As an editorial resident here at AIGA, I spend my time nosing around for interesting design-related goings on each week (so you don’t have to). Follow along all day, every day on Instagram @AIGAeyeondesign, Facebook, and Twitter @AIGAeyeondesign.
I absolutely can’t get enough of art and design from eastern Europe right now, so what a thrill to see that London’s GRAD Gallery is opening a new show called Postponed Futures that explores “20th century Ukrainian avant-garde practices through the lens of contemporary Ukrainian art.” The exhibition is curated by Kiev-based artist Nikita Kadan, who has arranged new and old works alike into categories “revolution” and “political imagination,” aiming to “juxtapose the idealistic, future-oriented work of the avant-garde with the impulse of contemporary artists to confront the present.”
It’s nigh-on impossible to resist a Classic K-Hole, especially when it’s expertly crafted by Brooklyn-based creative studio And/Or for MTV. This bonkers slab of internet-within-internet-within-internet was commissioned by MTV Classic, which “gifted us with the task of combing through their archive and coming up with some interstitial ideas for their clip-hungry audience,” And/Or explains. “Classic K-Hole replicates the feeling of searching for one thing and falling into a lo-fi Internet K-Hole of amazing MTV clips. In this case, we curated clips around the search term ‘How to Make Friends.’”
Over in the west of England lies a little place called Bristol, a pretty chilled little spot we’re told, and one looking to heighten its graphic design cred this year with the announcement of Something Good festival. The cute branding and site design has been created by Bristol-based agency Fiasco Design, which has made fine use of not-quite-millenial-pink, turquoise, and a rich blue arranged like paper-cut pieces across the festival’s online platform. It’s all very cheerful!
For those who crave an arts mag that’s “more likely to raise questions than offer answers” look no further than YES & NO, a new quarterly designed by Pentagram’s Domenic Lippa and Jeremy Kunze. According to Pentagram, the type-driven design “deliberately strikes against the considered visuals that are currently popular in the magazine market, employing a more ballsy and opinionated aesthetic.” The mag aims to challenge printed publication traditions: the cover, for instance, has no clear masthead and instead acts “as a blank canvas for the logotype to move around in relation to the cover image,” while “typographic interventions” act as dividers for the various sections of the magazine in place of ads. “The inclusion of these interventions speaks to YES & NO’s confidence, preferring to launch without advertisements than have them shoehorned in,” says Pentagram.
If you thought that Eric Gill was just the guy behind one of the most recognizable and oft-used typefaces ever (Gill Sans), think again. Turns out he also created a significant collection of figurative sculptural pieces and paintings, currently on show at the Ditchling Museum of Art + Craft. The show doesn’t shy away from Gill’s unsavory history—he is known to have sexually abused his daughters—instead looking at his use of the human body in his work and asking “whether knowledge of Gill’s disturbing biography affects our enjoyment and appreciation of his depiction of the human figure.” Running until September this year, the exhibition features over 80 works on loan from public and private collections, including a major sculpture and drawings that have never been publicly exhibited.
Finally, if you’re a little jel that you can’t make it to the art behemoth that is this year’s Venice Biennale, get ready to thank director and VR whiz kid Gary Hustwit for bringing you there in an uncannily realistic virtual capacity. Hustwit has worked with online arts publication Artsy to create a series of 360-degree films exploring the Biennale, aiming to create “an insider’s view of the world’s most important art exhibition” and featuring artists including Carol Bove, Christian Marclay, Massimiliano Gioni, and Erwin Wurm as they prepare for their shows. We’re told the films are best viewed using a VR headset or Google Cardboard; we’ve neither of these unfortunately but they still look so impressive I can almost hear the gentle whoosh of canal water.