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A Practice for Everyday LifeUnit 16, 5 Durham Yard
Teesdale Street, London E2 6QF
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ICA, London
Beck's Futures 2005
Exhibition Graphics, Printed Material and Publication
Beck’s Futures aimed to identify, support and celebrate emerging talent in contemporary art. It was held annually from 2000–6 at the Institute of Contemporary Art and sponsored by Beck’s Bier, a leading commercial patron of the Arts. This exhibition identity plays on the two elements of art and beer, using the red and green of Beck’s brand and taking inspiration from the stripey tents of art shows and beer festivals (an illustration of this is hidden within the flaps); simultaneously creating a sense of seriousness and a subtle thread of humour throughout the event.
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Martha Rosler London Garage Sale
Exhibition Graphics, Printed Material and Publication
This iconic installation and performance piece originally took place in 1973. Rosler is interested in examining art as both a fetishised object and commodity. The project was advertised as a garage sale in local newspapers, but also as an art event in which the work takes the form of an authentic household jumble sale, where second-hand goods are displayed and sold over the duration of the exhibition. The exhibition identity worked as a public notice in bold colours and with hard typography. The invitation took the form of a hole-punched A4 notice which invited the recipient to attach it to lamp posts to advertise.
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London in Six Easy Steps
Exhibition Graphics, Printed Material and Publication
London in Six Easy Steps was a series of six shows, over six weeks, by six different curators, giving their perspectives on London and its art scene. We wanted the design to reflect the city of London – as almost a stereotype of itself. We used blue and red and a typeface very close to the London Underground font, and played on the fact that the exhibition title sounded like a self-help book. Like so much of London no-one dictates exactly how they should look (these publications seem to have a typographic system grown out of human behavior), but they all feel somehow very familiar.
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Jonathan Monk Continuous Project Altered Daily
Exhibition Graphics, Printed Material and Publication
This book documents the process of the exhibition at the ICA. In the lower galleries was an archive of all of Monk’s work; in the upper galleries there was an exhibition which changed every day – with works swapped between the two galleries. The identity for Monk’s exhibition felt archival, from a silkscreen printed poster to the labelling system and daily diary on the walls. On the bookcover is a label, the same one used for the exhibition captions.
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Liam Gillick & Edgar Schmidt Kiosk – Modes of Multiplication
Exhibition Graphics, Printed Material and Publication
ICA exhibitions asked Liam Gillick to design the exhibition space for Kiosk, which was a travelling show of publications and artists’ books. Gillick collaborated with artist and writer Edgar Schmidt, then subsequently named the show after him. The result of their collaboration was a series of structures that involved strategies of doubling and reversal which displayed the publications. We took the themes of their concept and created a double-sided card and publication which was a mirror of itself, but with different information legible on each side.
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Beck's Futures 2006
Exhibition Graphics, Printed Material and Publication
The following year, we were again asked to work on the Beck’s Futures identity. The signage and designs for 2008, take each nominated artists and ‘put their names in lights’.
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Around the World in Eighty Days
Exhibition Graphics, Printed Material and Publication
Jointly curated and hosted by the ICA, London and the South London Gallery around the idea of the original Jules Verne novel, the exhibition presented nineteen artists exploring the themes of travel, migration, race, class and politics, which ran through the original story. In our research we looked at the first edition of the novel from 1872, and used some of the originals characteristics to create a typographically illustrated name identity for the cover. The book also contains travel statistics and a brief summary of the original story. The publication was shortlisted from an original 124 entries for The Art Newspaper and AXA Art Exhibition Catalogue Award 2006.
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Surprise Surprise
Exhibition Graphics, Printed Material and Publication
To the viewer the exhibition appeared at first glance to be a typical summer ‘blockbuster’, with the high profile selection of artists promising a ‘wow’ factor with the work on show. However, each displayed pieces that reversed expectations through a presentation of the the unfamiliar and the one-off. The invite reveals the ‘wow’ list, and the exhibition signage is only numbers, no names. We invited the visitors to guess first and then use our illustrated guide to find the true creators of the works.
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Cerith Wyn Evans Take my Eyes and Through them See You
Exhibition Graphics, Printed Material and Publication
Cerith Wyn Evans conceived a set of entirely new works in direct response to the history, location and architectural particularities of the ICA in London. Through this he examined his own personal relationship with the institution that has played an important role in his development. Cerith first visited the ICA as a teenager in the early 1970s where he came to see Marcel Broodthaers’ final exhibition La Bataille de Waterloo (The Battle of Waterloo) in 1975. This historical referencing was a huge inspiration, with time spent rummaging through the ICA's archive until we found the original Marcel Broodthaer invitation. We echoed the same typography, size and printing process for Cerith’ invitation, and simply photocopied this again with a sandwiched essay and event listing inside for the exhibition guide.
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