With 2 weeks to go.. preparations are well under way for EXD’09/Lisboa. Maki Suzuki and Kajsa Stahl from Åbäke Studio are back in Lisbon making their mark for the UK participation in the Timeless exhibition.
EXD welcomes all Biennale visitors to make use of the bicycles provided at the Lounging Space FOR FREE!
One and two seater bicycles will be made available on a daily basis for the duration of EXD’09/Lisboa. Rather handy considering the extensive programme this year.
The Lounging Space is superbly located in the city centre. It has its own programme of events, a bookstore, a bar and a terrace with splendid city views.
Open for the duration of the Biennale -
Sun to Thurs 11:00 - 00:00
Fri & Sat 11:00 - 02:00
Patio do Tijolo, 25 1250 - 301 Lisboa
The biennale is fast approaching and the EXD’09 team was hard at work over the weekend.
EXD’09 Conference speaker, Peter Saville, is on the shortlist for the Prince Philip Designers Prize. Saville has inspired generations of creatives since the heyday of Factory Records in the late 1970s and 1980s and, more recently, helped reshape the image of his hometown Manchester as a happening place. But industry honours have largely eluded him.
A major retrospective at London’s Design Museum made sure Saville’s work will inspire future generations.
See Design Week for full article.
EXD’09 welcomes Nkensani Nkosi, the creative director of Fashion label Stoned Cherrie to the 10 September Open Talk. She will join Nathan Reddy, the most awarded graphic designer in South Africa and Gaby de Abreu, the designer of the 2010 FIFA Worldcup logo.
Nkhensani boasts a multitude of awards, the most notable being the Top Success Story of the Year: Top Women in Business and Government in 2005 and Young Business Quarterly: Young Business Achiever of the Year in 2003. In 2005, she was lauded as one of six high impact entrepreneurs by the US mentorship programme Endeavor.
EXD’09 exhibition - Quick Quick Slow will feature the Peter Bil’ak’s DanceWriter - which was initially released as a utility on his website Typotheque, a combined foundry and design studio. The programme allows you to type as fast as you like, while the dancer, a member of the Netherlands Dance Theater, makes letters in his/her own time.
Here are some images from the new shoot -
Video shoot ‘Dance Writer’ for an installation at Experimenta 2009, Lisbon. Dance: Valentina Scaglia, Video: Taco Zwaanswijk, Programming: Bart van der Ploeg & Edwin de Kooning (Resolume), Choreography Lukas Timulak, Concept & Photo: Peter Bilak
Original Dancewriter is here: www.typotheque.com/type_utilities/dancewriter
Maki Suzuki and Kajsa Stahl of Abäke Studio - part of UK’s Timeless participation crew popped over to Lisbon recently. They scoured the city looking at maps, plants, Lisbons views, visiting markets, the Architects Association, GEO (Gabinete de Estudos Olisiponenses, picture insert), the City Museum, Bairro Alto and Model makers (picture insert).
Åbäke will create a graphic representation of the UK’s contribution to Timeless in the Museu do Oriente. The intention is to reveal and show the different processes through which each designer has developed contextual work in Lisbon. The installation is somewhere between a map, a time line and a notice board and will use locally sourced elements such as information, document, objects, material, working and thinking forces and resources. Whenever possible, the material will be borrowed and given back to the owner or other local institutions.
Some background info -
Åbäke is a collective of four graphic designers. Patrick Lacey is from the UK, Kajsa Stahl from Sweden, Benjamin Reichen and Maki Suzuki from France who have been working together since 2000.Their physical work includes posters, CD and record designs, furniture, and installations in art galleries and public spaces. Much of their work concentrates on the social aspect of design and the strength that collaboration can bring to a project. Events often involve (in no particular order) film, dancing, eating and cooking and teaching. They are also singers, painters, photographers, members of bands, furniture designers, curators, fashion designers, DJs and teachers.
In the run up to EXD’09 expect to see posts of places of interest in Lisbon… especially for biennale visitors.. oh for locals too, just in case you’ve forgotten how fabulous the city is.
The Lisboetas enjoy good food - slowly - accompanied by fine wine and sparkling company. So it is only fitting that the LISBON series kicks off with the mention of restaurants that the team rates highly.
We welcome your comments -
Fusion restaurant, Bica do Sapato on Avenida Infante Dom Henrique (+351 218810320). Try the clams downstairs or the sushi upstairs. Oh! and don’t forget to order a Morangoska at the bar while you wait for your table.
Pap’ Açorda (+351213464811) this delightful little chandelier clad restaurant on Rua da Atalaia is good for pricey traditional Portuguese food - don’t leave without a splat of the chocolate mousse.
Or for something a little more relaxed try Santo Antonio de Alfama (+351218881328) - a quaint treat in the heart of Alfama. Dine tapa style with Aubergine, Garlic prawns, Gorgonzola mushrooms… Don’t mind the laundry!
The EXD team are hard at work preparing the Lounging Space - which will be accessible to all visitors for the duration of the biennale 9 September - 8 November.
This hotspot is located in the heart of the city and will feature an information desk, a bar, lounge area, sponsors’ hall and press centre.
It has its own calendar of events - here are some highlights -
10 Sept, 6 - 7pm - State of the Arts (debate on the Exhibition Lapse in Time)
13 Sept, 3 - 4pm - Luanda: Anatomy of Speed
13 Sept, 4 - 5pm - Luanda: Emergent Megalopolis
for details visit the EXD’09 website
The Lounging Space opens at 11pm on Wednesday, 9 Sept
Sun to Thu 11:00 – 00:00
Fri & Sat 11:00 – 02:00
Pátio do Tijolo, 25 1250 – 301 Lisboa
Metro Rato, Baixa-Chiado; Bus 758, 773
Tucked away between Bairro Alto and Príncipe Real and hidden behind a flowery patio and a wrought iron gate, the Palácio Braamcamp can easily be overlooked. Built by the Braamcamp family, this example of the 1800’s residential architecture is an elegant and pleasant construction. The façade has a curved frontispiece and a terrace overlooking the Tagus River and the facing buildings. The classic exterior contrasts with the richness of the inside, which combines balection moulding, mural painting, imprinted glass and vitreous glass. The interior space is organised around the hall, topped by a skylight and a gallery. The Palace, once inhabited by Fontes Pereira de Melo, was bought in 1917 by the French government, where it installed the École Française de Lisbonne, and in 1945 by the Lisbon Municipality.
Our long time media friend from Madrid, Tachy Mora, posed a few questions to the EXD’09 Lisboa Creative Director who is currently on vacation. He managed to find some time to repond between sipping G&T’s and tucking in the kids -
What happened to you and to The Designers Republic in recent years?
— We flew too close to the sun.
Why did you decided not to keep on?
— We stole from the rich and gave to the poor. The rich wanted their money back.
Is it closed or is it working?
— Born on Bastille Day 1986. Reborn on Bastille Day 2009.
Did you sell the brand?
— No, it’s still for sale…
After 23 years of The Designers Republic, what are you currently doing?
— Whatever I can see value in, with whoever can see value in me doing it.
Are you still interested in visual communication?
— I’m interested in ideas and in the communication of those ideas by any means necessary. I’m interested in provoking a response and measuring an outcome. I’m interested in creating a dialogue, and in the nature and value of the dialogue created. I’m interested in why what happens happens and how the way it is communicated can shift the idea, move the startpoint and change the outcome. I’m interested in why people do what they do, and how much that is a result of why they think what they think.
Tell us your plan to be just Ian Anderson and not Ian Anderson, the founder of The Designers Republic.
— Ian Anderson gives me more options.
Who are you now?
— Something between your best friend and your only hope.
What is different between Ian Anderson 1986 and Ian Anderson 2009?
— Everything I’ve dreamt, thought, done, experienced, learnt and probably forgotten in 23 years.
Is time the only challenge of the current visual communication?
— Understanding the why and the who-to are the biggest challenges – time is primarily a factor for those who think they don’t have time to think.
Today, designers have less time to develop their work but on the other hand, have more tools and technology.
— I don’t agree that we have less real time in real terms. Some people forget to use time and so become slaves to it. The tools refine rather than define the process.
Why do you think young designers are working a lot in 3D, generating the images or the scenes they need in a do it yourself way?
— Maybe a desire to create something ‘physical’ / tangible to escape into.
Does the new generation need to work again with the hands and less with the computer or is it just a trend?
— The new generation need to rediscover why the fuck they’re doing what they’re doing.
Do you think that young designers can’t notice the difference between Arial and Helvetica because they haven’t use Letraset?
— I think it’s because they don’t realize the benefit in knowing the difference. The devil is no longer in the detail, but on the surface.
Thinking back to the 80’s, what kind of handmade process did you find tedious?
— Making coffee.
And which ones do you miss or do you remember with nostalgia?
— I don’t miss anything from the past. If it’s worth doing I still do it. By nature a labour / time intensive hand-made process creates space for evolutionary ideas – for creative creative processes.
Which handmade process or habits are still important?
— Those which remind us that we are still physical beings existing in a physical world.
Tell us which of your earlier designs, made without the computer, you are proud of the most.
— You tell me which one you like – I like that one too.
How many typefaces do you think you are able to distinguish?
— As many as I need to communicate whatever I need to, when I need to.
A great designer or studio you have discovered recently?
— I haven’t been looking…
A book about graphic design?
— I’m writing it with Liz Farrelly.
— Every magazine, for better or worse.
— Just one?
— It depends what I want to say, why would I limit my options to one?
Just to know, now that you are available, how much does an hour of Ian
Anderson’s work costs?
— How much you got?