01 Hack/Play: Let’s Start Playing The Game!

02 Specialized Generalists

03 The fall and rise of Dutch design

04 AIGA's Design Envy features Letterlab

05 little BIG TYPE SAYS MORE, boxed

06 ED Award for Exhibition design!

07 Design in Rotterdam 1988-2013

08 Design’s Social Pledge

09 Blended Published


11 Two Nominations ED Awards 2013!

12 Graduation Show ’12 Up Close Wide Open

13 Digitizing Contemporary Art

14 Sometimes Six is just not enough

15 It’s Design in the Game

16 Curators at Design Academy

17 ED Award for Slow Art!

18 EYE Film Institute + DAE

19 My love is not a joke

20 Goose Hunt in Museum Hilversum

21 It’s art in the game!

22 design platform rotterdam essays

23 New Pocketknife LP Canyon Dancing 2

24 Stereohype B.I.O. Series #10

25 Benguiat Tribute for NWAT design festival

26 the first typonine type specimen

27 Chinese Abstract ‘Slow’ Art published

28 Ed Benguiat record single

29 Lecture for pdp conference, Serbia

30 The Role of Women in Design

31 ED Award for Artistic catalogue

32 VROAAM lecture & portfolio review

33 Lecture for Romeo Delta/BNO

34 Efteling Radio + DAE

35 european design awards x2

36 Fantastische Fotografie

37 world expo 2010 shanghai

38 étapes Magazine features Letterlab

39 Design Walks ED Festival

40 Letterlab Seasonal Poster Series

41 Lecture for BNO Spellbound

42 TDC honor and ADCN nomination

43 Print Magazine Master class

44 Frank Havermans NAI Book Launch

45 design initiatief’s future telling

46 Letterlab Commercial Airs on National TV

47 Letterlab Exhibition on Typography opens

48 Blurrr/TENT.10 ID & exhibition design

49 TDC Numbers Contribution

50 Facing China Catalogue published

51 Custom Typographic Installation in Soho

52 Collaboration with poet Tsead Bruinja

53 1 workshop and 3 lectures in Croatia

54 Platform 21 = Joyriding

55 Tambourine Dream, FF03

56 Visual Rhetoric of the Supreme Being

57 GreyTones spread and exhibition

58 Vive le Papier Electronique poster

59 Tougher than Featherz, FF02

60 Designprijs Rotterdam

61 Made with FontFont Cover & End Pages

62 Tokyo Chat airs on NHK in Japan

63 Ruffle Yo Featherz, FF01

64 BIG TYPE SAYS MORE at Museum Boijmans

65 VIDE workshop web teaser

66 Red Dot Award for LYWH

67 Yesterday, I lost my Helvetica, lecture

68 Real Dutch Design 0607

69 Rotten Cocktails LP by Boy Robot

70 Channel Push Breakin video for Hifana DVD

71 Typographic Tool ‘Punkt’ released

72 2+3D Interview and cover design

73 New workshops, lectures & research

74 VisCom published The New Typographers

75 Little Yellow Writing Hood

76 Guest designers for Items Magazine

77 Strange Attractors ADC Young Guns 4!

78 Dutch Design 2004-2005

79 Brunn Judge’s Choice TDC2 2004

80 Recognition for catalogue design

81 Cranbrook Graduate Catalogue, Transit

82 Cranbrook Masters Catalogue Redesign

83 Cranbrook Video Festival Poster

84 Hey Dutchie! Poster

< - - - PREV - - - - - -

- - - - - - NEXT - - - >

Facing China
Catalogue published

This publication is an overview of work from 9 Chinese Artists

We designed the catalogue for the traveling exhibition ‘Facing China - Works of Art from The Fu Ruide Collection’. The collection, first on view in 2008, is currently traveling to museums and venues worldwide. Facing China features works of art by and photographic portraits of a unique generation of artists that flourished in the years following the 1989 revolt. The exhibition includes artist portraits photographed by Christoph Fein and works of art by nine artists from this ‘golden generation’: Liu Ye, Zhang Xiaogang, Fang Lijun, Yue Minjun, Yang Shaobin, Tang Zhigang, Chen Qing Qing, Zhao Nengzhi, Wei Dong.

Facing China, Facing me
About Artists, Art and the Observer
“It is my firm belief that the deepest feelings of human beings originate from childhood experiences. This is borne out by the work of the artists in this exhibition. The images displayed here hark back to emotions and sensations that have their roots in youth and student life. These artists grew up during the Cultural Revolutio (1966-1976), and they were studying when the student revolt was suppressed at Tiananmen Square in 1989.   Meanwhile, I was growing up in the peaceful backwater of Holland. I cycled to school, and had a cup of tea with a biscuit when I came home. I was frequently alone in my room, and much of my time was spent collecting stones and fossils, reading and studying. I knew nothing whatsoever about what Chinese children of my own age were going through, 5,000 miles away. They knew nothing about me, and I knew nothing about them. And yet wherever people grow up, and regardless of the conditions that shape their personal lives and their societies, people have a great deal in common, they share similar feelings. That is what connects us all A work of art is far more than a quantity of mixed paint or some other material, color and structure. It provides a window into the artist’s inner world. The contact that arises between the artwork and a viewer – just like music – is largely channelled through feeling, intuition. It has little to do with rational or verbal communication. Perhaps that explains why artists are often reluctant to interpret their work or attach names to it. Looking at an artwork, as a place where the artist’s crystallized thoughts and emotions are collected, evokes fresh thoughts and emotions in the viewer. Everyone will find something in art that is utterly personal, unique to their own experience. In that sense, an artwork is a mirror.   In October 2007 I went to China, together with the photographer Christoph Fein, whom I had asked to photograph the artists and their working environments for the catalogue. When we visited Zhang Xiaogang in his studio and showed him the presentation of the works that were to be included in the exhibition, he described them as ‘emotional, poetic and introverted’. Tang Zhigang, on the other hand, saw ‘humor’ as the linchpin of the exhibition. Others described the artworks in terms of solitude, pain and insecurity, feelings with which I am not unfamiliar in my own human experience.   In the years following the 1989 revolt, a unique generation of artists grew up and flourished. Although each of the artists featured in this exhibition went his or her own way, they all share a strong link – whether direct or indirect – with the past. Their art expresses this in a variety of ways. Yue Minjun puts on a mask of laughter, but in the words of Tang Zhigang, ‘behind the laugh lies pain. People laugh at things because they relate them to themselves; the things that cause someone to laugh are also the origins of his pain’. Fang Lijun expresses himself through mockery and self-mockery, and with a certain playfulness. Although mockery is an important aspect of Liu Ye’s work too, his overriding preoccupation is with dreams and fantasies of his Arcadia, that imaginary place of childhood innocence and happiness. He and Tang Zhigang both depict the ‘innocent’ world of children’s perceptions, but there are also allusions to the harsh reality of adults who play at war and other grown-up games. Yang Shoabin released his feelings by depicting bloody aggression, Zhao Nengzhi by showing human suffering. Qing Qing knits a coat of wire netting around her childhood photographs, and in her work Reincarnation she draws on the days when Wei Dong’s Red Guard girls were still wearing chaste outfits and seemed to be marching to a utopia. Zhang Xiaogang’s canvases also display lines to the past, quite literally in the form of painted threads, connecting relatives and other people, and society in general.   The exhibition title, ‘Facing China’, refers both to the human face and to confrontation with China. It also says something about the inner lives of the artists featured. But the exhibition might just as well have been called ‘Facing You’, since it also deals with thoughts and feelings that anyone might have, whoever he is, wherever he lives.”
(Fu Ruide)


Facing China

Typography 30