Honorary AppreciationRomania

Fabrik–72+87
Cartea de vizită
Fabrik

Design: 72+87
Print: Atelier Fabrik


The term »Visiting Card« has a rather metaphorical character today: the electronic visiting card, moved with a mouse click to the directory on the hard drive (also a metaphor), the personal website as a quasi-public visiting card, the polished shoes. Even the ink-jet-printed design templates on pre-perforated thin carton can only be described in this way in a figurative sense.

The catalogue of historic visiting cards from Romania is a homage to a medium of personal – and necessary – everyday communication. The self-confidence of the sender was not expressed in visual onomatopoeia, but actually hardly played a role: restrained elegance was a matter of course. And exactly this must be the message of the printing house, which produced this catalogue for its exhibition of historic visiting cards. With delicately reproduced facsimiles and properly printed for handling, each page of the book presents a card with front and back page – with the effect of a herbarium.

One can only hope that the incorrect running direction of the carton chosen for the book is not just a coincidence. After all, it is common practice to lend the carton more strength by selecting the long side of the card as running direction.


Honorary AppreciationCanada

Micah Lexier
More Than Two (Let It Make Itself)
The Power Plant

Design: Jeff Khonsary (The Future)
Photography: Jeremy Jansen
Print: Tallinna Raamatutrükikoda
ISBN: 978-1-894212-38-0


At first glance something looks strange: the very big red numbers, directly printed onto the black and white pictures of the art objects.

The backstory might perhaps be like this: a catalogue is to be published for the exhibition. How can this work, if perhaps not all of the artists are able to provide photographs, and the 221 works of art have to be collected from all kinds of different directions. This means that the catalogue has to be produced during the brief build-up period.

This scenario is adopted as the concept of the catalogue. On some pictures one can see that the position of the object or the picture is just being prepared. The list of exhibits, arbitrarily and eye-catchingly put into the middle of the catalogue, printed in red on pink paper, is therefore called »checklist«. The catalogue acquires its own artistic quality, beyond the temporary exhibition; the exhibited works of art are connected by a red thread: namely by the red numbering as a code for the build-up phase of the show, the interrelation of the works in the room. A simple, a fascinating book concept.


Honorary AppreciationSwitzerland

Rob van Leijsen
Art Handling in Oblivion / fink twice 501
edition fink, Verlag für zeitgenössische Kunst, Zürich
Design: Rob van Leijsen, Georg Rutishauser, Sonja Zagermann
Print: Kösel GmbH & Co. KG, Altusried-Krugzell
ISBN: 978-3-03746-501-1

Petra Elena Köhle, Nicolas Vermot-Petit-Outhenin
Albert’s Guesthouse / fink twice 502
edition fink, Verlag für zeitgenössische Kunst, Zürich
Design: Petra Elena Köhle, Nicolas Vermot-Petit-Outhenin, Georg Rutishauser, Sonja Zagermann
Print: Kösel GmbH & Co. KG, Altusried-Krugzell
ISBN: 978-3-03746-502-8

Thomas Galler
Walking through Baghdad with a Buster Keaton Face / fink twice 503
edition fink, Verlag für zeitgenössische Kunst, Zürich
Design: Thomas Galler, Georg Rutishauser, Sonja Zagermann
Print: Kösel GmbH & Co. KG, Altusried-Krugzell
ISBN: 978-3-03746-503-5


A remarkable editorial concept: reprints of artists’ books, quasi as paperbacks. The cover drastically emphasizes the downsizing process by simply trimming the original-size motif. The huge screen width makes no secret of the second-hand usage: after all, the new series is called: fink twice.

Yet the technical synchronization of the reprint series – monochrome print, thin open paper, glue binding – does not go quite as far. Despite the reduction of the inner pages, each reprint keeps its individual format, for example by giving each of the inside cover pages its own spot colour. The font size of the lettering on the spine varies depending on the width of the spine.

Another remarkable aspect is that these unpretentious prints never appear as a mere rehash, but keep their own character – and acquire a new one.


Honorary AppreciationEstonia

Verschiedene Autoren
SERIES The Seto Library. Seto Kirävara
Seto Instituut

Design: Agnes Ratas
Print: Greif
ISBN: verschiedene


This book series is published by the Seto Institute, which is dedicated to the cultivation and documentation of a language in the south east of Estonia: Seto. These days it is only spoken by a few thousand people. This publishing commitment considers a full library of Seto books. Poetry, songs, biographies, the gospels, folklore are preserved in printed form. Depending on the text type, two formats are available. The design of this book series does not refer so much on textual contents but rather on the cultural similarities of this small linguistic group. The humble paperbacks hint at the characteristics of national costumes. White linen here, fragmented paper white there – embroidery and borders here – or geometric textile ornaments on the spines.

The cover is printed in a single colour, from volume to volume in changing red hues; headband and bookmark are chosen in matching colours. The robust style of the edges, which slightly protrude over the book block, embraces the rustic traditions of the Setukese people.

This series clearly shows once again that, as hardly any other tool, the book as a medium serves the identity formation of a society and the preservation of immaterial heritage.


Honorary AppreciationCzech Republic

Pavel Karous (ed.)
Aliens and Herons
A Guide to Fine Art in the Public Space in the Era of Normalisation in Czechoslovakia (1969–1989)
Arbor vitae, Academy of Arts, Architecture and Design, Prague

Design: Tereza Hejmová
Illustrations / Photography: Pavel Karous, Hynek Alt
ISBN: 978-80-7467-039-8


This book must have been taken from a natural science bookshelf. It is a taxonomy of sculpture in public places of Czechoslovakia from1968 to 1989. The large-sized plastic sculptural and pictorial works are systematically arranged, following the rules of biological sciences. How baffling it is to marvel at cosmonauts, kissing couples, the variations of Muf Supermuf and the Explosion of Transformers in stone, concrete and bronze in playgrounds, in parks and in front of large-scale housing estates, where they proclaim the message of an ideal world and a creation of a future world full of promises as a matter of course.

And now the paragraph for the book lovers: it smells so nice! The spine remains intact when the book is opened. The 32-page sections make the relief-like fore-edge trim so easy to touch. To westerners, the print of the colour sets on the yellowish paper evokes wistful memories of the forms they had to fill in painstakingly when they wished to cross the border. And these sparing, precisely placed scientific drawings in pointillism technique – they are an indicator that the publishers have applied themselves with a certain distance and a huge degree of warm-heartedness to an entire genre of their political-cultural heritage.

An example to all monuments authorities.