Rozbeh Asmani – Colourmarks
In his series "Colourmarks“ Rozbeh Asmani deals with the aesthetics of capitalism. Therefore, he researched all registered colour trade marks in Germany and made abstract colour plates from these. While at first sight these works unfold their aesthetic power within the exhibition space, their actual function is revealed to the beholder only at a second glance: All colour hues used in this series represent colours that have been licensed by large corporations in order to set themselves apart from competing products and services. They are thus an expression of the competitive struggle within a capitalist system based on steady growth. Hence, Asmani addresses the occupation of collective memory by trademarks via the use of colour and reveals the complex link between colour, power and identity.
2016, Köln Foto: David Ertl
While studying both interior and industrial design at the Ecole Camondo in Paris, Vincent Grégoire also found the time to work on a number of scenographic creations, accessories for fashion designers and advertising visuals.
Artistic director and designer of exclusive products for decorator Agnès Comar, he joined the NellyRodi Agency in 1991, where he became the driving force behind the early and rapid development of the NellyRodi Lifestyle Department.
Extremely committed to his clients, he travels the world in search of the latest trends, markets and consumers aspirations.
Animated by the desire to share his discoveries and analyses, he sees his “work” as a driving belt between marketing, creation and communication.
Telegrams, love letters, and prison escape maps!
You cannot miss hearing Annie Atkins to learn why it is not just the movie poster a graphic designer makes, but also any paper props that the actors work with on set. So how are graphics created that express a director's story, as well as contributing to the genre, period, and visual aesthetic of a film? Annie, will share the tricks of the trade with you at this inspiring presentation.
Annie Atkins specializes in graphic design for filmmaking, having designed graphic props and set-pieces for all kinds of period features including three Oscar-nominated films: the animation The Boxtrolls, Spielberg's Bridge of Spies, and Wes Anderson's Grand Budapest Hotel - the latter of which went on to win the Academy Award for Best Production Design. Originally from Snowdonia in Wales she now lives in Dublin where she works from her own studio.