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Space for Visual Research

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The Space For Visual Research (SfVR) is an institute for experimental image research and production.[1] It was established at the Bauhaus University Weimar in 2013 by Markus Weisbeck,[2] Michael Ott and Mathias Schmitt and began as workshop and laboratory for visual research into new graphic, abstract, artistic and artificial worlds.[3] The Space’s mission is to support the exploratory urge for new aesthetics, in particular by empowering design students to create their own individual imagery. The Space provides a set of specific experiments as starting points, ready to be questioned, interpreted and adapted in a progressive context that culminates in students’ devising and undertaking their own experiments.[4]

As a holistic approach, graphic design is the art of composing elements from text and images e. Often, these elements derive from a predetermined source — for example, the content of a product — that is independent of the designer. Looking closely into the history of graphic design, however, one finds that many of the visual milestones of this medium are instances of sole authorship. In these cases, the individual designer has created images or illustrations independently, as graphic solutions. The Space for Visual Research instead teaches designers to open their minds and toolkits: to make the processes transparent and to understand themselves as part of the work-related assemblages. In this respect, there is also the approach of countering the cult of genius with the aesthetics of coincidence and spontaneity.

The results from the Space are documented and published in book form. It represents a protocol of the visual experiments conducted using physics, chemistry, optics and reproduction technology as starting points for image production. Coincidence is documented as a natural companion to each series of tests.[5] While the imagery itself may be understood as the interim result of the various ongoing investigations. The Space for Visual Research does not aim for pictorial legibility of the experiments but focuses instead on their formal aesthetics as compositions. On the other hand, technical explanations open up possibilities for customized reproductions of each visual experiment presented here, while commissioned interviews and essays as well as a hand-picked bibliography render a useful reference tool for visual research in general.

Book 1

The first book was published by Spector Books in 2014 and edited by the three founders of the SfVR (Markus Weisbeck, Michael Ott and Mathias Schmitt).[6] It is a hybrid publication written in English and German. The aim was to show the resulting abstract images of the SfVR and to draw attention to the fact that they were created independently of visual references and emerge from a free authorship of the designer.

It opens with an interview between graphic designer and professor Markus Weisbeck and the creative consultant Alexander Marashian, in which the program of the project is explained and discussed. As a lab log it also asserts its claim by demonstrating different modes of abstraction in 13 image series by 16 designers, who experimented with optical, physical, chemical and digital tools.[7] The compositions push the limits of depiction, iconicity and exemplariness. Among the designers are Florian Apel, Manuel Birnbacher, Florian Bräunlich, Christian Krüger, Philotheus Nisch, Michael Ott, Enno Pötschke, Johannes Rinkenburger, Michael Paul Romstöck, Mathias Schmitt, Peter Schwartz, René Schwolow, Johannes Siebler, Anna Teuber, Julia Wagner and Markus Weisbeck. Besides the publication also contains two artistic interventions by Jason Dodge and E. Roon Kang and an original print by Enno Pötschke.

Furthermore, it contains an essay by the artist Liam Gillick who describes the necessary failure of representation in the abstract and reevaluates this crisis as a critical potential for abstract imagery. In another text Karl Schawelka traces the history of the productive abstraction of forms from nature in the arts between the poles of pattern recognition and imagination. Media scientist Sophia Gräfe provides insights into the thinking of philosopher and information aesthete Max Bense and the design theory of the 1960s. In an attempt to understand aesthetic thinking and images as forms of thinking, her approach underscores the SfVR curriculum.[8]

Book 2

The second publication is a sequel to the first volume and was published in 2017, also at Spector Books, by Markus Weisbeck, Adrian Palko, and Anna Sinofzik.[9] The form of the laboratory diary is retained, and thus the book presents new results of student experimental series at the Bauhaus University Weimar.[10] Images from a wide variety of sources, such as analog drawing machines, virtual environments, kinetic sculptures, and luminograms can be seen. What they have in common is the free experiment far from commercial clients, which allows the emergence of autonomous visual worlds.

They were produced by Christoph Blankenburg, Florian Bräunlich, Matthias Dörfelt, Julieta Gil, Katharina Hüttler, Verena Kalser, Franzi Kohlhoff, Sascha Krischock, Philotheus Nisch, Michael Ott, Elisabeth Pichler, Johannes Rinkenburger, Max Salzborn, Samuel Solazzo, Mathias Schmitt, Anna Teuber, Jakob Treß, Moritz Wehrmann, Robin Weißenborn, Markus Weisbeck und David Wicks. In addition, the artistic works of Amos Fricke and Dirk Fleischmann complement the visual diversity of the book.

The theoretical background is again introduced by an interview: Markus Weisbeck debates with Casey Reas (University of California, Los Angeles), Martin Venezky (California College of the Art, San Francisco), and Cybu Richli (Zurich University of the Arts) about their respective approaches to visual research in design education. This discussion is supplemented by text contributions from Karl Schawelka, Ken Hollings, Sophia Gräfe, and Anna Sinofzik and thus expanded by perspectives from art and cultural history.

Workshops

It is also part of the SfVR's agenda to present the approach of experimental image research in international workshops and to further develop it in cooperation. Stations of different workshops were:

  • 2018: PaTI, Institute for Typography Paju, Paju, Korea[11]
  • 2018: Y Design Summer, Hangzhou, China
  • 2018: Vije School, Tehran, Iran
  • 2018: Hubei Institute for Technology, Wuhan, China
  • 2018: »Collective Dialogue ‚Gertrud Grunow‘« Kunstfest Weimar, Weimar, Germany[12]
  • 2019: Gwangju Design Biennale / Gwangju, Korea
  • 2019: Humboldt Forum, Quito, Ecuador
  • 2019: Safavi House, Isfahan, Iran
  • 2019: Universidad Católica Boliviana, La Paz, Bolivien
  • 2019: Taiwan Tech, Taipeh, Taiwan[13]
  • 2019: Y Design Summer, Macau, China[14]

Weblinks

https://herbert.gd/space-for-visual-research

References[edit]

  1. "Herbert". Space for Visual Research. Graphic Design Department BUW.
  2. "Keynote". eimad.pt. Retrieved 11 July 2022.
  3. Homeworks Design Education Practice&Process. agbooks. pp. 158–166. ISBN 9788970590189. Search this book on
  4. David Cabianca. "A Case for the Sublime Uselessness of Graphic Design". Taylor and Francis Online.
  5. "Professur Grafikdesign gibt Publikation »Space for Visual Research« heraus". Bauhaus-Universität Weimar. Bauhaus-Universität Weimar.
  6. Weisbeck, Schmitt, Ott. Space for Visual Research. Spector Books. p. 184. ISBN 9783944669809.CS1 maint: Multiple names: authors list (link) Search this book on
  7. "Space for Visual Research". Designmadeingermany. Design made in Germany.
  8. "Space for Visual Research". Slanted Typo Blog. Julia Kahl.
  9. Weisbeck, Sinofzik, Palko. Space for Visual Research 2. Spector Books. p. 248. ISBN 9783959051682.CS1 maint: Multiple names: authors list (link) Search this book on
  10. "Space for Visual Research, Volume 2". E-Flux. E-Flux.
  11. "Space for Visual Research Workshop". Pati, Paju Institut for Typography. Paju Institut.
  12. "Collective Dialogue ‚Gertrud Grunow'". Jenny Brockmann.
  13. "The BAUHAUS Spirit Alive at Taiwan Tech". Taiwan Tech. Taiwan Tech.
  14. "Design Summer 10". cva-berlin. Center for Visual Arts Berlin.


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