011 he was designing the arts review Metropolis M in collaboration with Julie Peeters and in 2010 they restyled the graphic identity of the Beursschouwburg in Brussels, which won the public prize in the Cobra Power of Print competition.

            Clients include The Royal Museums of Fine Art, Brussels, Contour, Mechelen, the Appel Curatorial Programme, Amsterdam, ROMA Publications, OFFICE Kersten Geers David Van Severen, Canadian Centre for Architecture, Piet Zwart Institute, Architecture Workroom Brussels, BOZAR, Brussels, If I Can’t Dance …, Amsterdam, Elisa Platteau Gallery, EPFL, Lausanne, The Flemish Architecture Institute, etc.

            In 2011, his work has been selected for the Brno Biennale and with the book Changing Cultures of Planning, he won the Prix Fernand Baudin, as well as a bronze medal in the Most Beautiful Book of the World-competition in Leipzig. The Flanders Architectural Review 2012 was selected for the Best Designed Books in the Netherlands.

            He has been teaching in the Gerrit Rietveld Academie since 2011, and has given workshops in Ghent, Oranjenstadt and Talinn.
            , James Langdon (GB)James Langdon is an independent designer. He is one of six directors of the artist-run gallery Eastside Projects in Birmingham, UK; and founder of the itinerant School for Design Fiction. In 2012 he received the Inform International Award for Conceptual Design, presented by Galerie für Zeitgenössische Kunst, Leipzig, Germany. He has worked as a designer for numerous artists, and for institutions including Book Works, London; Sternberg Press, Berlin; Contemporary Art Gallery, Vancouver; and OCA, Oslo. Curatorial initiatives include ‘Arefin & Arefin: The Graphic Design of Tony Arefin’, Ikon Gallery, Birmingham, UK (2012); ‘Construction School’, Kunstverein, Amsterdam, Netherlands (2012); Norman Potter’s ‘In:quest of Icarus’, Stedelijk Museum, Amsterdam, Netherlands (2012); and ‘Book Show’, Eastside Projects, Birmingham, UK (2010). He has lectured internationally at institutions including Konstfack, Stockholm, Sweden; Camberwell College of Arts, London, UK; Werkplaats Typografie, Arnhem, Netherlands; HFG Karlsruhe, Karlsruhe, Germany; and Jan van Eyck Academie, Maastricht, Netherlands. , Radana Lencová (CZ)Studied at the VŠUP Prague (1994–2000) and in the school’s doctorate programme (2002–2005). She is a graphic designer specializing in art experiments combining type, light and dance (Metamorphosis of Waste – Transformation of the Soul project). Her current work involves book design and free calligraphy (The Line of Breath project). She has received several awards, for example, the Alfons Mucha Prize; the Brno Biennale Prize (1998); the Most Beautiful Czech Book prize, and others. , Mikuláš Macháček (CZ)Graphic designer, studied at AAAD in Prague and ABK in Maastricht. Following an internship at Studio Dumbar (Den Haag, NL) a member of Studio Najbrt (Prague, CZ) for eight years. In 2011 he establishes studio zetzetzet, together with Sarka Zikova. The studio is focused on graphic, interior and product design. Currently for the third year, Mikulas Machacek is a head of Studio of graphic design 2 at the Faculty of Fine Arts in Brno. , Mevis & Van Deursen (NL)Armand Mevis (1963, Oirsbeek, NL) and Linda Van Deursen (1961, Aardenburg, NL) established their office for graphic design in 1987 in the Dutch Capital after having graduated at the Rietveld Academy Amsterdam. They designed numerous books for artists such as Rineke Dijkstra (NL), Peter Downsbrough (US), Aglaia Konrad (AT), Walter Niedermayr (IT), Gabriel Orozco (MEX), Bas Princen (NL), Cerith Wyn Evans (GB) or architects as Delugan Meissl Associated (AT), Christian Kerez (CH), Office Kersten Geers David van Severen (BE) and SANAA (JP), developed numerous corporate identities as for the Dutch fashion designers Victor & Rolf or the City of Rotterdam, Cultural Capital in 2009, and created templates for Dutch magazines as Metropolis M or De Groene Amsterdammer. Armand Mevis is Head at Werkplaats typography in Arnhem and Linda Van Deursen is Director of the Graphic Design Department at the Gerrit Rietveld Academy; both are teaching at the School of Art, Yale University, New Haven (US). with Moritz Küng (CH)Moritz Küng (1961, Lucerne, CH) is an exhibition curator and book editor working above all at the intersection between art and architecture. He worked together with Mevis & Van Deursen since 1988 on more than thirty occasions, mainly the production of exhibition catalogues and artists’ books. He lives in Barcelona. , Fraser Muggeridge (GB)Fraser Muggeridge is director of Fraser Muggeridge studio, a graphic design company based in London. He also is visiting tutor at the Department of Typography & Graphic Communication, University of Reading, and Camberwell College of Art, London. In 2010 he founded Typography Summer School, a week-long programme of typographic study in London for recent graduates and professionals, now running in London and New York. , Nina Paim (BR)Born in 1986 in Brazil Nina Paim lives and works in Berlin. After a detour into economics and philosophy, Nina studied graphic design at Esdi, Rio de Janeiro and the Gerrit Rietveld Academy, Amsterdam. Her bachelor project was Escola Aberta, a temporary design school in Rio from August 6–11, 2012. Nina's work usually involves many others and revolves around notions of directing and collaborating. Since graduation, she has been working independently as a graphic designer as well as taking forays into the fields of curating, mediating, and teaching. In June 2013 her collaboration with Corinne Gisel was nominated for the Swiss Design Award. , Barbara Steiner (AT)Barbara Steiner is curator, editor and author with an emphasis on politics of representation, institutional critique/criticality, architecture, and display. From 2001 to 2011, Steiner was Director of the Galerie für Zeitgenössische Kunst Leipzig. There, she also initiated the annual art prize INFORM, an accolade presented to graphic designers, who develop a practise within the context of graphic design and art. From May 2012 to May 2013 Steiner headed Europe (to the power of) n, a transnational project, which took place in eleven cities in and outside the European Union. After, she was curator in residence at Castrum Peregrini in Amsterdam. Within the scope of her residency she drew attention to the relation of art and graphic design in particular consideration of their social and economic entanglements. , Tom Vandeputte (NL)Tom Vandeputte is a writer and theorist based in London and Amsterdam. He teaches and convenes a critical theory programme at the Sandberg Institute and is a visiting lecturer at King’s College London. Vandeputte holds an MRes with distinction from the London Consortium and is currently completing a PhD in philosophy at the Centre for Cultural Studies, Goldsmiths College. His writings have been published in various books and journals, including Metropolis M and Log. Together with Tim Ivison, he edited Contestations (Bedford Press, 2013), a book on experimental forms of education and self-organised learning beyond the academy. , Rostislav Vaněk (CZ)Rostislav Vaněk (1945) studied at the Graphic School Prague (1960–1964) and at the Studio of Illustration and Graphics with Prof. Karel Svolinský AAAD in Prague (1964–1970). Between 1971–1976 lecturer in the Studio of Applied Graphics and Poster with Prof. Eugen Weidlich, AAAD in Prague, 1976–1985 head of the art editorial office of Československý spisovatel Publishers in Prague, and since 1985 he has worked as freelance graphic designer in his own studio. In 2001 he has been appointed Professor in the Studio of Graphic Design and Visual Communication, the AAAD in Prague, and has been working there till now. Founding member of Typo& (1974), co-founder and chair of the TypoDesignClub Prague (1995). He designed more than 20 Czechoslovak postage stamps, half of which won an award in the competition for the Most Beautiful Stamp of the Year. Significant realizations: Prague Metro orientation system, visual identity of hotels Forum, Palace, Atrium in Prague, Dvořák Hotel in Karlovy Vary. He designed the logo and manual for the Czech Airlines, including graphic design of all aircrafts and land vehicles (collaboration with R. Leszczynski), visual identity for the Czechoslovak Commercial Bank, the annual meeting of the International Monetary Fund and World Bank Group in Prague 2000, visual style for the International Conference Identity – Integrity, Icograda, Brno Biennial 2002. He created book design for more than 1,000 book titles. His work obtained many awards for graphic design and visual communication, e.g. Special Prize of the Academy of Visual Arts Leipzig IBA Leipzig 1977, Exhibition Graphics Award Praga, The World Stamp Exhibition 1978, Certificate of Honour 10th Brno Biennial 1982, bronze medal Praga, The World Stamp Exhibition 1988, Certificate of Honour IBA Leipzig 1989, Achievement Award Icograda, Identity – Integrity Icograda Conference Brno Biennial 2002, Excellent Design Award, Ministry of Industry and Trade and the Design Centre of the Czech Republic 2003, Organising Committee Award for a contribution to graphic design, Brno Biennial 2010.
            Practical Info (Venues, Opening Hours, Admission), Biennial Talks (20.–22.6.2014), OFF Program (Summer term), Brno Biennial Accompanying Events, The Moravian Gallery in Brno (Permanent Exhibitions, Accompanying Programme)

            Fall Issue

            Text: Oliver Klimpel (DE)Oliver Klimpel (narozen v Drážďanech) je grafický designér, který žije v Londýně a vede tam studio Büro International. Podílí se na mnoha designových projektech pro kulturní i komerční sektor, jako například Tate Modern v Londýně, Museum Folkwang v Essenu, Goethe-Institut v Londýně či Taipei Contemporary Art Center. Po letech vyučování na Central Saint Martins College of Art & Design a London College of Communication byl v roce 2008 jmenován profesorem na Akademii výtvarných umění v Lipsku, kde vede třídu systémového designu. Everybody's Got to Learn Sometime
            Interviews with: the Selection Jury, Petr BabákPetr Babák (Graphic Studio Laboratoř) “He handed in two graphic designs into the tender for the New Logo and City Visual Indentity of Brno. One contained slogan ‘Brno is the golden Ship’ and the second one was crossed out Hradčany. At the Academy of Arts, Architecture & Design in Prague in the Atelier of Graphic Design and New Media, as well as in the Graphic Studio Laboratoř, he rules with infantile sophistication…” (Michal Nanoru, Živel) , Luna Maurer (NL) & Roel Wouters (NL), Roosje KlapRoosje Klap (1973) has set up studio for visual communication after her Graphic Design studies at the Gerrit Rietveld Academy in Amsterdam. Roosje Klap mainly works for a clientèle in the cultural field. & Niels Schrader (NL)Niels Schrader (1977) studied Communication Design at the University of Applied Sciences in Düsseldorf and at the Sandberg Institute in Amsterdam. He worked as a freelance designer for Uwe Loesch and Irma Boom and set up his own studio in Amsterdam.
            Practical Info (Venues, Opening Hours, Admission), Back to School! (19.–21.9.), OFF Program (Fall term), Brno Biennial Accompanying Events, The Moravian Gallery in Brno (Permanent Exhibitions, Accompanying Programme)


            Interviews: Tomáš Celizna (CZ)Tomáš Celizna (1977) is interested in graphic design in connection with new technologies. He is a founding partner of design studio dgú in Prague (2001–2005), recipient of J. W. Fulbright Scholarship (2006), and holds M.F.A. in graphic design from Yale University School of Art (2008). He currently lives and works independently in Amsterdam. Collaborations include, among others, BAK, basis voor actuele kunst, Utrecht; Graduate School of Design Harvard University, Cambridge; Faculty of Architecture CTU, Prague; OASE Journal for Architecture, Rotterdam; Royal Academy of Art, The Hague; Sandberg Instituut, Amsterdam; Stedelijk Museum, Amsterdam and The New Institute, Rotterdam. Since 2011 he is a lecturer in graphic design at the Gerrit Rietveld Academie in Amsterdam, and a member of the curatorial team of the International Biennial of Graphic Design Brno. , Adam Macháček (CZ)Adam Macháček (1980) is a graphic designer. Following studies at the AAAD in Prague, Gerrit Rietveled Academie in Amsterdam and Ecal in Lausanne, he co-founded in 2004 studio Welcometo.as in Lausanne and is a member of 2014 Designers collective. His work includes publications, exhibition catalogues, illustrations and identities. Collaborations include, among others, The Moravian Gallery in Brno, Théâtre de Vevey (2003–2012 seasons), Galerie Rudolfinum, SFMOMA, Chronicle Books, Museum of Czech Literature, Brno House of Arts. For Brno Biennial he initiated and organized exhibitions Work from Switzerland (2004) and Work from Mars (2006, together with Radim Peško). Since 2011 he is a member of the curatorial team of the International Biennial of Graphic Design in Brno. He lives and works in Berkeley. & Radim Peško (CZ)Radim Peško is a graphic designer based in London. He works in the field of type design, editorial and exhibition projects. Work includes identity for Secession Vienna (AT), Berlin Biennale 8 (DE) in collaboration with Zak Group, various work for Moravian Gallery, Brno (CZ), Eastside Projects, Birmingham (UK) or a long-term collaboration with artist Kateřina Šedá among others. In 2010 he has established his RP Digital Type Foundry that specializes on typefaces that are both formally and conceptually distinctive. He teaches at Rietveld Academie in Amsterdam (NL) and École nationale supérieure des beaux-arts de Lyon (F). Since 2011 he is part of curatorial board of International Biennial of Graphic Design in Brno (CZ). , Kateřina Přidalová (CZ)Kateřina Přidalová (1978) studied history of art at Masaryk University in Brno. She is a publicist, critic of design and editor of design and visual culture website Designreader.org. She founded blog VizualniKultura.cz and writes for cultural magazine A2 and Biennial News. As a lecturer of workshop Graphic design is (not) ageing (2013) collaborated with NGO Czechdesign.
            Edited by: Martina Tlachová, TC&AM&RP, Miroslava Pluháčková
            Graphic design: TC&AM&RP
            Printed by: Tiskárna Didot s. r. o.

            Czech/English, 180 × 350 mm, 48 & 32 pages, self-cover, staple-bound
            The Moravian Gallery in Brno, 2014


            Both issues of the Biennial News are available for free to the visitors of the 26th Brno Biennial 2014, and in selected cafés across the city of Brno.

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