An exhibition dedicated to a particular path of the graphic brush from digital to analogue.
On Wednesday 5 February Michele Galluzzo presents his work as a resident graphic designer at Press Press: Brush folder: 2014 – 2019, a selection of sketches and notes related to the digital brushes designed using software such as Adobe Illustrator and Savage Interactive Procreate.
The limited-edition fanzine is printed in risograph, in RGB and is the first release of Campionario, an editorial project curated by Press Press that offers a guided residency inviting the designer to experiment with artisan techniques such as screen printing , chalcography, relief engraving and risograph, all devices are in their studio Spazio Florida. Proofs, graphic material and animations are exhibited as the object of the research and development of this editorial product. During the evening, Michele Galluzzo and Press Press will talk about their professional combination and how they came to physically put together Brush Folder.
Post-Butt analyses the virality of images in our mediated society. More rounded, it is a case study around the image of female bottoms and behinds, and their influence in media, society and art. The posterior is the protagonist of mass-mediated cullture, it is the democratic sex organ par excellence. The phenomenon of bootyfication exists in many contexts, as varied as the exploitation of the body in colonialism to 90s hiphop culture.
Post-Butt goes through different periods in time and place, to analyse the political meaning of the usage of the image of the female buttocks. Then, it discusses the role of the booty in varied cultural expressions such as film, Internet art, music videos, dance and plastic surgery.
Deep inside,Post-butt aims to reflect on how our society is conditioned by viral images, that do not only exist in the digital context, but have deep consequences on our physical world as well.
In 2018 the FIFA World Cup is held in Russia. 32 countries will compete for the title of best national football team in the world. An event that once again will captivate millions and millions of people worldwide. This year’s edition will be remembered as the one when Panama qualified for the first time in history. But, even more surprising, two countries with the richest heritages in football are not joining: Italy and the Netherlands.
For both countries this failure is pretty hard to digest. It means bars remain empty, orange and blue jerseys collecting dust in closets, main squares free of cheering crowds, no cars driving the streets with waving flags. And us, supporters, will be at home with too much time and too little to do.Two teams no cup is the solution. This booklet is a gym for your mind. It requires time and practice. Don’t run from your disappointment. Embrace it. Don’t let your grief get the best of you. Beat it. You can do it. Forza Azzurri! Hup Holland Hup!
Lava is an international design studio based in Amsterdam and Beijing. We are a young team of enthusiastic creatives with a drive to create unique designs based on clear concepts. We offer concept development, strategy, branding and technology. We work hard, laugh a lot and always strive for the best. This results in visual identities, websites, motion, campaigns, apps and interactive installations with a strong recognisability.
Together we work for clients like the Moscow Design Museum, Enigma (Museum for Communication, Copenhagen), TV Broadcaster KRO-NCRV, City of Amsterdam, Klik Animation Festival, The National Museum of Worldcultures, The Nuclear Security Summit, and the Istanbul Biennial.Apart from that, we develop self-initiated projects like workshops, installations, exhibitions, meetups, festivals and hackatons.
The “Interfinity Mark”, is a typographical symbol created and designed by Radim Peško In a typographic sense, this can be described as an interrogative punctuation mark formed by “superimposing a vertical infinity mark (∞) with a question mark (?)”.
Radim Peško explain: “Interfinity allows opposites to coexist. An interfinity question is a question that has both an infinite number of answers and no answer at all. It could be said that an interfinity question is always more interesting than its response; and, conversely, that the response to an interfinity question is always more interesting that the question itself.”
Radim Peško is a designer based in London. His work focuses on typography, type and editorial design as well as occasional exhibition or publishing projects. He is visiting lecturer at Royal College of Art in London and ÉCAL in Lausanne.
Inspired by Italian artistic history from humanism up to the present days, Hato interprets the central role of Leonardo’s Vitruvian Man through nowadays language and tools.
People’s bodies will be the core device for creating the letters that will compose the final alphabet. Once ready, the latter will be shareable and usable on any kind of computer. HATO is a design studio based both in London and Hong Kong focused on the design impact on individuals and society. The project falls under the research that Hato defined as “Playtotype”, where everyone is invited to make his move and add to the collection of letter forms.
Kajet, Romanian-based journal, invites the public to reflect on the representation of their past through publishing. We invited them to Milan to reflect on our shared and unshared past, as a way to discuss the present using the visual output as a form of reflection. The blend of content and form is at the core of their research and practice. The heritage of eastern european visual tradition and the contemporary publishing practice meet in the exhibition set up.
As part of the ‘Utopia after Utopia’, the general public is invited to re-appropriate preserved imagery and representations of the socialist past, to interact with the public archive, to engage with the Eastern European heritage through old magazines & publications, and construct their own meanings concerning the position of utopian vision vis-a-vis Eastern Europe’s future.
Kajet Journal Born in Titan, a (former?) working class neighbourhood of Bucharest, KAJET Journal emanated out of an urgent need to provide a platform for Eastern European narratives. KAJET gets its name from the Easternised version of the French cahier, meaning notebook: a textual & visual collection of thoughts, an assemblage of neglected narratives, a self-expanding string of reflections & perspectives, a perpetual work in progress of a history that keeps re-writing itself; essentially, a journal of Eastern European encounters. The project hopes to become an alternative medium where artists & academics can actively co-exist & thrive. Through a textual and visual composite, try to overcome a purely anecdotal understanding of Eastern Europe, as aim to reverse the mentality, challenge stereotypes and shift perspectives.