The Undesirables is a story about the resistance between the Station and the unwanted
spirits which has been going on for almost 200 years. It is based on the historical research
of the Utrecht Central Station from the moment of its creation in 1843, when it was built on
the place of a small cemetery for criminals.
The Undesirables is a metaphor, used to show how privatisation and securitisation of
public spaces change their political meaning and turn them into ‘non-places’,
where the entrance is not by right, but by permission. They have a departicularized
character, that looks very much alike and pretends to be public. On one hand current
solution (‘supervision and enforcement’) is aiming to make the urban environment safe,
but on the other, it’s turning it into a space of increasing discrimination, where every
individual is treated as a customer and at the same time–potential criminal.
Video installation consists of main projection, supported by a voiceover and two small
screens. The main video displays a partially fictional narrative, following the timeline
of real events. The scaffolding skeleton, which holds the 3-dimentional collage, combining
images of architecture of the station from different periods of time, capture a building
in constant flux, creating a landscape of failed attempts to resist the undesirables.
The two additional small screens show archival images and real facts, on which the story
is based on.
We live under a system of bureaucratic principles which are extended to
every aspect of our existence. What we call "globalization" has nothing to do
with the effacement of borders and the free movement of people,
products, and ideas, but rather trapping people behind national borders.
This project is a model of the world's effective planetary-scale administrative
bureaucratic system currently in place.
Cleansed, peeled, liberated.
The Graphic Design Class of 2018 is
leaving and is saying their goodbyes, but not before commenting on the
state of affairs one last time. Surrounded by pre-packaged, fast-food-visual-language,
authenticity is hard to come by. It becomes slippery like a piece of scented soap.
Trends, styles, templates, groups, collectives. Rigidity. So not yoga.
Who knew creativity could be valorized? Where’s the inner peace at, that
sense of belonging? On the path to subjectivity one-size-fits-none.
What you need is some you-time. We have to re-make and unmake ourselves.
Time to actualise! This is supposed to be a cleansing of sorts.
A ritual. Or is it an exorcism?
Identity for the annual Dog&Pony Show,
presentation of first graduation project ideas by Graphic Design students at KABK.
35 students, 3.33 minutes and 20 slides each.
Inside/Out is a series of works for the exhibition Sexy Times which
includes a booklet, poem and an installation.
The booklet is an associative collage, forming a narrative about the
inner egoistic self and the outer other, about the relationship between the two.
The interactive installation is a continuation of the same narrative, brought into the
physical 3-dimensional space.
In order to activate the installation two individuals have to make a physical contact.
'Exhibition and party by graphic design students of the Royal Academy of Arts, The Hague (KABK) at the new society for the arts in Amsterdam: SEXYLAND!
From Foucault to Beyoncé, mankind has long harbored an obsession with sexuality and the psychological mechanics surrounding them.
Lust is such an individual experience that it gives free range to creatives looking to produce something erotic, playing as they can with personal predilections,
implicit and/or explicit ideas about what do we see, or rather: what do we want to see?
With PlayLab, an elective at the Royal Academy of Arts The Hague, focusing on artistic research, we examined a series of subjects around the topic of
sexuality and our shifting relationship by asserting new attitudes and perspectives towards sex. The stories that are written
challenge traditional visions and divisions between humans, nature and technology'.
Within the modern concept of citizenship it is hard to
bind any principle, belief or value to a nationwide characteristic.
However, constitution is still a perfect example of such a relation.
'The global city has been deemed the birthplace of a post-national or
cosmopolitan conception of citizenship, formed around human rights and
regimes and exercised across state-borders' 1
. If so, then we have to reconsider
what the identity is based on, and mind how and by what means we are being
represented. In the context of moving towards the new global citizenship, where
all sorts of nation based distinctions are slowly being merged,
or even erased, we have to bring up to the surface what lays in the ground of our
diversity, BUT not in order to differentiate.
presents alternative identities, derived from constitutions,
for the countries of the European Uniion. These identities take form of flags. The result
of our investigation turns into a publication, containing all the visualized comparisons
—Structure (How complex is the organisation of information?).
—First Article (What is the 'face' of the constitution?).
—Timeline (When was it released?
When did the amendments take place?
What was the historical context?
—Language (What are the most frequent words used?).
—Number of Articles/Pages (How elaborate is the content?).
—Priorities (To which issues is the priority given?).
The interactive installation is an attempt to understand the idea of
4th dimension through combining projection, sound, touch and space.
'Societies have always been shaped more by the nature of the media by which men communicate
rather then by the content of the communication'.
Moreover electronic media has a direct physical impact on the way our brain is functioning.
The way we think and perceive information is being changed. And my thesis is focusing on how
these changes are influencing architecture and urban landscape in particular.
I would like to discern the role of graphic design in architecture and to point out the spheres
where it is playing a key role. Graphic design is commonly being considered as a 2-dimensional practice,
resulting in print or a digital product. However I see a strong connection in how its influence
spreading further, on a larger scale of architecture and urban planning.
My central assumption within this thesis is that media is forming the perception and ways of thinking which
leads to changes in how we approach urban planning and architecture. And since graphic design is responsible
for communication and translation of information into a visual message, it stands behind that influence as well.
I want to point out that the influence of graphic design goes out of the 2D canvas and has a wider, tangible affect.
Observation and personal experience of travelling through Utrecht Central during my internship
for the period of 3 months became the starting point of this research.
Thesis Website >>>
The design of this catalogue is a reflection on the selection made
by the student jury. Looking at the chosen books,
a certain pattern appears: a book isn't just a source of information,
but an object. With it's image-based editorial approach, tactility, choice of paper,
typography and final presentation, the selection of 2016 tells a lot about how
our perception of printed matter is being influenced by the electronic media.
Project 52.083967, 4.239759 is centered around the idea of impossibility
of absolute understanding between people, which in my opinion is—interpretation.
Reffering to deconstruction theories, John Berger's ideas of mystification this
project is displaying the individual intuitive 'paths' of interpretation as an example, revealing
one particular way of seeing.
10 objects were taken out of the initial context and interpreted in 10 different ways:
—photograph in the initial context ( location coordinates: 52.083967, 4.239759),
—photograph out of the context,
—3 associative words,
—3 google images for assosiative words,
—'re-made' initial objects,
—'re-made' initial objects, experiments with light,
—interpretation of objects in a different material,
The end result turned into an installation,
where all the representations were being displayed together in one space, supported
by sound interpretation.
52.083967, 4.239759 is an attempt to understand and to explore a
fragile intuitive process of communication, full of multilayered connections.
Internet, as a disembodied form of communication often assumed to be impersonal and untrustworthy.
“Globalising intimacy” is an installation, visualising how the absence of physical proximity
can create intimacy. It consists of 2 parts, showing the same personal chat messages on 2 screens
simultaneously. The text becomes readable only when both spectators are looking at it while
standing still. By movement, new messages are being generated.
This alter-ego is a representation of the distortion, inherent to perception,
which sometimes can be used as a defence.
During my internship at Kummer & Herrman we faced a challange of organizing an exhibition for young artists of a third year
Photography Department from The Royal Academy of Art, the Hague at the Unseen
. Each of 12 students had their own photographic often based on personal experience
stories to tell. Our main goal was to build a ‘stage’ prominent enough to stand out and attract the audience, but at the same time neutral to some
extent, not interfering with students’ personal vision. We wanted to provide a separate space for each of them to be able to express themselves.
Limitations like the open space (a lot of participants had TV screens and other equipment) set some extra challange for the exhibition design.
Our work resulted in the use of the names of the project as a base for the identity. LET ME TELL YOU ABOUT... would always end with one of the names
of the projects. As part of the promotion for the event a video teaser based on the same principle was made along with a serie of posters, handout,
facebook and other social media banners. Instagram became a platform for the audiotour (@let.me.tell.you.about) and documentation of the exhibition.
Caspar von Eugen,
Filippo Maria Ciriani,