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götz gramlich

@instagggramlich

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lives and works in heidelberg, germany.
member of alliance graphique internationale @agigraphic

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So much creativity in the room! 🐳🐑
It’s always special to reconnect with old friends, meet new ones and share ideas with this incredible community from around the world! 1❤️
A huge thank you to everyone who made this gathering possible, especially @hjaltikarlsson and @karlssonwilker taken in Rekjavik - Iceland by @instagggramlich

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2 days ago

Alongside the regular A1 offset (black, silver) prints, there’s also a 70 × 100 cm screen print for this year’s DJ Conference @karlstorbahnhof . White and fluorescent yellow on awesome @clairefontaine_finearts MAYA Midnight Blue paper.
@serigrafie_lauer worked some magic on the press, and @hannahschnu contributed a beautiful animation. ❤️🙏🍻 by @instagggramlich

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24 days ago

100BP25 Preisträger:innen / award winners
Plakat / poster: Spielzeit 2025/26
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Design: gggrafik, D
Götz Gramlich, Maxwell Hathaway, Joshua Kaiss
@instagggramlich
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Auftraggeber / client: Theater Oberhausen @theater_oberhausen
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Druckerei / printing house: FLYERALARM @flyeralarm.official
Format: F4
Technik / technique: Digitaldruck
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Links in Bio:
- alle Gewinnerplakate 25 auf einmal
- Jahrbücher bestellen
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Jahrgangs-Design/Jahrbuch 100BP25: Ira Ivanova @i_ira und Lou Hillereau @louhllr, D-Berlin
erschienen bei Slanted Publishers @slanted_publishers
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#grafikdesign #100besteplakate #100besteplakate2025 #100besteplakate25 #100bp25 #design #poster #plakat #bestposters #posterdesign #designwettbewerb #plakatdesign #movingposter #bewegtesplakat #selection #print by @instagggramlich

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25 days ago

With NO KINGS, @theater_oberhausen positions itself unapologetically as a place of dissent. Drawing on the visual language of protest movements, the season transforms the theatre into a space where anger, solidarity, contradiction and collective action become both subject matter and aesthetic strategy.

The visual identity takes its cues from stencil graffiti — one of the most immediate and reproducible graphic languages of political activism. Built upon a custom stencil adaptation of the theatre’s corporate typeface, Compacta, every production receives a bold key visual reduced to its essential gesture: direct, uncompromising and instantly recognisable. Raw textures, ruptured forms and deliberately imperfect execution reject polished neutrality in favour of urgency and physical presence.

The stencil itself becomes the conceptual centre of the identity. Historically a tool of anonymous intervention in public space, it embodies accessibility, repetition and collective authorship. Rather than treating this visual vocabulary as decoration, the project extends it into the real world: every production’s artwork can be downloaded as a ready-to-cut stencil template, inviting audiences to reproduce, reinterpret and redistribute the imagery themselves. Graphic identity becomes an open system rather than a finished product.

Animations, live spraying and participatory actions further dissolve the boundary between institution and public space. The theatre no longer appears as a distant cultural authority but as an active participant within contemporary political discourse.

Despite its confrontational appearance, the identity ultimately argues for complexity rather than certainty. Protest graphics are appropriated not to prescribe ideology but to celebrate theatre’s enduring role as a site of disagreement, imagination and democratic friction. In a moment when public debate increasingly gravitates towards absolutes, NO KINGS insists that culture remains one of the few places where contradiction itself can still be productively staged. Best Collaboration: @montanacans ✊ by @instagggramlich

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2 months ago

This sprawling remix (de/re)construction for the IG P0P LP extends the visual and conceptual universe surrounding @davidjuliankirchner avant-pop project. The original album reinterpreted historical workers' songs through the lens of contemporary pop, and the RMX edition applies the same dialectic once more: ideas collide, authorship becomes collective, and familiar material is opened up to new perspectives.

The visuals embrace this notion of continuous transformation. Rather than presenting remixes as secondary versions, the project frames them as parallel realities, shifting emphasis, atmosphere and emotional temperature while remaining intrinsically connected to the original body of work. As a dialectical gesture, the original imagery undergoes its own negation: values invert and familiar forms return as spectral echoes of themselves, before being recast into a series of bold socialist colour palettes. The resulting visual language oscillates between agitation, irony and hyperreal pop aesthetics.

Every remix received its own visualizer — a synthetic format occupying the space between an animated album cover and a conventional music video. Across eighteen remixes released over four EPs, the project ultimately amounts to nearly a feature film's worth of moving images.

The co-op culminated in a live release performance @kunsthallema , where the remix concept expanded into immersive space. As a collaborative happening with David Julian Kirchner, Michaela Melián, Dominik Rinnhofer, Maxwell Hathaway, Götz Gramlich, Thilo Eichhorn, Dman, Tim Wollmann, Erwin Ditzner, special guest @move_d.photos and the Mannheimer Thekenchor, the event transformed the remix project into a multidisciplinary live experience. In collaboration with @d_rinnhofer , the visual universe of @ig_pop_official was reconstructed as a series of large-scale projections, transforming the identity into a constantly evolving stage environment. Rather than serving as a conventional concert backdrop, the visuals became active performers in their own right — responding to the music through perpetual movement, layered transitions and escalating visual intensity. taken in Kunsthalle Mannheim by @instagggramlich

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3 months ago

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3 months ago

Created for the new Creative Center at Shenzhen Bay Culture Square, Design the Future explores the relationship between technological innovation and cultural continuity. The artwork is built around a hybrid typographic system in which Latin letterforms and Chinese calligraphy merge into a shared visual language, reflecting the idea that the future is shaped collectively across cultures, disciplines and generations.

The typography draws on the aesthetics of low-resolution digital imagery. Its pixel-like forms reference contemporary technologies, computational systems and the accelerating pace of digital transformation. Rather than presenting the future as something fixed, the fragmented structures suggest an ongoing process of construction, adaptation and exchange.
Contrasting this digital vocabulary is the image of a hand inspired by the prehistoric stencils of the Chauvet Cave. One of humanity’s earliest creative gestures, it serves as a reminder that collaboration, communication and image-making long predate modern technology. Innovation may change its tools, but its origins remain deeply human.

Through the interplay of calligraphic movement, geometric construction and layered textures, the artwork brings together East and West, analog and digital, past and future. The result is an image that positions creativity as a continuous cultural thread — connecting humanity’s earliest marks with the possibilities of tomorrow. by @instagggramlich

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4 months ago

More than ten years ago, this poster was created together with Klaus Staeck — on the occasion of his major retrospective “Art for All” at the Akademie der Künste in Berlin. We overprinted an original Heidelberg railway timetable from Deutsche Bahn, as Klaus was constantly travelling between Heidelberg and Berlin. When we had to decide whether to purchase an arrival or departure timetable, Klaus said: “Art is always departure, never arrival.” Like so many things about him, that left a deep impression on me. The poster is currently on view as part of the exhibition “100 Best Posters of 100 Best Posters”, marking the 25th anniversary of 100 Beste Plakate Deutschland Österreich Schweiz, together with many wonderful works @cva_berlin .
@akademiederkuenste @edition_staeck_ @100besteplakate @deutschebahn by @instagggramlich

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4 months ago

IG POP: RE_UNION: Das Remix Boxset! 4 EPs, 18 Tracks, über 20 beteiligte Künstler #remix #tanzdenklassenkampf by @instagggramlich

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4 months ago

The @theater_oberhausen 25/26 season emerges from a society suspended in fog: atomised, hypersensitive and increasingly unable to sustain dialogue across hardened ideological frontiers. In response, the theatre declares itself the MINISTERIUM GEGEN EINSAMKEIT — a fictional institution confronting loneliness not as a private failure, but as a defining cultural and political condition of our time.

The season explores fragile togetherness in an era marked by polarisation, retreat and emotional exhaustion. Positioned between urban reality and artistic imagination, the theatre becomes a space of resistance against social disintegration — a place where contradiction, vulnerability and proximity are staged collectively rather than avoided.

Visually, the identity abandons the restrained severity of the previous season in favour of a far more emotional and confrontational language. Expressive layering, aggressive contrasts, stark imagery and charged colours create a world that feels unstable, overdriven and seductive at once.

The aesthetic draws from emotional overload, pop and punk agitation, and collective longing. Familiar visual codes are distorted and pushed into excess; shapes dissolve, surfaces vibrate, messages collide. Intimacy and alienation, warmth and aggression, melancholy and ecstasy coexist simultaneously. The result is a visual identity that rejects neutrality in favour of direct emotional and physical impact.

At its core lies the belief that culture must once again become a space of genuine encounter. The season calls for participation, friction and shared intensity instead of passive consumption. Each production received an individual key visual developed closely with the theatre team, translating its emotional and dramaturgical themes into a distinct yet seasonally connected visual language. by @instagggramlich

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4 months ago

Happy Weekend @agigraphic german/swiss meeting! Great hosts: @larsmullerpublishers and @infinityvoegeli ! Fantastic insights @museumfuergestaltung and @dafikuhne ! by @instagggramlich

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5 months ago