Martin Stoecklin

Repost @_a_language_ ‘Spatial Solidarities: A Field Guide’ A guide to the many layers of the exhibition ‘Spatial Solidarities‘ at Das Gelbe Haus Flims. It invites visitors to visit local projects mainly in Flims (Graubünden, CH) and its surroundings, whose representation is part of the exhibition. In this spirit, the handbook works as a moderator of sorts. Visitors to Spatial Solidarities are enabled to visit places and participate in conversations and discourses that Studio Other Spaces conducted with the creative partners in the exhibition conception process. The design of the publication is informed by geological processes (foldings, overthrusting, landslides), scientific meticulousness, tectonics and mineral haptics. Its handheld outdoor character pays homage to an almost forgotten category of book: the field guide. Published by @dasgelbehausflims with @studiootherspaces on the occasion of the exhibition ‘Räumliche Solidaritäten’ (Spatial Solidarities). Editors: Elizabeth McTernan @liz_mcternan & Lauren Gemmo Exhibition concept: Sebastian Behmann & Olafur Eliasson Co-curators: @damianchristinger & Elizabeth McTernan Book concept and design: @_a_language_ Martin Stoecklin @marstoeck & Melina Wilson @wilson_melina Printed and bound by DZA Druck @dza.druck Typefaces: Geigy by @lineto_com & Magister by @omni.type Available at Das Gelbe Haus Flims!

We are very excited about the launch of Daidalos (@daidalos.magazin ), the print edition of the non-profit online publishing platform started by our friend Christoph last year. The original Daidalos magazine was founded in 1981 by Ulrich Conrads, Norbert Miller, Werner Oechslin, Bernhard Schneider and Anna Teut. It was discontinued with the 75th issue in 2000. Daidalos (the online platform) takes up the ideas of the original magazine and aims to „provide the space for essays on architecture, art and culture that has been lost in established magazines“. It also states: „As a free and critical form of writing, essays on Daidalos should seek to link knowledge across disciplines and bring individual perspectives to existing and new discourses.“ The annual print edition of the magazine now makes the content accessible in a different way, linking its print past with its online present. The design of the publication also led to a creative adaptation of the blog’s pre-existing masthead and the development of a headline typeface embracing the odd capital ligature. Produced in rotary offset with a two-tone PMS card cover, the result is one of monumental ephemerality. Contributions by Bahar Avanoğlu, Wolfgang Bachmann, Jerome Becker, Anna Beeke, Gerrit Confurius, Virginia de Diego, Fala, Pedro Gadanho, Bettina Köhler, Claudia Kromrei, Matthias Moroder, Giacomo Pala, Mario Rinke Support the magazine, buy the first issue: Design by @_a_language_ : @marstoeck & @wilson_melina Text typeface: Heldane by @klim_type_foundry , paired with Diatype Mono light by @abcdinamo

#Repost @_a_language_ ・・・ Che Bello! Signage for Westhof, a cooperative housing project in Dübendorf (#wogeno), Zurich, designed by Conen Sigl Architekt:innen (@conensigl ), 2023 Design: Martin Stoecklin (@marstoeck ) and Melina (@wilson_melina ) Typeface: Walter Neue (@omni.type / @abcdinamo )

#itshinesthrough

#Repost @_a_language_ ・・・ «We Become/Redevenir», Vanessa Billy (@vanessabbbilly ), Binding Sélection d’Artistes nr. 93, ed. Felicity Lunn (@lunnfelicity ), Kunsthaus Pasquart Biel (@pasquart_ ), and Nicole Kunz (@nicolekunzweber ), Villa Bernasconi (@villa_bernasconi ), texts by Simon Baier (#simonbaier) and Hannah Landecker (#hannahlandecker), EN/FR/DE, Verlag for Moderne Kunst (@vfmk_books ), 2021 Published on the occasion of Vanessa Billy’s solo exhibitions at Kunsthaus Pasquart Biel and Villa Bernasconi, Geneva. Designed in close collaboration with the artist, the book proposes an associative sequence of her body of work. The technical information of each work has a prominent place, as the sequence is organised not only by the image but also by the materials used and the title. However, the silver ink makes it possible for the text to almost disappear according to the angle from which the publication is viewed, leaving the image alone. ⁣⁣Design: Martin Stoecklin (@marstoeck ) and Melina Wilson (@wilson_melina ) ⁣⁣Design assistance: Sophia Becker (@sophiabecker.ch ) ⁣⁣Lithography: Marjeta Morinc (@marjetamorinc ) ⁣⁣ ⁣Printed by DZA Druckerei zu Altenburg (@dza.druck )

Five years ago I have designed this series of posters against the enforced implementation of deportation laws in Switzerland, using quotes by the writers Alex Capus, Pedro Lenz, Dorothee Elmiger, Melinda Nadj Abondji and Martin Suter, commissioned by @woz_die_wochenzeitung . I am very happy to find all of them in a new publication by the poster collection of Museum für Gestaltung Zürich (JA! NEIN! YES! NO! SWISS POSTERS FOR DEMOCRACY, published by @larsmullerpublishers ) Thank you very much for sending me a copy, @museumgestaltung !

#Repost @studio.marlonilg ・・・ 🔎Andriu Deplazes, Rote Augen In collaboration with @wilson_melina & @marstoeck (= @_a_language_ )

#Repost @_a_language_ ・・・ «Remembering the Future», Kader Attia, ed. Mirjam Varadinis, Kunsthaus Zürich (@kunsthauszuerich ), texts by Hans Fässler with photos by Barnabás Bosshart (@hagtobel ), Georg Kreis, Noémi Michel, Fatima Moumouni (@f.moremoney ), Patricia Purtschert, Franceska Falk and Barbara Lüthi, Jovita dos Santos Pinto and Stefanie Boulila, Bernhard C. Schär, and Mohamed Wa Baile, DE/EN, 2020 ⁣⁣⁣⁣⁣⁣ Publication in three issues for Kader Attia’s solo exhibition at Kunsthaus Zürich: «Les entrelacs de l’objet» (nr. 1) focuses on the video installation of the same name. It is the centrepiece of the show and tackles the issue of the restitution of non-Western, especially African artefacts. «Janus» (nr. 2) follows the production and installation of Kader Attia’s permanent sculpture in front of Kunsthaus Zürich. «Postcolonial Switzerland» (nr. 3) is a reader accompanying a podium discussion at Kunsthaus Zürich on Switzerland’s colonial and postcolonial history, and its consequences on today’s patterns of thought and social constructs. ⁣⁣⁣⁣ ⁣⁣Design: Martin Stoecklin (@marstoeck ) and Melina Wilson (@wilson_melina ) Lithography: Marjeta Morinc (@marjetamorinc ) ⁣⁣ ⁣Typefaces: Caslon Ionic, Commercial Classics (@commercialclassics ), and Brut Grotesque, Bureau Brut (@bureau_brut ) Newspapers printed by CH Media Case printed by Steudler Press

#Repost @_a_language_ ・・・ «Kunsthaus Glarus. Form, Raum, Umbau», Conen Sigl Architekten (@conensigl ), DE, Efa – Energie für alle ⁣⁣⁣(@vinziklein , @3l_.0 ) 2020 ⁣⁣⁣⁣⁣⁣ Published on the occasion of the re-opening of Kunsthaus Glarus after having been renovated by Conen Sigl Architekten. ⁣⁣⁣⁣ ⁣⁣Design: Martin Stoecklin (@marstoeck ) and Melina Wilson (@wilson_melina ) ⁣⁣Design assistance: Ania Pravorotskaya (@ania_attachments ⁣) Photos: Conen Sigl Architekten (@conensigl ) and Roman Keller Archive material: Hans Leuzinger, gta Archiv/ETH Zürich Typeface: CSA Typewriter, Martin Stoecklin ⁣Printed by Merkur Druck (@merkurdruck )

#Repost @_a_language_ ・・・ «Symbiotic Seeing», Olafur Eliasson (@studioolafureliasson ), ed. Mirjam Varadinis, Kunsthaus Zürich (@kunsthauszuerich ), texts by Olafur Eliasson, Donna J. Haraway, Caroline A. Jones, Josefine Klougart, Bruno Latour, Lynn Margulis, Timothy Morton, and Mirjam Varadinis, DE/EN, Snoeck (#snoeckverlag) 2020 ⁣⁣⁣⁣⁣⁣ Published on the occasion of Olafur Eliasson’s solo exhibition at Kunsthaus Zürich. A reader and many-scale journey through stone landscapes, moss, soil, space, Studio Olafur Eliasson, Kunsthaus Zürich, and out again. ⁣⁣⁣⁣ ⁣⁣Design: Martin Stoecklin (@marstoeck ) and Melina Wilson (@wilson_melina ) ⁣⁣Design assistance: Ania Pravorotskaya (@ania_attachments ⁣) Lithography: Marjeta Morinc (@marjetamorinc )

#Repost @_a_language_ ・・・ «This Never Happened», ed. Josiane Imhasly (@frau_josiane ), Christa Gebert (@christagebert ), Gebert Stiftung für Kultur (@kurator_gsfk ), *KURATOR (@kurator_rapperswil ), texts by Olaf Knellessen, DE/EN, Edition Fink 2019 ⁣⁣⁣ ⁣⁣⁣⁣⁣⁣ Published as the conclusion of the exhibition series «Transitions» curated by Josiane Imhasly realised in 2017/2018 as part of the *KURATOR support program of the Gebert Stiftung für Kultur in der Alten Fabrik, Rapperswil. «TNH» is a cinematic-reflexive tour through an envisioned exhibition, which is fed by the four realised projects, but never took place in this way. In her exhibition series, Josiane Imhasly took up four themes: the game in the digital age camouflage, deception and imitation on the body and the environment rumours and the creation of myths, the overlooked and the repressed. This gave the idea of creating an exhibition for the publication, or rather creating conditions, objects and ideas – or even smuggling them into the book – that were not present in the Alte Fabrik during that time. ⁣⁣⁣⁣ ⁣⁣Design: Martin Stoecklin (@marstoeck ) ⁣⁣Design assistance: Aline Pedrazzi (@alineepedrazzi ) Lithography: Marjeta Morinc (@marjetamorinc ) ⁣⁣ ⁣Printed by Eberl & Koesel (@eberlkoesel ) #editionfink

Already open since mid September, but not too late to gram about: “The City as Energy Landscape” at Palazzo Canavée, Accademia di architettura in Mendrisio (Ticino, Switzerland), curated, organized and commissioned by the Swiss National Science Foundation Professorship for Architecture and Theory. The exhibition promotes the notion of “energy landscape” as a conceptual framework to challenge our current understanding of energy as a cheap and abundant source for architecture. It presents concepts and methods for designing the energy landscapes of the future, taking the greater region of Geneva in Switzerland as its case study. While in the last few decades the discipline of architecture was mainly concerned with the self-sufficiency of individual buildings, the exhibition emphasizes the need for a new urban scale for saving energy, which integrates technological systems and natural processes. In close collaboration with Lorenzo Stieger and Sascha Roesler we were responsible for the exhibition graphics, typographic treatments of maps, vitrine layouts and captions. We also helped to develop the scenography and took care of the production of most of the exhibits in the show. Università della Svizzera italiana, Accademia di architettura; Curatorial Concept: Sascha Roesler and Lorenzo Stieger @lorenzostieger ; Graphic Design: Martin Stoecklin @marstoeck and Melina Wilson @wilson_melina = @_a_language_ ; Conceptual Support: Madlen Kobi; Mapping: Karoline Kostka; Exhibition Furniture: Lionel Epiney; Proofreading: Philip Shelley @phil_shelley ; Typeface: Brut Grotesque by @bureau_brut ; Documentation images 4–6 by Katja Jug On until October 31!