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Ris Pascoe

@pascoe____

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ᵒᵖᵉⁿ ᶠᵒʳ ᶜᵒᵐᵐⁱˢˢⁱᵒⁿˢ
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typography for @roxanarios_studio as part of the exhibition Fabrics of Translocality @phototriennale @frise.kuenstler_innenhaus Roxana about the work MEMORIES, JUST MEMORIES. THOSE ARE HARD TO CHANGE (2026): „The work is based on the recorded final conversation between my father and his father, which was deliberately documented as what was likely to be their last exchange. In a wall installation, abstractions of the visual material are transferred onto offset printing plates, thereby revealing the fragility and fragmentation of intergenerational knowledge transfer.“ For the typesetting of the conversation I aimed to create a typographic analogy for belonging, closeness, and geographic distance. The two typefaces used for Roxana’s father and grandfather—in their design concepts and visual qualities—refer to different aspects of temporality and materiality. The English translation runs on the same baseline grid with identical line spacing, so the bilingual texts mirror and echo one another. by @pascoe____
2
3 months ago
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My other new work: MEMORIES, JUST MEMORIES. THOSE ARE HARD TO CHANGE as part of Fabrics of Translocality @frise.kuenstler_innenhaus @phototriennale Big, big thank you to the amazing @pascoe____ for the amazing typography work. Across two works, Roxana Rios explores a quest for (re)construction, orientation and self-positioning – a movement between individual memory and collective history. The works utilise photography as an epistemological tool to examine memory, the transmission of knowledge and the construction of identity. The engagement with the family’s visual legacy enters into a dialogue with historical narratives, interpersonal relationships, and photographic systems of order and knowledge. From this emerges a fragmented archive that interlinks biographical and geographical historiographies, thereby revealing the tensions and contradictions inherent in these processes. Narratives are understood here as structures that actively shape feelings of belonging whilst simultaneously generating persistent ambivalences and uncertainties. MEMORIES, JUST MEMORIES. THOSE ARE HARD TO CHANGE, 2026 The first work is based on the recorded final conversation between my father and his father, which was deliberately documented as what was likely to be their last exchange. In a wall installation, abstractions of the visual material are transferred onto offset printing plates, thereby revealing the fragility and fragmentation of intergenerational knowledge transfer. The focus is on the ways in which family and identity narratives are constructed. In this case, given my grandfather’s age and the distance between Germany and Brazil, it was foreseeable that a further meeting would no longer be possible. Belonging and closeness are, on the one hand, determined by geographical and material factors; moreover, the final exchange is structured linguistically and is inevitably linked to societal notions of what constitutes a ‚final conversation’ and what is considered relevant and possible within it. Production and very kind support by @gvd_druckerei taken in Hamburg, Germany by @pascoe____
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4 months ago
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posters for 𝗕𝗲𝘁𝘄𝗲𝗲𝗻 𝘁𝗵𝗲 𝗔𝗰𝘁𝘀, a group exhibition, workshop and letter program organized by @bistro21_artspace {{{Alicia Franzke, Kay Lotte Pommer and Laura Wichmann}}} They bring together artistic positions that oscilliate between stage performance and scenery construction. For the posters, too, the focus is on moments in between: The ink from the typography and drawings seems to have already bled into the paper; all the elements are glued on, yet large sections of the page remain blank. There are traces of glue— between entrance and exit, seriousness and humor, we’re left with feelings of irritation and familiarity: a tom&jerry cat wearing sweatpants and cowboy boots, a knight, a huge, beautiful, medieval letter 🄱, Roblox character 𝕊𝕙𝕣𝕖𝕜𝕓𝕠𝕓 announcing the workshop with @anderer_kunstverein, 𝔹𝕒𝕟𝕒𝕟𝕒 𝔹𝕣𝕠 telling us about the 𝓫𝓲𝓼𝓽𝓻𝓸 𝓲𝓶 𝓫𝓲𝓼𝓽𝓻𝓸... by @pascoe____
1
4 months ago
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some slides from the portfolio for 𝗦𝗵𝗲𝗲𝗻𝗮 𝗠𝗰𝗚𝗿𝗮𝗻𝗱𝗹𝗲𝘀 @__in__other__times__ ˘͈ᵕ˘͈ by @pascoe____
1
5 months ago
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some pages from the editorial design of 𝐂𝗢𝐌𝐅𝗢𝐑𝐓 & 𝐑𝐄𝐋𝐈𝐄𝐅 for the Norwegian-German duo 𝗟+𝓢 The duo’s chronologically sorted works each begin with a pink-yellow duplex detail image of the work. Next to it, texts written by Ragnhild Aamås introduce the works. The texts unfold in ⓟⓘⓝⓚ ⓒⓘⓡⓒⓛⓔ and ⓨⓔⓛⓛⓞⓦ ⓒⓘⓡⓒⓛⓔ—the first more descriptive, the second taking a contextual turn that seeks to open the works further. These are followed by images of the works, some of which extend across the entire page, while others are laid out in a square grid of two or three. Of course, Lutz and Stian’s works cannot be grid-aligned so strictly, which is why some images exceed their boundaries and occupy two grid units. They deconstruct and reassemble, just like the works themselves often do. Time and again, I have deconstructed the works into their constituent parts and rearranged them with a playful and humorous approach to match the vigour of the two artists‘ works. by @pascoe____
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7 months ago
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another book I designed which was published last year: 𝐂𝐨𝐦𝐟𝐨𝐫𝐭 & 𝐑𝐞𝐥𝐢𝐞𝐟, a new monograph about the artistry of Lutz and Stian, who have worked together for 20 years. It’s both a documentation of Stian and Lutz‘ work, an investigation of different forms of interventions in public spaces, and a self-reflexive exploration of collaboration as structure and experience, and how these interact. The central text of the book is based on three hour-long couples therapy sessions that the two artists attended with psychoanalyst and curator Sinziana Ravini in Paris in 2024. published by ÅAAÅ Books (Oslo), edited by Ragnhild Aamas. @lutzplusstian @stian.adlandsvik @l_l_lutz @sinzianaravini by @pascoe____
5
7 months ago
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some pages from the editorial design of the artist contribution 𝐒𝐨𝐧𝐠𝐬 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐓𝐡𝐫𝐞𝐬𝐡𝐨𝐥𝐝𝐬 𝐟𝐫𝐨𝐦 𝐰𝐢𝐭𝐡𝐢𝐧 𝐁𝐨𝐝𝐢𝐞𝐬 𝐨𝐟 𝐖𝐚𝐭𝐞𝐫 by Marie-Luise Meister @mariemeister_ for 𝓕𝓵𝓾𝓲𝓭 𝓜𝓪𝓽𝓮𝓻𝓲𝓪𝓵𝓲𝓽𝓲𝓮𝓼 In the publication, Marie continued her ongoing research, ­“moving with hydrological bodies—rivers and seas—where stories travel as carried memory across matter and time.“ I designed this chapter to underline its character as a living archive: text, porcelain, photos, drawings, and hydrological maps layer upon one another. As Marie’s songs gather currents in poetry, the typography flows across the pages, lingering as resonant echoes. The chapter’s visual stream runs to the text 𝐁𝐨𝐝𝐢𝐞𝐬 𝐨𝐟 𝐖𝐚𝐭𝐞𝐫—𝐚𝐧 𝐄𝐧𝐭𝐫𝐚𝐧𝐜𝐞. 𝐓𝐡𝐞 𝐅𝐥𝐮𝐢𝐝 𝐒𝐭𝐨𝐫𝐢𝐞𝐬 𝐨𝐟 𝐎𝐮𝐫 𝐓𝐢𝐦𝐞𝐬, written by Aliya Say @say_aliya. @fluidmaterialities was conceived and edited by Marie-Luise Meister by @pascoe____
5
8 months ago
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some pages from the editorial design of the artist contribution 𝐓𝐨𝐩𝐨𝐥𝐨𝐠𝐲 𝐨𝐟 𝐍𝐨𝐧-𝐑𝐞𝐭𝐮𝐫𝐧 by Gohar Martirosyan @goharmartirosian for 𝓕𝓵𝓾𝓲𝓭 𝓜𝓪𝓽𝓮𝓻𝓲𝓪𝓵𝓲𝓽𝓲𝓮𝓼 Gohar’s contribution 𝐓𝐨𝐩𝐨𝐥𝐨𝐠𝐲 𝐨𝐟 𝐍𝐨𝐧-𝐑𝐞𝐭𝐮𝐫𝐧 deals with seismic memory, posthuman cartographies, and diasporic terrains. I designed her contribution to echo a resistance to closure, to hold a stream of images that expands over the pages with a typeset dipped into an earthy brown, reverberating in 𝐒𝐨𝐮𝐧𝐝𝐢𝐧𝐠 𝐨𝐮𝐭 𝐚 𝐟𝐨𝐫𝐞𝐬𝐭, a text written by Pujita Guha. @fluidmaterialities was conceived and edited by Marie-Luise Meister by @pascoe____
5
8 months ago
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a spread from the editorial design of the artist contribution 𝐒𝐨𝐥𝐚𝐫 𝐅𝐢𝐜𝐭𝐢𝐨𝐧𝐬 𝐚𝐧𝐝 𝐒𝐞𝐧𝐬𝐨𝐫𝐢𝐚𝐥 𝐓𝐫𝐚𝐧𝐬𝐥𝐚𝐭𝐢𝐨𝐧𝐬 by Pepa Ivanova @pepa.st.ivanova for 𝓕𝓵𝓾𝓲𝓭 𝓜𝓪𝓽𝓮𝓻𝓲𝓪𝓵𝓲𝓽𝓲𝓮𝓼 This part of Pepa’s contribution revolves around her artwork designs, which follow a common line of a larger research on mutated post-human, solar punk-inspired worlds that light up dark ecology with a ray of hope. I designed the layout and typeset to accentuate Pepa’s research and sketches, extending to the text 𝐁𝐚𝐭𝐡𝐢𝐧𝐠 𝐮𝐧𝐭𝐢𝐥 𝐈 𝐦𝐞𝐥𝐭 written by KUĆĆA @kuccccccca. @fluidmaterialities was conceived and edited by Marie-Luise Meister @mariemeister_ by @pascoe____
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8 months ago
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shell tapes x slug fundraiser ⟢ Friday, February 20th ⟢ 6pm ⟢ SLUG, Eisenbahnstraße 5, 04315 Leipzig Diatribes & Clara Levy (@claralev.y) (CH/BE) ✴︎ live „L’apport“ („The contribution“) is a celebration-composition, a joyful pretext for reunion and experimentation by Cyril Bondi (vibraphone) and d’incise (electronics) as diatribes, inviting Clara Levy (violin). The established score is intended as a tool, a working space, to collectively rewrite the music through the contribution of the guests, their technique, their aesthetic, and the proposal of a melodic material of their choice. Challenges, discomfort, and the disruption of established habits are used as levers to push the music into its most intriguing territory. With Clara Levy, the ghost of a Middle Ages Sephardic song will slip into the interstices of a stretched-out duration. Multimedia Schneider (@multimedia_schneider) (Leipzig) ✴︎ live Layers of resonance located and compressed are etchings in mid-air tibslc (@tibslc) (Leipzig) ୨୧ hybrid tibslc, with e.g releases on Sferic (alongside Bianca Scout and Space Afrika), introduces the listener to a synthetic dreamworld, littered with traces of familiar genres – ambient, new age, rave – that momentarily dissolve in a digital haze. And sometimes, tibslc simply decides she can also be an ethereal singer-songwriter – and she is correct. Gladee (@__gladee__) B2B A//Mendez (Leipzig) ꩜ DJ Set Two friends holding space for fragments and interference. Hazy landscapes, soft acoustics, playful melodies and gentle doom blur into a slow, shared dream. All proceeds of this event are donated to @lemontree_collective, a collective of mutual aid workers currently supporting people from Palestine and Syria. Head to lemontree-collective.org for more infos. Graphic Design: Ris Pascoe @pascoe____ All typefaces that Ris used were designed and/or programmed/published by Palestinian type designers/organisations: AlQuds [by Vladimir Tamari] Djadli Tachkili [designed by Jadli Zein Alabedeen (Algeria) programmed by Zakariah Saleh (Palestine)] GAZA [by PCRF Palestine Children’s Relief Fund (Ajša Zdravkovic)] Posters printed by @risoclub by @pascoe____
5
8 months ago
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some pages from the editorial design of the artist contribution 𝐅𝐨𝐨𝐭𝐧𝐨𝐭𝐞𝐬 by Kate Ruck @pure_moods for 𝓕𝓵𝓾𝓲𝓭 𝓜𝓪𝓽𝓮𝓻𝓲𝓪𝓵𝓲𝓽𝓲𝓮𝓼 The typeset and design I developed resonates with Kate‘s thought of these images and their corresponding texts as relational cues. They move alongside the main body of the work and reflect the ways certain gestures, forms, or materials persist and resurface over time. @fluidmaterialities was conceived and edited by Marie-Luise Meister @mariemeister_ by @pascoe____
3
8 months ago
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some pages from the editorial design of the artist contribution 𝐑𝐞𝐚𝐬𝐨𝐧 𝐢𝐬 𝐭𝐡𝐞 𝐖𝐢𝐧𝐞 𝐨𝐟 𝐅𝐨𝐨𝐥𝐬 by Sadrie Alves @sadriealves for 𝓕𝓵𝓾𝓲𝓭 𝓜𝓪𝓽𝓮𝓻𝓲𝓪𝓵𝓲𝓽𝓲𝓮𝓼 Sadrie’s footnotes of her performance text aren’t traditional footnotes but stories and anecdotes ramifying from the main storytelling body. I incorporated the footnotes to literally accompany the main textual body. This is also reflected in the conversation Sadrie had with Martha Hincapié Charry @lahincapiecharry on cuerpo-territorio and feminist memory. @fluidmaterialities was conceived and edited by Marie-Luise Meister @mariemeister_ by @pascoe____
7
8 months ago
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