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Roxy Zeiher

@roxyamina

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Summer residency at Oye-et-Pallet Working across four countries, we rarely design in the same room. Following the spirit of the last Summer Event, we look for occasions to be together outside client commitments, with physical and emotional space for each other. This year we planned a ten-day residency at Oye-et-Pallet, where each member designed a workshop for the rest of us. Each one followed methods and contexts we are individually interested in, and that we rarely have space for in our regular work. The goal was to inhabit each other’s thoughts around practice, and as a result generate a collection of visual and textual material to work from later. As a practice split across places, we have few chances to celebrate ends of projects and achievements together. The residency was that, but also time to check in, revisit our politics, and get to know each other as people rather than collaborators. —— Workshop #4 - Third eye vision In between the river, the forrest, and the road, when the sun fall behind the ground, old memories whisper. The fourth workshop reflected on sensory ways to explore, investigate, discover our surroundings. Forming one duo at a time, the gatherer and the guide move accros the space. The gatherer blinded, the guide following internal prompts. Each duo harvests imprints on clay tablets, building a small collection of moments and textures. Once each of us had had the opportunity of being both guide and gatherer, the workshop ended, pictures while the clay was wet were taken, and scans were made once the clay dried. by @roxyamina
2
a day ago
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Summer residency at Oye-et-Pallet Workshop #3: Many Hands / Unstable Marks In this workshop we turned our attention to the writing instrument itself, and to what happens to mark-making when a single hand gives up control. We wanted words written together, through movement negotiated between several bodies holding the same tool. To make our writing tools, we collected materials on a hike around Lac de Saint-Point, moving across fields, forest and shoreline, letting the land decide what our instruments would be made from: weeds, inflorescences, stones, bark and sticks. Back at Oye-et-Pallet, we assembled a collection of tools from these elements, following one rule: each had to be held by more than two hands at once, so that every mark would carry the friction, doubt, contradiction and synchronicity of the group. Before writing, each of us assigned a rule to the tool we had made, ranging from the physical (no lifting, eyes closed, one joint breath per stroke) to the oblique (ouija, the traitor, paths dictated by the ground). Working from the vocabulary developed at the close of Text Erosion, we wrote under these constraints, producing a collection of letterings and proto-letterforms to draw on later. taken in Oye-et-Pallet by @roxyamina
1
15 days ago
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Summer residency at Oye-et-Pallet Workshop #2: Text Erosion Using the river as a chance operator for a writing workshop, we activated Roland Barthes’s The Pleasure of the Text through a series of four exercises, thinking through the erosion of a text: the text as sediment, getting patched, cut, rearranged, mistranslated, and worn down at each stage. A distortion engine. This workshop took place at the site of an old bridge over the Doubs, in a swimming area. Stones, mud, water and its current were each given functions that would contribute to the activation of the text. Stones dropped while a participant read became new punctuation, their sound marking where the text broke. Refraction through the water distorted what was heard, and words were altered as they passed between reader and listener. Mud worked as a masking tool, a physical editing device applied directly to the page. The current rearranged the order. Each round of reading, listening and note-taking contributed, as iterations, to a new version of the text. Taking it as a starting point, we moved into a writing session and produced a collaborative piece of our own. by @roxyamina
7
a month ago
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Summer Residency at Oye-et-Pallet Working across four countries, we rarely design in the same room. Following the spirit of the last Summer Event, we look for occasions to be together outside client commitments, with physical and emotional space for each other. This year we planned a ten-day residency at Oye-et-Pallet, where each member designed a workshop for the rest of us. Each one followed methods and contexts we are individually interested in, and that we rarely have space for in our regular work. The goal was to inhabit each other’s thoughts around practice, and as a result generate a collection of visual and textual material to work from later. As a practice split across places, we have few chances to celebrate ends of projects and achievements together. The residency was that, but also time to check in, revisit our politics, and get to know each other as people rather than collaborators. —— Workshop #1: Cardinal printing Following our interest in observational methodologies, we explored how attention fluctuates when limits are placed on where we can look. With four participants, we documented four places, each made of four subjective 90-degree views. In a moment when most of our looking at places happens through a phone camera, we reinterpreted cliché verre, a semiphotographic technique where the image is captured by hand rather than through a lens. The workshop took place on a hike up to Fort Mahler, which overlooks the Château de Joux across the valley. We stopped at four locations, where each of us was stationed facing a different cardinal direction and captured that view. Removing the choice of direction made composition incidental. Attention turned instead to what was worth documenting within the frame, on some occasions subjects we would otherwise overlook. Over the following days we printed the sixteen images onto four shirts, one per location, in two shades of solar dye. Layering the four views of a place produced overlaps and repeated motifs. The resulting imagery holds the collision of four observers, and what each of them filtered in the process of looking. taken in Oye-et-Pallet by @roxyamina
3
a month ago
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New book design for @startseu and @arselectronica, reflecting on the legacy of the S+T+ARTS Initiative, summarising the learnings of a decade of practice and offering insights for policymakers, cultural practitioners, educators, and innovators dedicated to the development of transdisciplinary programmes. Featuring the work developed by / hosted by @cookingsections, @holly_herndon and @matdryhurst, @mariaarnaldimas, @filipponassetti, @in4art, @evaandfrancomattes, @tegabrain, @daisyginsberg, @domesticdatastreamers, @anna.schaeffner, @hypercomf, @ling.tan.ql, @300000kilometrosporsegundo, @mx3d_artlab, @utokyo_pr, @selfassemblylab, @gramaziokohlerresearch, @ethzurich, @betiana.jpg, @territorialagency, @studiotheresaschubert, @__katecrawford__, @una_unless, @giuliafoscariwr, @forensicarchitecture, @jchai.me and others. Documentation in collaboration with @petzrobin Special thanks to Masha Zolotova & Aurélie Delater by @roxyamina
6
4 months ago
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A core principal of spreeeng is the dissemination of knowledge generated through design, including occasional publications like Dispatches, which focus on snapshots of our practice, alongside an ongoing commitment to formal and informal design education. The Dispatches gather details and material traces from works developed at spreeeng. The second issue looks at an outtake from an experimental image-making system commissioned for the Serpentine Galleries Future Art Ecosystems website. The system explores how textual descriptions can be translated into abstract landscape imagery through a chain of interchangeable, publicly available tools, allowing the final results to shift when the tools are replaced. by @roxyamina
5
a year ago
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WIP Magazine Issue 10 Editor in Chief @calumgordon_ Art Director Jan Ziegner Contributing Editors @_m0rna_ @holly_connolly Lead Designers @roxyamina @Robin Weißenborn @val.tss Extra Special Thanks @petzrobin OT Horizontal @omni.type by @roxyamina
1
2 years ago
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WIP magazine issue 10 Space design @spaziomaiocchi to celebrate the launch of WIP magazine issue 10 @carharttwip @calumgordon_ @petzrobin @_m0rna_ @holly_connolly @val.tss @carharttwip_it Photography @petzrobin taken in Spazio Maiocchi by @roxyamina
3
2 years ago
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WIP magazine issue 10 Editorial Design for this issue’s central dossier Clockwatchers—examining the future of work in the face of a looming climate crisis, through essays, interviews, and visual interventions. ⃕ ⃕ Editor in Chief @calumgordon_ Art Director Jan Ziegner Contributing Editors @_m0rna_ @holly_connolly Lead Designers @roxyamina @Robin Weißenborn @val.tss Extra Special Thanks @petzrobin by @roxyamina
3
2 years ago
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Our new website is up ~ We have been working as spreeeng since late 2018, with current members: @carlosromomelgar @hls.da @johnphilipsage and @roxyamina spreeeng is a cooperative design practice providing graphic design and creative research to clients in the cultural sector. It is key for us to disseminate the knowledge that emerges from practising as designers from within the work that we make. We are also part of different design education programmes and take part of informal educational initiatives. Our approach emphasises cooperation, seeking partnerships, and maintaining a horizontal structure when collaborating with other independent design practices. Furthermore, a significant part of our mission involves engaging with communities in various ways, be it through projects, collectives, or community outreach programmes. Check us out <3 Website built by @soup.work eee glyphs by our collaborators @venidadevenida_ @rosa_que_nao_pica @v____rm @simon.aw and us Link in bio 🌀 by @roxyamina
6
3 years ago
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Fake AI: Artificial Abundance An overly sensitive recognition algorithm ends up producing a glitch across the whole book. All instances of “AI”, “ai” and “Ai” are replaced by a custom AI-informed typeface, regardless of their meaning or context. The dataset used for training the GAN in charge of this typeface contains logos from various AI related brands, or companies located in the country of Anguilla (whose top-level domain is “.ai”). Designed with @johnphilipsage @carlosromomelgar for @meatspacepress edited by @f_kaltheuner by @roxyamina
1
4 years ago
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Fake AI: The Wizard of Oz Technique This book explores the use of AI to conceptualise its main visual elements. Its design is a staged lie, result of a micromanaged collaboration with a GAN (Generative Adversarial Network). The result could be seen as 𝓽𝓱𝓮 𝓯𝓲𝓻𝓼𝓽 𝓫𝓸𝓸𝓴 𝓭𝓮𝓼𝓲𝓰𝓷𝓮𝓭 𝓫𝔂 𝓪𝓷 𝓪𝓻𝓽𝓲𝓯𝓲𝓬𝓲𝓪𝓵 𝓲𝓷𝓽𝓮𝓵𝓵𝓲𝓰𝓮𝓷𝓬𝓮. In this scenario, the collaborating AI has informed the visual language, but also constrained the possibilities and reading experience of the pages. In this book, what seems autonomous is disguising our work ‘as a proxy for the system behind the scenes’. The use of a GAN, which a reader could see as a symbol of technological ergonomics, has complicated the process of design. As a result, the contents contort around the spaces that the AI imagination leaves them to exist. The book features two different uses of a GAN, dealing with the overall composition of pages, and substitution of all “AI”, “ai” and “Ai” character combinations, regardless of their context. Designed with @johnphilipsage @carlosromomelgar for @meatspacepress edited by @f_kaltheuner Set in Roobert by @xyz_displaay by @roxyamina
1
4 years ago
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