Since 2011, Marietta Eugster and Maximage have been working with publisher Andreas Koller to revamp and redesign the visual identity of Zurich-based art book publishers Edition Patrick Frey.
The new distribution and presentation strategy aims to combine the experimental graphic character of the design with the functional demands of a digital tool of this kind, thereby making the books, catalogues, magazines, posters, print and digital media output of Edition Patrick Frey available to a large audience.
The barcode is a distinctive and recurring element in the design of the visual identity. It’s a technical detail that plays an important role in the book trade and in book distribution, because the ISBN represents the digital information about a book. The award-winning work employs colour coding and barcodes as a humorous and playful stylistic resource but also one that structures and shapes different formats, such as posters or a magazine featuring contributions by artists. These design tools, which draw heavily on the technical aspect of printing and production, reveal the importance the designers attach to proximity to the book as object.

An exhibition catalog for Kunsthalle Bern

This publication, designed and conceived with Marietta Eugster, is the catalog of Valentin Carron’s first all-painting exhibition. While the artist has occasionally made paintings since he started exhibiting in the early ‘2000s, he regarded them essentially as three-dimensional wall objects, comfortably at home within his primarily sculptural production. If the 34-odd works specifically made for “Do ré mi fa so la si do” retain the characteristic objecthood of these earlier pieces, as well as a wry self-awareness of their status as decorative furniture pieces for bourgeois interiors, this new ensemble frontally engages with formal and conceptual considerations specific to the history of painting, such as the erosion of 20th century pictorial languages, or the romanticized figure of the painter.

Published on the occasion of the exhibition “Do ré mi fa sol la si do”, Kunsthalle Bern, from February 1, to March 23, 2014.

Between club, gallery, and lecture hall

Across 13 conceptually-linked stages he intersects a plethora of dimensions both synthesised and organic in a hyperreal simulacra of contemporary life strung between virtual and physical headspaces and places, twisting historical and imagined timelines back in on themselves in a way that’s likely to induce motion sickness in those susceptible to it.
Most impressive are the unfathomably wide designs of Wetware and the the plangent warning signal of Technocracy, and the engulfing space of Irreversible. Black Atlantic, whilst the thizzing trance flares of Transfiguration I: Enlightenment and the welting flashcore pulse of Immersion Into Noise are primed to light the ‘floor. Vinyl comes packaged with a 24 page art book, that includes an essay based on the concepts behind the LP, by New York based writer Deforrest Brown Jr.

A snapshot of emerging artistic practices – drifting identity

Between 2012 and 2015, Maximage designs Les Urbaines’ evolving identity as a laboratory for experimentations with different means of production generating new aesthetics. Les Urbaines festival takes place each year for a week-end dedicated to emerging artistic practices, with some forty-odd projects happening free of charge between Lausanne and Renens.

The book gathers essays by Marlie Mul, Linda Stupart, and Georgia Horgan, that tell the detailed story of the artist’s show cancellation, and connect it to institutional critique; along with photographs of the model the artist had made of the exhibition space of GOMA, with her last proposal.

“This book addresses my cancellation of a solo exhibition that had been planned to open in May 2017 at the Gallery of Modern Art (GOMA) in Glasgow, Scotland.”
—Marlie Mul

Selected for the “Prix Bob Calle 2019”.