Scenography and Graphic Design for The Exhibition » Despite All — Migration to the Colonial Metropole Berlin«
Connections, Condensations, Openings
For the visual concept of "DESPITE EVERYTHING," a design language was developed to graphically and spatially translate complex themes, perspectives, and goals. Inspired by the concept of "rhizomes," developed by Félix Guattari and Gilles Deleuze in the 1970s and later adopted by Édouard Glissant, the principle of rhizomatics is found at all levels of the exhibition design.
The spatial structure and architectural elements are arranged as three-dimensional rhizomes. The exhibition content is organized into six thematic modules and two satellites, which occasionally condense but also dissolve and open. Spatial connecting elements create relationships between various themes and biographical narratives. Thus, the three-dimensional rhizome allows stories to be perceived in their complexity and interweaving, which a linear narrative cannot adequately convey. In this sense, no classic visitor route is prescribed; the sections are accessible and readable from all sides - just as history can be read from multiple perspectives.
Another rhizome strategy is found in the text design. In some places, lines connect and annotate different text units to critically contextualize terms, for example. Semi-open text borders, on the other hand, highlight resistant and self-determined actions of depicted individuals.
The typography, whose property is typically "units," also adopts the connecting and annotating principle, thus creating "multiplicities" – letters grow tall, together, and into each other; they form rhizomatic typograms and connect the content into an interwoven topography.
Furthermore, graphic elements disrupt the reading flow at some points; this strategy was previously used for the exhibition "Looking Back." With this visual approach, colonial, Eurocentric, and racist images, terms, and concepts are not erased or hidden, but are disrupted by symbols. This disrupts the terms and their contextualizing discourses, marking them and prompting revision.
"Rhizomatic thought is the principle behind what I call the Poetics of Relation, in which each and every identity is extended through a relationship with the other." Édouard Glissant, 1997
Services/Expertise
— Scenography
— Key Visual
— Graphic Design
— Conception
Year
— 2022
Design Team
— Danielle Rosales
— Robin Coenen
— Anna Diagne
— Lara Liske
— Moritz Weber (Productdesign)
Scenography and Graphic Design for The Exhibition » Despite All — Migration to the Colonial Metropole Berlin«
Connections, Condensations, Openings
For the visual concept of "DESPITE EVERYTHING," a design language was developed to graphically and spatially translate complex themes, perspectives, and goals. Inspired by the concept of "rhizomes," developed by Félix Guattari and Gilles Deleuze in the 1970s and later adopted by Édouard Glissant, the principle of rhizomatics is found at all levels of the exhibition design.
The spatial structure and architectural elements are arranged as three-dimensional rhizomes. The exhibition content is organized into six thematic modules and two satellites, which occasionally condense but also dissolve and open. Spatial connecting elements create relationships between various themes and biographical narratives. Thus, the three-dimensional rhizome allows stories to be perceived in their complexity and interweaving, which a linear narrative cannot adequately convey. In this sense, no classic visitor route is prescribed; the sections are accessible and readable from all sides - just as history can be read from multiple perspectives.
Another rhizome strategy is found in the text design. In some places, lines connect and annotate different text units to critically contextualize terms, for example. Semi-open text borders, on the other hand, highlight resistant and self-determined actions of depicted individuals.
The typography, whose property is typically "units," also adopts the connecting and annotating principle, thus creating "multiplicities" – letters grow tall, together, and into each other; they form rhizomatic typograms and connect the content into an interwoven topography.
Furthermore, graphic elements disrupt the reading flow at some points; this strategy was previously used for the exhibition "Looking Back." With this visual approach, colonial, Eurocentric, and racist images, terms, and concepts are not erased or hidden, but are disrupted by symbols. This disrupts the terms and their contextualizing discourses, marking them and prompting revision.
"Rhizomatic thought is the principle behind what I call the Poetics of Relation, in which each and every identity is extended through a relationship with the other." Édouard Glissant, 1997
Services/Expertise
— Scenography
— Key Visual
— Graphic Design
— Conception
Year
— 2022
Design Team
— Danielle Rosales
— Robin Coenen
— Anna Diagne
— Lara Liske
— Moritz Weber (Productdesign)
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Email: echo[at]visual-intelligence.org
Phone: 0049 (0)30 2245 8600
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Rosales & Coenen
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10559 Berlin
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