Whatness is an audio gallery founded in 2000 with the aim of combining structures of the visual and musical arts. Internationally renowned artists present their own works as entirely autonomous artistic positions. The fusion of these positions in a project specially created for Whatness generates an expansion of the original media and explores the possibilities of an exchange between art and music by various means such as graphic notation, instrument making and vocal art. The respective collaborations are then published as a CD. Whatness
possible! – Artists as Architects
For the first time, realized buildings and spaces, models and designs for possible buildings and utopian ideas and experiments, all of which are designed by creative artists, are presented in a comprehensive overview exhibition at Marta in Herford. Therefore Surface developed a magazine, that reflects the diversity of projects.
Gwangju Folly II
Key visual, Publication, Brand
The key visual for the project by Gwangju Biennale Foundation, South Korea, references the Korean tradition of wooden windows. Within the visual the title “Folly II” is visible in both Korean and English. Gwangju Folly II will commission new works from the following architects, artists, collectives, and writers: David Adjaye & Taiye Selasi, Ai Weiwei, Seok Hong Go & Mihee Kim, Rem Koolhaas & Ingo Niermann, Raqs Media Collective, Do-Ho Suh, Superflex, Eyal Weizman.
Nikolaus Hirsch (director), Philipp Misselwitz and Eui Young Chun (curators) Gwangjufolly
Zoom, Chinaski, Computational Historical Semantics, Kleinschuhwerk
Designed within individual sources and ideas translating the mostly given content of these institutions to a typographical or combined image-sign, which illustrates as composing the meaning and its function of each specific profession.
Weingut von Winning
For the traditional vineyard Dr. Deinhard in Deidesheim the new corporate design “von Winning” was created. The unusual vine stock growing in the renowned area demanded a traditional as well as an exclusive solution, based on the typographical use of “Ehmke-Ornament-Initials” in combination with the font “Stempel Schneider”, as a reference to the epoch the vineyard label was founded.
Signature Films, Historisches Museum Frankfurt, Forensic Architecture, nXg
As a rule we always promote the meaning of the institution – every graphical composing is readable as a translated visual. This translation as process is the team-result of research and conversation of the client with the designer.
Art Culture Technology, Cocoon, Jüdisches Museum Frankfurt und Museum Judengasse, Create
Goethe National Museum
For the new permanent exhibition “Flood of Life – Storm of Deeds” at the Goethe National Museum in Weimar, Surface has been commissioned for the art direction, involving exhibition graphics and navigation, working along side a joined concept of the exhibition architecture by MINC and a scenographical space by Meso.
Two models by Prof. Hubert Schiefelbein were staged in space in an endless mirror room and photographed in different perspectives. Afterwards circles were cut out of the photo originals. Through the mirror space the sculptures regain their original seriality. Universität Weimar
Since 1997 Surface creates the art work for Shantel, including covers, posters etc., very often in collaboration with internationally renowned photographers as Studio Harcourt Paris for example.
A Critical Reader
In the form of a critical reader, Mario Pfeifer and Markus Weisbeck designed an artist’s publication which considers Pfeifer’s multiple screen, high definition video installation “A Formal Film” (2010) through essays and conversations from India and Europe. Furthermore the publication is a collection of printing techniques and paper stocks that are still available and specific to Mumbai. The publication also includes graphic illustrations, known as ‘Taxi Sticker Art’ as well as a ready-made bookmark. Spector Books
The poster was designed for the anniversary evening celebration of the electronic-music label Raster Noton at the Volksbühne, Berlin and exhibits as a print a 4707 times enlargement of an offset-print-control-strip. This enlargement makes the quality of the offset checkable by way of a 1pt line or point in the center. The poster was printed in an edition of 20. Raster Noton
Rachel Harrison – Fake Titel
Rachel Harrison’s innovative use of sculpture is fundamental to a younger generation of artists. Harrions uses found or purchased objects (readymades) which she incorporates into her sculptures. A catalogue for her exhibition “fake title” at the Kestner Gesellschaft, Hannover, was created in close collaboration with the New York artist.
The idea for the key visuals of Manifesta7 changes abstractly between a bricolage and a tourist-alpine picture that is further underlined by color selection.
The theme of the animated wordmark with its possible variations describes the movement of the connecting waters between Franzensfeste and Roverto.
The Forsythe Company
Structured textile surfaces describe in graphic form the repertoire of the new programme. Once again this series was conceived with William Forsythe and the photographer Dominik Mentzos.
For the AGI 2015 conference-theme in Biel, Switzerland the poster visualize the word within the same meaning than these hands organize this process of composing.
Coexistence characterizes the simultaneous presence of different systems, and peaceful coexistence is a fundamental condition for human beings to live as a community in peace and freedom.Alliance Graphique Internationale
Furniture of the Fogo Island Inn
Publication on the interior design of the hotel “Fogo Island Inn” following the series of exhibition catalogues from “Fogo Island Arts”.Fogo Furniture
Space for Visual Research
The Space for Visual Research was established at the Bauhaus-University Weimar in 2013 as a workshop and laboratory for experimental research into new graphic, abstract and visual worlds. The resulting “Space for Visual Research” publication is a lab book, a log of visual experiments conducted using physics, chemistry, optics and reproduction technology as starting points for image production. Published by Spector Books. Space for Visual Research Spector Books
On the basis of its corporate design for the Siemens AG, an independent design-concept for the Siemens Foundation was developed, that includes various printed matter and digital applications.
Institute for Art Criticism Frankfurt am Main
Surface designed a series of books for the Institute for Art Criticism Frankfurt founded by Daniel Birnbaum and Isabelle Graw. It is published by Sternberg Press.
Printed Matter, Logo
As a further development of the corporate design of the Deutsche Bank AG, different printed matter and digital applications as a play on the parameters of their typography and grids were developed.
Museum of Modern Art Frankfurt
The museum of modern art introduces its completely new graphic appearance by bringing the label as the brand for the institution on the same level as its content. The brand manifests itself using a monogram as a constant element thoroughout all products of visual communication. MMK Frankfurt
MMK 123 Posters
The number system 1, 2 and 3 makes each house distinguishable from one another. Furthermore this typographic intervention serves for the rapid understanding of positioning and enables the logo to function as a way of navigating through the city. MMK Frankfurt
The Capital of Desires
Corporate Design, Book Design
The key visual for the pavilion of Republic of Armenia at the 14th International Architecture Exhibition in Venice is based on a selection of hand drawn Armenian architecture.
Several Book Designs for Sternberg Press
Jahresring 62, Sculpture Unlimited 2, Architecture after Revolution, The Green Room Sternberg Press
After an european design competition the institution selected this brandmark, which is both an identity and a keyvisual for this one-night event in Monte Carlo. The conceptual idea is a vage translation of pictures in the context of sailing of an mediterranean harbour without visualizing a regatta. The brand is translated to local posters, a website and merchandising products.
LUMA Arles is a new experimental contemporary art center that brings together artists, researchers, and creators from every field to collaborate on multi-disciplinary works and exhibitions. An artistic program developed in collaboration with LUMA Arles core group of artistic consultants – Tom Eccles, Liam Gillick, Hans Ulrich Obrist, Philippe Parreno, and Beatrix Ruf – is presented periodically in the already inaugurated venues of La Grande Halle, Les Forges and La Mécanique générale.LUMA Arles
This work is concerned with the development and exploration of visual forms, taking the visual principles of academic-artistic teachings on modernism in the relevant schools, institutes and colleges of the 20th century as a base. The studies are less a reference to modernity, but their methodologies should rather be understood as a departure from pure image as an artistic expression, regardless of an academic art or applied art education. Sternberg Press
A series of poster drafts designed for the Forum On European Culture to promote a common idea on the basis of very personal issues. Taking cue from the classic political campaigns of old workers unions, the campaign concept in collaboration with Anna Sinofzig highlights the importance of the individual as an essential part of the European project. By directly addressing its onlooker, it points to the fact that it is his/her values and voices that count.
For the New York and Berlin based publisher Lukas & Sternberg, a pocketbook series was developed in 2000. The text of every first page is shown as an abstract facsimile on the cover. Thus, the expanding series has variations in title graphics, that can influence the individual authors. Including out-of-print editions, the series comprises 16 books. Sternberg Press
The sky disc is attributed to a site near Nebra, Saxony-Anhalt in Germany and during the bronze era dated ca. 1600 B.C. It is considered the world’s oldest, concrete depiction of the sky and as one of the most important archeological finds from this era. The theme of the stamp’s design illustrates an image of the sky disc as well as its burial objects.
Muriel Cooper Composings
Markus Weisbeck plugs into itself a silkscreen plastic foil (which was used in the eighties by Murial Cooper in her Visual Language Workshops at the MIT in Cambridge) sets it up on a turn table and films it analog. Frieze
German Design Award 2013
Campaign and Motion Design
The central theme for this year’s visual concept for this prestigious award, issued by the German Design Council, was a transparent stage architecture that reflected itself in a virtual space. The design was conceived regarding its use for various medias: from invitations, posters and large scale prints for the exhibition design, that led up to the animated presentation of the winning products during the awards ceremony. The project was realized in collaboration with Oliver Hardt (Signature Films) and tvt film. Surfacemotion Oliver Hardt
MMK 123 SOON
Due to the opening of a third location, the visual language of the MMK was updated with the typographical integration of a number system 1, 2 and 3 to the wordmark. To accompany this distinctive feature: the campaign with “soon” and “now” was used leading up to the opening of the new house. MMK Frankfurt
Designpreis der Bundesrepublik Deutschland 2009
Campaign and Motion Design
In close collaboration with the director, Oliver Hardt, animations were created for the awards ceremony on February 13, 2009. All forms, where visual similarities to the New Bauhaus-Photograms were intended, were filmed entirely in a table-top studio. Afterwards, product photos and additional typography were digitally incorperated into the visual structures and animated. The dramatization included graphic compositions for the 25 prize-winners, moderation-screens and musical visualizations for Burnt Friedman & Jaki Liebeszeit, who were responsible for the musical program. Surfacemotion Oliver Hardt
Städelschule Architecture Class
Based on the abbreviation of the institutional name, Städelschule Architecure Class, the new brand focuses on the alphabetical character SAC. Following the abstraction, the single letters form a graphical construction. These constructs are based on divisions as the principle of a specific area which is required for positioning the pragmatic information. These single areas are now used as different gradient fields ignoring logical lighting parameters, with a maximum of possible variations.
Liam Gillick, Biennale di Venezia 2009
The campaign for the German Pavilion of the 53. Venice Biennale is based on the idea to display the artist’s name in several orthographical variations. Different refractions through a prims create the key visuals for the poster, invitations and website.
The Forsythe Company
The dancers corpuses are defragmented into new abstract forms with intentional cuts and collages. The dynamic and procedural method corresponds to Forsythe’s choreography.
The Forsythe Company
The 2008/2009 campaign for the Forsythe Company displays black + white photography with abstract spaces that, due to their transference, emphasize the dynamics of the figure. The graphic composition integrates the typography in the areas with color and photography.
Juxtaposing “Korean traditional geometric patterns” with “signboard culture nowadays in Korea” inspired typography. The Poster was developed for the 2016 AGI-Seoul-confernce together with the Korean Artist Sunah Choi.
Isa Genzken, Biennale di Venezia 2007
The campaign for the German Pavilion of the 52. Venice Biennale illustrates specific excerpts of Venice, similar to Isa Genzken’s artistic style in her installation “Oil”. Thus, the image of the campaign is a reference to the cliché of the lagoon city just like the artistic contribution in the pavilion and cites that part of the work that uses similar reflections. Ordered were: advertisements, large-scale posters as well as an internet website.
Posters for William Forsythe’s exhibition at Staatliche Kunstsammlungen Dresden.
In the ‘white cube’ of the Kunsthalle in the Lipsiusbau, two industrial robots wave enormous black flags, accompanied by the operating noise of the robots and their continuous movements.