Onepage

magazine/poster

‘Onepage brings authors, design­ers, lyri­cists, and print­ers to the table and del­i­cately invites them to inter­act so that lan­guage, design, print, and paper form an equal unit. The result is unique, non­con­formist, high-qual­ity text posters.’ (Doris Büchel, founder & edi­tor). This com­mis­sion was a carte blanche to all involved: author, lyri­cist and designer. The poster is avail­able folded as a book­let or unfolded. https://​onepage​.li

Kieler Woche 2022

Segelregatta und Volksfest

Die Kieler Woche ist eine der größten Segel­re­gat­ten der Welt und gle­ichzeitig ein Volks­fest mit unter­schiedlich­sten Events auf zahlre­ichen Büh­nen. Nach den Covid-Ein­schränkun­gen der let­zten Jahre, sollte die Kieler Woche, so Philipp Dorn­berger, wie ein «Phönix aus der Asche steigen». Im Cor­po­rate Design für das Jahr 2022 ver­schmelzen Geschichte und Auf­bruch­stim­mung. Gestal­ter­isch abgeän­derte Ele­mente aus der Reihe längst ikonis­cher Plakate der Kieler Woche der let­zten 72 Jahre formierte ich als Rem­i­niszen­zen an Bewährtes und Bekan­ntes zu einer flex­i­blen eigen­ständi­gen Form des Cor­po­rate Design. Es unter­legt das nach­pan­demis­che Wieder­se­hen mit Fre­un­den und Bekan­nten mit einem visuellem Spiel, das Kon­ti­nu­ität und Zukunft in der Fähigkeit und Bere­itschaft zum steten Wan­del begrün­det sieht.

Whatever

Über doppelte Musik

Book & Record Launch, Live Per­for­mance with Kay-Zee and Dim­itri de Per­rot, Kup­per Mod­ern, Novem­ber 2021. Spec­tor Books & Noi Record­ings. Edi­tors: Tania Prill & Peter Tillessen, pho­tos © Peter Tillessen

Palace

Welt­for­mat Poster, Asso­ci­a­tion PALACE, St. Gallen, Switzer­land dur­ing the Covid Lock­down. PRINT: Uldry​.ch

Ingo Vetter

Populäre Plastik

What an impact does an art­work designed for pub­lic space have on its loca­tion and use of this space? Can it pro­vide an expe­ri­ence or a new point of view? can it cre­ate con­texts? – from the pref­ace by Ingo Vet­ter
Design: Chris­t­ian Hofer, Lea Michel together with Tania Prill
Ver­lag für mod­erne Kunst Nürn­berg, 2020

Wir publizieren

Redaktion, Gestaltung, Produktion und Distribution unabhängiger Magazinformate in der Schweiz seit 1960

Wir pub­lizieren focuses on inde­pen­dent, col­lec­tive prac­tices in pub­lish­ing, repro­duc­tion and dis­tri­b­u­tion. It is a joint project of the Bern Uni­ver­sity of the Arts HKB in Switzer­land and the Uni­ver­sity of the Arts Bre­men in Ger­many. We are con­cerned with the ques­tion of how to iden­tify increased inter­est in printed mat­ter in small edi­tions or obscure net­works, and with how themes, approaches, aes­thet­ics, and atti­tudes have changed in inde­pen­dent pub­lish­ing since the 1960s (and why).
The exhi­bi­tion, the con­fer­ence and the instal­la­tion Wir pub­lizieren at the Kun­sthalle Bern and at the Off-Space Anticham­bre (Decem­ber 2019–January 2020) was the first project to acti­vate the Archive of Swiss Inde­pen­dent Peri­od­i­cal Pub­lish­ing which is based at the HKB.
We are link­ing up with the exhi­bi­tion (Museum Weser­burg Bre­men 2015/2016) and bookpro­ject ​‘Under the Radar. Under­ground- and Self­pub­li­ca­tions 1965–1975’ coor­di­nated by Jan-Fred­erik Ban­del, Annette Gilbert and myself together with the stu­dents of the HfK Mas­ter­pro­gramm ​‘School of Visual Com­bi­na­tions’. wir​-pub​lizieren​.ch

336 pages 336 books

‘For this 336-page book we have sighted thou­sands of books of all dif­fer­ent peri­ods, on dif­fer­ent top­ics and focuses, in search of 336 head­strong, incor­rupt­ible and humoris­tic page num­bers. On one spread, 2 pag­ings face each other, they relate to each other by their set­ting. The entirety of the pages reflects the visual diver­sity of the world of books.’ The struc­ture refers to book by George Brecht, the title is inspired by the artist books by Ed Ruscha. A folded leaflet with an index of the ref­er­ences is enclosed in the book.
151×105mm, Hard­cover, Everyedi­tion, Zurich 2013 (Out of print)
Edited and designed by Prill Vieceli Cre­mers

Bauhaus Dessau

Cor­po­rate Design, Stiftung Bauhaus Dessau,2015, Design: Prill Vieceli Cre­mers

School of Visual Combinations

Masterstudio HfK Bremen

schoolofvi​su​al​com​bi​na​tions​.hfk​-bre​men​.de
Together with other design­ers, artists, researchers and thinkers I am super­vis­ing the School of Visual Com­bi­na­tions at the Uni­ver­sity of the Arts Bre­men.
Ani­ma­tion: Bolin Chen

Architonic – Logo

Zurich, 2021

2006 Alberto Vieceli and I designed the Archi­tonic Logo and since then var­i­ous appli­ca­tions. Nice to see that 15 years later the logo is still in use– unchanged.

Bruchlinien

Drei Episoden zum NSU

This book is about the NSU trial that took place from 2013 to 2018. The draw­ings by Paula Bulling, based on three scenes devised by Anne König, inter­weave fact and imag­i­na­tion. The comic is accom­pa­nied by a series of inter­views with Bar­bara John, ombudswoman for the fam­i­lies of the vic­tims, jour­nal­ists Toralf Staud and Chris­t­ian Fuchs, Ayşe Güleç, co-founder of the Coali­tion for Action on the mur­der of Halit Yoz­gat in Kas­sel, and Can­dan Özer-Yıl­maz, widow of Atilla Özer.
»Dessen ungeachtet ist ​„Bruch­lin­ien“ ein Meilen­stein für den deutschen Comic: method­isch, ästhetisch, vor allem aber poli­tisch. Die Lek­türe ist schmerzhaft, aber das muss sie sein, wenn über­haupt so etwas wie ein Umdenken in den Dien­st­stellen, die bei der Aufk­lärung der NSU-Morde ver­sagt haben, erfol­gen soll.« Andreas Platthaus, Frank­furter All­ge­meine Zeitung
Spec­tor Books, 2019

Archive of Independent Publishing

AIP

Since 2018 I am run­ning the Archive of Inde­pen­dent Pub­lish­ing (AIP), a col­lec­tion of Ger­man and inter­na­tional under­ground and self-pub­li­ca­tions, now based at the Uni­ver­sity of the Arts Bre­men (HfK). The assort­ment of hun­dreds of note­books, brochures, largely com­ing from the 1965–75 period, is open to use for researchers, stu­dents, and other inter­ested indi­vid­u­als. The value of these publications—often equally wild in regards to pol­i­tics, con­tent and design—for the his­tory of social move­ments, polit­i­cal protest forms and alter­na­tive life mod­els around and since 1968 is appar­ent. How­ever, the AIP is most urgently inter­ested in ques­tions that are dif­fer­ent (or rather lead in dif­fer­ent direc­tions): what sig­nif­i­cance is gained by media, com­mu­ni­ca­tion, and design in these life mod­els? What pre­ced­ing his­to­ries to the ana­log, dig­i­tal, post-dig­i­tal media use can be told through these pub­li­ca­tions? Which breaks with tra­di­tion and lines of con­ti­nu­ity within graphic design and media thought can be con­ceived of more pre­cisely than else­where? On Whose shoul­ders is today’s inde­pen­dent pub­lish­ing stand­ing on? What can it learn from the ama­teurs, fan­tasts, and rebels of the 1960s and 70s? How polit­i­cal is design? And which social ideas can be artic­u­lated within it?
The AIP has emerged out of the col­lec­tion belong­ing to Jan-Fred­erik Ban­del and the project Under the Radar. Under­ground Zines and Self-Pub­li­ca­tions 1965–1975 and addi­tional AIP works, such as Stil­re­volte Under­ground, designed by HfK Mas­ter stu­dents Jakob Grom­mas & Vik­to­ria Dietz are also slated to be pub­lished there. Spec­tor Books, 2022

Why Publish? We Publish!

‘Print Out: Archiv­ing and Cura­to­r­ial Prac­tices of Alter­na­tive Pub­lish­ing Ven­tures’, inter­na­tional Sym­po­sium on Cura­to­r­ial Prac­tices of Alter­na­tive Pub­lish­ing Enter­prises at the Saro­jini Naidu School of Arts and Com­mu­ni­ca­tion, Uni­ver­sity of Hyder­abad in col­lab­o­ra­tion with Pro Hel­ve­tia, Swiss Arts Coun­cil, Hyder­abad, 2018 / Lec­ture together with Andreas Vogel
‘READ­ERS OF ALL COUN­TRIES, PUB­LISH!’ Lec­ture and work­shop together with Andreas Vogel at the Fac­ulty of Fine Arts, MSU Bar­oda, 2018 / TAKE on Writ­ing Series and Pro Hel­ve­tia in col­lab­o­ra­tion with MSU Bar­oda and Pro Hel­ve­tia.

The Legend of Barbara Rubin

Film Culture 80

The film­maker Bar­bara Rubin entered the New York under­ground in the 1960, while still a teenager and she quickly became a leg­endary key fig­ures of the com­mu­nity.
This spe­cial eight­i­eth issue of the mag­a­zine Film Cul­ture fea­tures her pre­vi­ously unpub­lished let­ters to Jonas Mekas and includes inter­views and Rubin’s script, Christ­mas on Earth Con­tin­ued, a planned sequel to her noto­ri­ous film.

Design: Tania Prill & Franziska Bauer, Spec­tor Books.
Awarded as one of the Most Beau­ti­ful Swiss Books 2018.

Book launch 1: A Con­ver­sa­tion about Bar­bara Rubin together with Anne König, Jonas Mekas, Marc Siegel and Chuck Smith. Sep­tem­ber 15, 5–7pm, Printed Mat­ter, New York.

Book launch 2: Fri­day, Sep­tem­ber 21, 2018, 3pm at the Class­room MoMa PS1, with Jonas Mekas, Chuck Smith, Franziska Bauer, Sarai Mey­ron and Anne König.

Typografie als künstlerisches Ereignis

Michael Glasmeier & Tania Prill (Hrsg.)

Mit Beiträ­gen von Jan-Fred­erik Ban­del, David Ben­newith, Susanne Bieri, Ruth Black­sell, Frieder Butz­mann, Sebas­t­ian Cre­mers, Annette Geiger, Annette Gilbert, Michael Glas­meier, Sabine Main­berger, Ben­jamin Meyer-Krah­mer, Tania Prill, Gabriele Wix

Gemalte Schrift, gedruckte Schrift, mon­tierte Schrift: Nicht erst seit dem 16. Jahrhun­dert begleiten dif­fer­ente For­men von Tex­tele­menten die bildende Kunst – bis hin zum Ersatz des Bildes durch Schriftlichkeit. Die Pub­lika­tion will daher mit ihren Beiträ­gen nicht in erster Linie Text-Bild-Phänomene unter­suchen, son­dern vielmehr die jew­eils spezielle Typografie solcher Worter­schei­n­un­gen an aus­gewählten Beispie­len disku­tieren. Ger­ade in den 1960er Jahren wird deut­lich, dass etwa mit Fluxus, Konzep­tkunst, Pop-Art oder exk­lu­siv mit Visueller/​Konkreter Poe­sie Tex­tele­mente eben nicht nur poet­is­che Beiga­ben darstellen, son­dern einen eige­nen, indi­vidu­ellen Bild­charak­ter besitzen, der in einer prak­tis­chen Gestal­tung etwa von Gemälden, Zeich­nun­gen, Kün­stler­büch­ern, Bildtafeln, Dia­gram­men, Konzepten, Instal­la­tio­nen oder Fil­men Aus­druck findet. Hier erprobt die bildende Kunst auf ver­schieden­sten medi­alen Ebe­nen einen erweit­erten Umgang mit Schrift bis hin zur Entwick­lung eigener Schrift­typen. Vor allem aber kommt es in diesen Jahren zur pro­duk­tiven Wech­sel­wirkung von freier und ange­wandter Typografie, etwa in den Kün­stler­pub­lika­tio­nen der Zeit. Meth­o­den der Konkreten Poe­sie oder der Konzep­tkunst wer­den in die Wer­bung über­tra­gen usw. Dieses bisher unter­be­lichtete Feld eines umfassenden typografis­chen Exper­i­ments kön­nte mit den vere­in­ten Kräften von The­o­rie und Praxis ein neues Forschungs­ge­biet gener­ieren.
Tex­tem, ISBN 978−3−86485−125−4

Under the Radar – Underground Zines and Self-Publications 1965–1975

Exhibition and publication

The mid-1960s wit­nessed a boom in under­ground and self­pub­lished works. This exhi­bi­tion at the museum Weser­burg Bre­men and the pub­li­ca­tion is the first to present the under­ground and self-pub­lished works that came out of West Ger­many in such depth, while also show­ing the inter­na­tional con­text in which they emerged: not as an anec­do­tal his­tory but as an attempt to tap into the aes­thetic cos­mos of a Do-It-Your­self rebel­lion, one that also chal­lenges us to take a new look at the cur­rent boom in inde­pen­dent pub­lish­ing, the riso­graph aes­thetic, and so on.
Spec­tor Books, 2017, Edited by Jan-Fred­erik Ban­del, Annette Gilbert, Tania Prill; designed by Prill Vieceli Cre­mers
Award: Grand Prix, Tokyo Type Direc­tors Club
Exhi­bi­tion: Jan-Fred­erik Ban­del and Tania Prill, in coop­er­a­tion with the School of Visual Com­bi­na­tions.

Money

This is a book about the pic­tures on ban­knotes: pic­tures of polit­i­cal sub­ject-mat­ter, his­tor­i­cal mile­stones, dis­tin­guished per­son­ages, sta­tus sym­bols, and land­scapes. Ban­knotes are mini-posters pro­claim­ing an ide­al­ized world. Money is a mys­tery: mon­e­tary value seeks a visual cor­rel­a­tive.
The pic­tures on bills tell sto­ries and glo­rify power. Strong, happy peo­ple engaged in phys­i­cal labor, for instance. They have access to edu­ca­tion and live in a fan­tas­ti­cal land­scape with abun­dant fauna. Mon­e­tary iconog­ra­phy often takes up sim­i­lar motifs and reit­er­ates basic pat­terns. Human fig­ures are por­trayed accord­ing to pathos for­mu­lae, their ges­tures and facial expres­sions to be uni­formly con­strued the world over.

I started col­lect­ing ban­knotes and focus­ing on the pic­tures 11 years ago while I was trav­el­ing in Iran. We tried to con­jure the spirit that speaks from the orna­men­ta­tion of ban­knotes, as Wal­ter Ben­jamin put it, and show which pic­tures are used to imprint value on slips of paper that would oth­er­wise be worth­less.

Edited and designed by Prill Vieceli Cre­mers
Edi­tion Patrick Frey

Lutz Open House

When we had to leave our stu­dio in 2017, which was the for­mer stu­dio of Hans-Rudolf Lutz since 1972, we moved our stu­dio fur­ni­ture and exhib­ited some of his work for a cou­ple of days.
Scenog­ra­phy: Sebas­t­ian Cre­mers

Martin Parr

Poster

Design: Sebas­t­ian Cre­mers, Tania Prill, Alberto Vieceli

Zeitlos Schön

Poster

Design: Sebas­t­ian Cre­mers, Tania Prill, Alberto Vieceli

Hot Love

Hot Love – Swiss Punk & Wave 1976–1980 tells the story of the pio­neer­ing Swiss Punk scene from the begin­ning. The Swiss Punk scene emerged in Zurich and Geneva around the same time it started in Lon­don and New York, in 1976. Hot Love starts at the very begin­ning and recounts the com­plete story until 1980, when Punk went polit­i­cal and much of the energy of the first gen­er­a­tion was lost. 

Most beau­ti­ful Swiss books, 2006
Designed by Prill & Vieceli

Shamans of Cave Graffiti

Work­shop at OTIS Col­lege of Art and Design, L.A., MFA GD Design Week 2015
Kali Niki­tas invited me for a work­shop dur­ing the Design Week together with other vis­it­ing artists in 2015. Coor­di­na­tors: Kali Niki­tas together with Menno Crui­jsen.

Estate Hans-Rudolf Lutz

Since 1998 I am in charge of the estate of the typog­ra­pher, teacher, pub­lisher and author Hans-Rudolf Lutz. I am try­ing to acti­vate his work through lec­tures and other ini­tia­tives. In sum­mer 2021 a reprint of the Hiero­glyphs of today will come out as a col­lab­o­ra­tion with Urs Lehni / Rollo Press.

unsicher

Beat Gloor

‘Sep­a­ra­tions hurt. Sep­a­ra­tions lib­er­ate. Often we miss some­thing after­wards that we thought we were sure of. That makes us inse­cure.’ (Elster & Salis)
Lin­guist Beat Gloor col­lected incor­rectly sep­a­rated words over 15 years. The mis­takes cre­ate new, often humor­ous mean­ing. ​‘I would like to warmly rec­om­mend this book, which, by the way, has an excep­tion­ally beau­ti­ful typog­ra­phy. It is a school of thought as amus­ing as it is pro­found.’ (NZZ am Son­ntag) Designed by Prill & Vieceli – awarded at the Most Beau­ti­ful Swiss Books

better safe than sorry

Wiedemann Mettler

Pub­lisher: Schei­deg­ger & Spiess
Design: Prill Vieceli Cre­mers