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OFFSHORE

@offshore________

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The collaborative practice of @isabel___seiffert and Christoph Miler. Design educators @vc.zhdk and @hfg_karlsruhe_kd
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”The Myth of Memory“ was part of the exhibition ”Translating Nature I: Baduhenna“ which brought together eight artists who explore languages, myths, and natures. If words are the fossils of thought, then each etymological root, each legend, each symbol carries the imprint of our relation to the living world. ‘Translating Nature I. Baduhenna’ curated by Marie Hugny @hugnymarie and Fio de Lange @fioseptember at Project Space 38/40, Amsterdam @projectspace.38.40 was on view last year in July. Artists: Annabelle Binnerts @annabellebinnerts , Jura Shust @jurashust , Finn van Tol @finnvantol , Offshore @offshore________ , Cristal de la Cruz @cristaldelacruzc , Fio de Lange @fioseptember , Marie Hugny @hugnymarie .

Documentation: @gertjanvanrooij by @offshore________
Originally developed to monitor and conserve wolves protected under the 1979 Bern Convention, data collection methods now perform a double role: documenting the species’ recovery while supplying the evidence used to legitimise its “regulation” through targeted killings. Although wolves remain protected under the Convention, their status was reduced from “strictly protected” to “protected” in March 2025. Digital drawing © Offshore, 2020 In: The Earless Rabbit and the Wolf on the Other Side Umbau Journal, issue five: Hide and Seek, 2026 https://tinyurl.com/rabbit-wolf @umbau_hfgkarlsruhe Particularly between the sixteenth and nineteenth centuries, the threat to livestock, the horror and fear associated with widespread rabies, and centuries of folklore and religious imagery cast the wolf as a monstrous threat and an embodiment of violence and disorder. Together, these factors were used to justify the relentless persecution and violence against wolves. Archival pigment print on Hahnemühle Photo Rag © Isabel Seiffert, 2026 In: The Earless Rabbit and the Wolf on the Other Side Umbau Journal, issue five: Hide and Seek, 2026 https://tinyurl.com/rabbit-wolf @umbau_hfgkarlsruhe Today, electronic apparatuses such as camera traps, night-vision, and thermal-imaging technologies, seemingly demystify the wolf by observing and measuring, rendering the animal increasingly visible, quantifiable, and “governable.” Archival pigment print on Hahnemühle Photo Rag © Offshore, 2020 Installation view with framed archival pigment print on photo wallpaper © Offshore, 2021 In: The Earless Rabbit and the Wolf on the Other Side Umbau Journal, issue five: Hide and Seek, 2026 https://tinyurl.com/rabbit-wolf @umbau_hfgkarlsruhe “Animals are always the observed,” John Berger wrote in his influential essay ”Why Look at Animals“. “They are the objects of our ever-extending knowledge. What we know about them is an index of our power, and thus an index of what separates us from them.” Installation view with framed archival pigment print on photo wallpaper © Offshore, 2021 Archival pigment print on Hahnemühle Photo Rag © Isabel Seiffert, 2026 In: The Earless Rabbit and the Wolf on the by @offshore________
A closer look at some of the security features and how they support the visualization of altitudes across the six denominations. Viewed from the front, the small window in the upper right corner offers a glimpse of the landscape at the next altitude ahead; much like when travelling through the country and seeing the terrain gradually rise before you. As the denominations and altitudes ascend, the landscape ahead is already visible in the distance. The security foil strip below the main image connects to the key visual of each denomination, adding elements to the world and story depicted on the front. A highlighted map of Switzerland indicates where the respective altitude can be found within the country. The watermark drawings move from the vegetation of the lowlands towards the treeless landscape of the high mountains: CHF 10: Chestnut
CHF 20: Apple
CHF 50: Oak
CHF 100: Fir
CHF 200: Swiss pine
CHF 1000: Rock cairn Concept, design, art direction, custom font for numerals:
Offshore/Moiré: Isabel Seiffert, Dominik Huber, Marc Kappeler @offshore________ @moire.grafik by @offshore________
As mentioned in our previous post, each denomination represents a specific altitude, starting with the lowlands on the CHF 10 note and ascending to the highest altitudes on the CHF 1000 note. The altitude is indicated in three ways. Firstly, through a scale along the long edge of each banknote, marking its respective range; secondly, through an altitude line that unfolds across all six notes on the reverse side, forming a continuous profile of the Swiss landscape; and lastly, through the background of the image area, where the terrain is seen from above, recalling the topographic view of an atlas.   The back side of our proposed banknotes are inhabited by an animal native to its respective altitude. Just as with the landscapes on the front, it was crucial for us to depict these animals animated and in motion, as active participants in these landscapes. They are not taxidermic backdrops, but characters in their own right.   CHF 10: European pond turtle CHF 20: Eurasian beaver CHF 50: Eurasian lynx CHF 100: Alpine salamander CHF 200: Savi’s pipistrelle CHF 1000: Alpine ibex calf 
Concept, design, custom font: Offshore/Moiré: Isabel Seiffert, Dominik Huber, Marc Kappeler @offshore________ @moire.grafik Animal illustrations: @friederikehantel Preliminary animal sketches: @chrigelfarner Altitude rendering: @cedricoppliger Geography consultant: Deborah Kälin by @offshore________
Together with Moiré, Offshore were among the 12 selected studios invited to propose a design for the upcoming Swiss banknotes as part of a competition under the theme “Switzerland and its Altitudes”, organised by the Swiss National Bank in 2025.   Each denomination represented a specific altitude, starting with the lowlands on the CHF 10 note and ascending to the highest altitudes on the CHF 1000 note. These altitudes and their corresponding landscapes, flora and fauna were represented not only through the imagery on the front and back, but also through a scale along the edges and an unfolding altitude line on the reverse. The window of each denomination offers an outlook onto the landscape of the following denomination, connecting the notes and referencing the experience of a train ride or road trip, when you can already see the mountains rising in the distance.   We decided early on not to work from or with photographs, but rather to put imagination and openness at the forefront of our design proposal. The intention was to give the viewer something to explore, leaving room for personal interpretation rather than prescribing a fixed meaning or reading. A sense of joy, vibrancy and lushness, of rediscovering old and new aspects of the country, and of being serious but not austere, was important to us. We wanted the landscapes, animals and plants to be animated, to move, to have agency rather than serve as a passive, lifeless backdrop to our human-centric world.   This post showcases the front sides: dynamic landscapes in transformation, entangled, moving, in process.   CHF 10: Lowlands—In the Flow of Research CHF 20: Central Plateau—At the Heart of Urban Life CHF 50: Jura—From Arrowhead to Precision Tool CHF 100: Pre-Alps—Languages Through Mountain and Valley CHF 200: Alpine Mountains—From Source to Current CHF 1000: High Mountains & Glacier—Weather of the Peaks Concept, design, images and illustrations, custom font: Offshore/Moiré: Isabel Seiffert, Dominik Huber, Marc Kappeler @offshore________ @moire.grafik Warm congratulations to @emphase_lausanne_bern for winning the competition! by @offshore________
Our fourth annual report for the Department of Culture, Canton of Zurich. Photography, design concept, layout, drawings and infographics by @offshore________ by @offshore________
Our fourth annual report for the Department of Culture, Canton of Zurich, featuring photographs conceived, art-directed, and produced by us. Photography, design concept, layout, and infographics by @offshore________ Thank you to our hand models: @julieegli @bienvenuestudios @fiona_sgntr @ivieadaonaiwu @offshore________ Mohammed by @offshore________
”TURANDOT: To the Daughters of the East“ is a collateral event currently on view at the 61st International Art Exhibition of @labiennale with a group exhibition of works by eleven significant female artists from Central Asia and wider regions of the East. Turandot is one of the most complex and enigmatic figures in world mythology, literature and opera. Her story traverses centuries, languages and artistic forms, all the while reflecting ongoing cross-cultural hybridity and reinterpretation. Curated by Dr Ziba Ardalan, presented by @parasolunit , installed at @acppalazzofranchetti by @offshore________
New publication launching this evening in Venice: ”TURANDOT: To the Daughters of the East“ is a collateral event at the 61st International Art Exhibition of @labiennale with a group exhibition of works by eleven significant female artists from Central Asia and wider regions of the East. Turandot is one of the most complex and enigmatic figures in world mythology, literature and opera. Her story traverses centuries, languages and artistic forms, all the while reflecting ongoing cross-cultural hybridity and reinterpretation. Curated by Dr Ziba Ardalan, presented by @parasolunit, installed at @acppalazzofranchetti by @offshore________
Uncanny Akin April 10, 2026 Eastern Switzerland University of Applied Sciences 9:15am – 12pm: Campus St. Gallen As wolves return to central European landscapes, they revive old fears and instill new hopes, blurring the lines between past myths and present realities. A major part of the current discourse is shaped by regimes of visual representation that narrate, frame and exploit wolves in particular ways. On April 10, Christoph Miler will talk about Offshore’s long-term project about the return of the predator. It seeks to explore and challenge these depictions, iconographies and technical images of wolves, as well as their inherent power that permeate collective memory and cultural narratives. The ongoing project is composed of several chapters and combines archival and art historical research, image-making, and writing. Through exhibitions, publications, and performative readings the project investigates how wolfish narratives shape politics, reproduce deep-seated human anxieties, and concretize our dominant relationship with other animals. by @offshore________
The SCHOOLS OF DEPARTURE pocketbook series by the Bauhaus Foundation is growing. Out now @spectorbooks 
No. 3: Experiment: Learning Communities
No. 4: Pedagogies of Machine Learning Based on our publication concept and design, Yvonne Tenschert developed and designed the two new issues. Both issues are also available in the journal section of the Schools of Departure website, which we designed a few years ago (slides 13–18). https://atlas.bauhaus-dessau.de/en/journal/ Programmed by @leonardo_angelucci Congratulations to Regina Bittner, Katja Klaus, and Philipp Sack of Stiftung Bauhaus Dessau for their continued commitment to this project. @bauhaus_dessau_foundation by @offshore________
This year marks the 10-year anniversary of Migrant Journal. While the journal is no longer active, we’ll be looking back at each issue over the coming months to revisit its themes and contributions. Later this year, we’ll launch the long-in-progress online archive. @migrant_journal @justi @mchliaea @damasorandulfe @isabel___seiffert by @offshore________

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