A new music theatre work, Remnants, opens this week at Print Room at the Coronet in Notting Hill. Remnants tells the story of one woman’s encounter with the aftermath of war crimes at Srebrenica, and her family’s connection to the holocaust in Bosnia fifty years before. Conceived and directed by Patrick Eakin Young, it is based on the memoir The Stone Fields by Croatian-American writer Courtney Angela Brkic, and mixes spoken word and dance Balkan folk songs, vocal arrangements and electronic soundscapes. We worked with Patrick to create a libretto for Remnants to document the text used in the work, accompanied by family photos and found imagery. The production runs until 1 July.
15 June 2017
17 May 2017
We were commissioned last year to design the book and exhibition for Basquiat: Boom for Real, which is set to open at the Barbican Art Gallery this September. We’ve been busy over the past months researching Basquiat’s life and career, and working on our designs.
Our approach references certain visual and material qualities within Basquiat’s work in an understated way, allowing the frenetic energy and immediacy of his artworks to take centre stage. The images to the right display some of these qualities. The proportion and scale of his graffiti writing (shown above in a still from the film Downtown ‘81) influenced our choice of type for titles throughout the show; we’ve also been looking at Basquiat’s roughly-finished frames and use of found materials, which can be seen below in a photo of his exhibition at the Centre Culturel Français, Ivory Coast (1986).
The exhibition, for which we are collaborating with Carmody Groarke, opens on 21 September.
11 April 2017
Llewelyn’s, a new neighbourhood restaurant in Herne Hill, is now up and running and open for business.
The restaurant is a new venture by Alcides Gauto, formerly of the excellent Rochelle Canteen in Arnold Circus. Alcides is a long-time friend of APFEL, and we’ve got many happy memories of lunches in the sun at Rochelle Canteen—here’s to many more in his new restaurant! We designed the logo and identity for Llewelyn’s, and it was a pleasure to collaborate and be part of bringing the new restaurant to life.
Congratulations to Alcides and the team! For a peek at the menu, take a look at their Instagram feed.
1 March 2017
Over two hundred artists, writers, musicians and curators have come together to form a new coalition, Hands Off Our Revolution, to stand up against the rise of right-wing populism and intolerance that has been evident since the Brexit vote and Trump’s election victory.
The group, spearheaded by Adam Broomberg, will present a series of exhibitions and actions that confront the rise of right-wing populism in the US, Europe and elsewhere. Proceeds from their activities will go towards arts & activist causes.
We’ve worked with Adam and his regular collaborator Oliver Chanarin many times before, and were very pleased to be able to offer our support and design the microsite for the project, featuring Mark Titchner’s striking GIF header. The first Hands Off Our Revolution exhibitions will be announced later this month.
Visit the website, and get involved!
24 February 2017
Recently, we’ve been working with Asia Art Archive to design their new visual identity, and it’s very exciting to see it unveiled this week. Asia Art Archive is an independent, non-profit institution dedicated to documenting contemporary art in Asia. It holds over 70,000 records, which reflect contemporary artistic practice in Asia within an international context.
The new logo and visual identity features a system of lines, representing the connections formed between materials and ideas within the archive, and the interconnectivity of AAA’s activities. The logo uses a bespoke headline typeface designed by APFEL with exaggerated ink traps, a traditional feature of typefaces intended for use at small sizes, such as within an archive.
13 February 2017
Tate Britain’s new David Hockney retrospective has just opened—it has already broken records as Tate’s fastest-selling exhibition ever, and spans sixty years of the artist’s career. Tate have published an extensive catalogue to accompany the exhibition, which we are very proud to have designed.
The catalogue is a full-career retrospective of Hockney’s work, including over 200 images, and there are two editions: hardcover and softcover, both at 270pp. The hardcover edition has foil-blocked type on a bright orange paper; the typeface, Bureau Grot Compressed, is based on grotesques designed by Stephenson Blake in the 1800s in Sheffield, Yorkshire, the county of Hockney’s birth.
The exhibition runs until 29 May at Tate Britain before touring to the Centre Pompidou, Paris, and the Metropolitan Museum, New York, later this year. Be sure to pick up a copy of the catalogue if you visit!
25 January 2017
The launch of Librairie Marian Goodman took place this week at 66 rue du Temple in Le Marais, Paris. The Librairie is Marian Goodman Gallery’s second Paris-based space, and combines a street-facing bookshop with a small exhibition space, located across the street from their main premises. We’ve been working with Marian Goodman Gallery and architects OMMX on the new space: art directing the interior fit-out, creating signage for the exterior façade, and designing the packaging for the bookshop, which offers for sale a broad range of art books, exhibition catalogues, printed matter and artists’ editions.
17 January 2017
We’ve just received the first copies of Revolt of the Sage, the new book we’ve designed for Blain Southern. The book acts as an extension of the exhibition of the same name, which is currently open at their gallery on Hanover Square until 21 January.
The exhibition and book both take their title from a work by Italian artist Giorgio de Chirico, painted in 1916, which depicts a crowded collection of ephemeral and everyday objects inhabiting a setting described by de Chirico as a ‘metaphysical interior’.
Revolt of the Sage explores this notion of a metaphysical interior, gathering together the work of a range of artists who use collage, juxtaposition, fragments, framing devices and layered imagery to explore ruptures in time and the alluring mysteries of the everyday. The book acts as a companion to the exhibition and also extends its ideas, including additional images of works that don’t appear in the show. The cover, right, juxtaposes a photograph of a bust of the Roman god Janus with an abstracted graphic reminiscent of mid-century book cover designs.
The book launch for Revolt of the Sage is being held tomorrow, 19 January from 7pm at Blain Southern, and will include readings from the book. The exhibition itself is open until 21 January, so if you’ve not visited yet, you’ve still got time to catch its last few days!
9 December 2016
The Practice of Everyday Life
We’ve launched a new edition of prints in the APFEL shop this month—a set of six typographic arrangements based on the book that inspired our studio’s name, The Practice of Everyday Life by Michel de Certeau. We selected passages from the text that particularly resonated with our own thinking, and set each in a playful typographic arrangement. The prints are presented in a screen-printed folder and are available in an edition of 40 from the APFEL Shop. Get your copy here.
9 November 2016
We’ve been working this year with curators Mariah Nielson and Fanny Singer on the identity and packaging for Permanent Collection, their new line of women’s clothing, accessories and objects. Permanent Collection is inspired by the approach to acquisition taken by museums of international renown, and presents a range of elegant, minimal and versatile products based on historical designs.
Alongside their first collections, Mariah and Fanny have also produced a printed art journal called Works on Paper, which we designed. It offers them the opportunity to commission writing and criticism on the subject of both art and design—for this first issue, they asked contributors to consider the theme of collecting and collections.
Permanent Collection is holding a special launch this weekend at Spree in Paris. Coincidentally, the venue’s beautiful Le Corbusier facade bears more than a passing resemblance to the debossed type on the cover of Works on Paper issue 1!