Slanted

  • SLANTED N.22 ; art type

    Slanted

    Slanted Art Type brings together texts and works from the art world. The magazine presents a large number of art works and installation shots that explore language and typography by internationally renowned artists. It features a Q/A section with design studios developing visual identities in the field of culture production and numerous essays and interviews focussing on art, design and type.

    Participants: Mirko Borsche, Lars Breuer, Stefan Brüggemann, Sico Carlier, Rosson Crow, Shannon Ebner, Paul Elliman, Experimental Jetset, Hannes Famira, Edward Fella, Lutz Fezer, Luca Frei, Gilbert & George, Liam Gillick, James Goggin, Tommy Grace, Karl Haendel, Alex Hanimann, Helmo, Dennis Hopper, Jeffery Keedy, Astrid Klein, Carolina Laudon, Lola, Chris Lozos, Ian Lynam, Michel M., Michel Majerus, Stefan Marx, Metahaven, David Millhouse, Kate Moross, Neasden Control Centre, Alexander Negrelli, Navid Nuur, Ruben Pater, David Peacock, Daniel Pflumm, Project Projects, Allen Ruppersberg, Ed Ruscha, Stefan Sagmeister and Jessica Walsh, Stefan Sandner, Paula Scher, Aurel Schmidt, Pamela C. Scorzin, Jeffrey Shaw, David Spiller, Manuel Raeder, The Entente, Thonik, Mark Titchner, Christian Vetter, Johannes Wohnseifer, Michael Worthington, Zak Kyes

  • Les Alpes, le chocolat, la démocratie et le design graphique - la Suisse est synonyme de solidité, de qualité et de perfection. Reconnus comme génie de la construction rectiligne et de la forme objective, les paradigmes du "swiss style" continuent à donner le ton comme avant.
    Depuis plus de 50 ans les règles instaurées gardent une valeur universelle. Comment s'en sortent aujourd'hui les graphiques avec ce prestigieux héritage ? Comment s'émancipent ils et à quoi ressemble le "swiss style" au-delà d'Emil Ruder, Armin Hoffmann et Josef Müller-Brockmann ? Slanted jette un regard sur la conception contemporaine entre tradition, transgression et présente sur 320 pages le design et la typographie des créateurs.
    La thématique est complétée par des travaux issus de l'illustration, de la photographie et du champ de la création contemporaine ; de nombreux portraits et interviews dessineront une image actuelle de la création de nouveaux venus de la scène du graphisme suisse.

  • Anglais SLANTED N.28 ; warsaw

    Slanted

    Once known as Paris of the North, the capital of Poland ceased to exist only to rise like a phoenix from the ashes.
    This summer, Slanted dips into the refreshing deep pool of contemporary design made in Warsaw.
    Design in Poland was carved by the Polish school of poster art that was shaped by legendary graphic designers, painters, architects and artists such as Henryk Tomaszewski, Tadeusz Trepkowski, Jan Lenica, Roman Cieslewicz, Walerian Borowczyk, Franciszek Starowieyski, Waldemar Swierzy, Wojciech Fangor, Franciszek Starowieyski, Roslaw Szaybo, Maciej Hübner, Mieczyslaw Wasilewski, and many others.
    In Communist Poland, art and culture enjoyed a surprising amount of freedom: After the end of the Stalin era in 1956, Big Brother's grip on the country loosened. Greater freedom was permitted in art, literature and the theatre and support was given to cultural events and art schools. There was a tremendous upsurge in creative output. In 1966 the first »International Poster Biennale« was held and in 1968 the world's first poster museum was opened in Wilanow near Warsaw.
    But where there is art, there is also protest. For artists it was a constant testing of the borders - just how much criticism of the poorly functioning state-run economy was possible? It was a time in which the Polish poster excelled for its intelligence and wit. Following the collapse of Communism in 1989/90, the flow of money stopped.
    Advertising looked to the West for direction, the benefits of uniformity arrived in Poland. Since then, a lot changed !

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