A random shuffling impression
of a selection of work which can be found
Projects include, but are not limited to, conceptual exhibitions, playful websites, harmonious installations, perpetually morphing stories, typographic campaigns, creative research, a ball of yarn, and a platform.
For any questions, inquiries and/or collaborations, please don't hesitate to get in touch. I’m based in Amsterdam but that’s just a given.
A World Shaped Differently
Caroline Kist
Exhibition (text) design
After designing Caroline her website I had the honour of continuing our great collaboration. For her first solo exhibition at Atelier K84 I was responsible for all the design output such as the poster, a booklet and all the typography in the exhibition. You can almost say I’ve managed to create an identity which is very fitting and at this moment in time, timeless.
To see what Caroline is up to now, have a look at her website!
Colophon
Concept & design
Anouk de l’Ecluse
Images
Caroline Kist
Fonts
ABC Dinamo Diatype Light
Freight Text
carolinekist.nl
De derde vrouw / Natalie C. Barney
Velvet Publishers
Book design
Velvet Publishers is the Dutch publisher of les-bi-queer literature. By publishing LBQ stories, Velvet Publishers aims to actively contribute to the positive representation of les-bi-queer individuals with editions of LBQ classics, modern translated literature and the launch of a special new series: the les-bi-queer Pulpature series.
Their mission is a wider and happier representation of les-bi-queers' lives in Dutch-language literature.
For their series Vintage publications Velvet publishers asked me to design the cover of ‘De derde vrouw’ by Natalie Clifford Barney. In English the book is know as ‘Women Lovers, Or the Third Woman’ and is a lesbian love triangle avant la lettre. It is an intense and poetic modernist novel about three women deeply devoted and in love with each other, and chronicles the transformation of their relationship. The idea of the “Third Woman” is not only a reference to one of the women in the novel being left out by the others, but also to the idea that being a lesbian was being part of a “third sex”.
Due to the fact that the book was the first within the series, I had to not only design a captivating cover but also create a concept for the coming books within the Vintage series. The traingle became the core element in which I constructed the concept. It is a prominent shape within Velvet’s identity and ties it together to the V of vintage. 1 + 1 becomes more.
For this title we chose to have the design reminiscent of a kaleidoscope. But the concept is so that it is very versatile in usage. Cool fact – the image on the cover is Natalie Clifford Barney herself!
Colophon
Concept & design
Anouk de l’Ecluse
Image
Natalie Clifford Barney, c. 1898, photograph by Emery, Bar Harbor (Maine)
Brochure 2024
Velvet Publishers
Print design
Velvet Publishers is the Dutch publisher of les-bi-queer literature. By publishing LBQ stories, Velvet Publishers aims to actively contribute to the positive representation of les-bi-queer individuals with editions of LBQ classics, modern translated literature and the launch of a special new series: the les-bi-queer Pulpature series.
Their mission is a wider and happier representation of les-bi-queers' lives in Dutch-language literature.
For the 2024 launch of their books I designed the brochure based on the identity made by studio megan. A great collaboration within a limited time frame and budget. Who says you can’t design nice items with limitations?
Colophon
Concept & design
Anouk de l’Ecluse
Text
Velvet Publishers
Font
Ginka
Pantheon Drukkers
To look is to wait
Caroline Kist
Website design
Photography is waiting, waiting to see that which is unknow if it will come. Only when Caroline has found it does she know what she was looking for. That takes time. Most of her images hover between coincidence and attribution, between what she sees and what she is looking for.
But just as the unknown can only emerge from the known, so can freedom of the imagination only really emerge from limitation, from a structure.
This structure sends the looking in a direction that seems to lead outside the image. Seeing by looking, and doubting.
In the way Caroline talks about her work I wanted the viewer of the website to be able to meander and touch upon the waiting element. When you make a choice it sets something in motion. Elements appear and disappear, similar to what you see in Caroline’s images. So instead of just stumbling into her images, I gave the text a prominent roll to really settle down and tap into a concentrated state of mind. This way the website stacks meaning on top of each other to eventually create space to absorb the idea of ‘to look is to wait’.
Colophon Photography & text
Caroline Kist
Concept & design
Anouk de l’Ecluse
carolinekist.nl
Wälzende, 1926 Bronze
Alreadymade II (installation)
Barbara Visser
Sparring partner exhibition
Documentation + text design
08.02.2024 – 12.05.2024 Kunsthaus Zürich
Documentation + text design
08.02.2024 – 12.05.2024 Kunsthaus Zürich
‘Fountain’, a urinal that was declared to be a work of art in 1917, is perhaps the best-known conceptual object of the 20th century. Signed ‘R. Mutt’, it was submitted anonymously to an exhibition by the Society of Independent Artists in New York; since then, everyday objects can be ‘readymades’ and qualify as art too. Marcel Duchamp (1887–1968) claimed authorship of the work. However, there are rumours that it was not he who masterminded it but rather the Dada artist Elsa von Freytag-Loringhoven (1874–1927).
The film ‘Alreadymade’ (2023), which forms the basis for Visser’s site-specific installation at Kunsthaus Zürich, is an alternative whodunnit that explores the boundaries between genuine and fake. ‘Fountain’ is the starting point of the artist and film-maker’s investigation into the speculation surrounding Duchamp’s authorship. Adopting the readymade approach, she produces the work from existing material: found film footage from which she creates her own moving images, employing new technologies such as motion capture and meta-human modelling. The result is not an art-historical documentation; rather, the mix of existing and newly created material serves as a reflection on such fundamental questions as ‘what is reality, and what is fake?’ Who is the author? What is an original and what is a copy?
The film ‘Alreadymade’ (2023), which forms the basis for Visser’s site-specific installation at Kunsthaus Zürich, is an alternative whodunnit that explores the boundaries between genuine and fake. ‘Fountain’ is the starting point of the artist and film-maker’s investigation into the speculation surrounding Duchamp’s authorship. Adopting the readymade approach, she produces the work from existing material: found film footage from which she creates her own moving images, employing new technologies such as motion capture and meta-human modelling. The result is not an art-historical documentation; rather, the mix of existing and newly created material serves as a reflection on such fundamental questions as ‘what is reality, and what is fake?’ Who is the author? What is an original and what is a copy?
Barbara asked me to be her sparring partner for this exhibition and give shape to parts of it. Working closely together we discussed the installation and I became responsible for the time line of Von Freytag-Loringhoven her life with all the ambiguity surrounding it, the sketches of Djuna Barnes her ideas of the biography she would never write of Von Freytag-Loringhoven and helped on multiple parts consisting of the graphic design within the exhibition; such as the ‘do not touch’ items + a reader consisting of all the writing of Von Freytag-Loringhoven. I also assisted Barbara during the installation of the exhibition in Kunsthaus Zürich.
Kunsthaus Zürich is the first museum where this new work was shown. It will also be shown in Germany and possibly in the Netherlands.
barbaravisser.net
kunsthaus.ch
3:1
Elisabeth van Sandick
Book design
A book which comes in three parts plus an index. As Sandick puts it: ‘Nothing is ever the same, for what I see today may seem entirely different tomorrow. The formal object I observe is a shape that bears an identity, a character that I can relate to and that manifests itself in fresh ways each time I see it. That turns them into landmarks* in the world I set out into. And to which I return. Always in a different manner. Going back does not mean standing still, even if it feels that way at times. Until I spot something I hadn’t known before, and find that I can return and move forward at the same time.
*Landmarks: objects that I know and do not know.’
*Landmarks: objects that I know and do not know.’
This publication plays with the conceptual idea that images can return and have a different meaning. A zooming in and out, a rotation in time and place, a returning but with different meaning. The monumental structures you think you have seen before but by keeping the design and edit structured and minimal, everything has its place where it is. However subtle it may initially appear. You could even think there is not an order as such; all to keep returning to it as if it were a first encounter.
ColophonPhotography & text
Elisabeth van Sandick
Concept & design
Anouk de l’Ecluse
Edit
Elisabeth van Sandick
Karianne Bueno
Anouk de l’Ecluse
Lithography
Marc Gijzen
Pantheon Drukkers
Binding
Binderij Voetelink Haarlem
Paper
Rebello 100g
Font
Fieldwork
elisabethvansandick.com
Let’s build a mountain
Frederike Kijftenbelt
Website design
All around the world, scientists are working on new techniques that resolve our inconveniences, repair deficiencies, or simply entertain us. We generate snow when we want to ski on a green Alpine meadow, or we create two identical snowflakes to show that we are capable of something so exceptional. Science and technology as a toolbox for the shapable world.
In the ongoing 'Let's build a mountain' Frederike explores the limits of the shapable, in which the Rhône glacier is a metaphor for the friction between the human urge to control and the resilient autonomy of nature.
With these factors in mind and really knowing how Fredrike goes about her work, I came up with the concept of having all the work displayed in such a way that every part is naturally linked and interweaved. The website then gives you a sense that there is no beginning or end – something Frederike plays with within her work and topics. But looking closer the website does consists of a grid of three columns, linking to every part of the site with gives you a grounded feeling. You never get lost but have room to lose controle.
‘Anouk really listens and very quickly knows to unravel what you long for.’
— Frederike Kijftenbelt
Colophon Photography & text
Frederike Kijftenbelt
Concept & design
Anouk de l’Ecluse
frederikekijftenbelt.com
La cigale et la fourmi
Karianne Bueno
Exhibition text design
What does freedom really mean – as a concept, as something we all seem to aspire?
About fifteen years ago, in her late twenties, Karianne her cousin E. chose to live her life as free as possible. She is a shepherd in the French mountains for most of the year and spends the rest of her time riding her horses or driving her camper van towards where ever she feels like going.
La cigale et la fourmi, which lends its title from a famous fable by Jean La Fontaine about a singing grasshopper and a hard-working ant, is a long-term photography/text project containing a vortex of ideas. It is about the metaphorical place where our personal lives and western society collide, about commitment, feasibility and the human need to be seen in a world that continuously seems to move away from us.
About fifteen years ago, in her late twenties, Karianne her cousin E. chose to live her life as free as possible. She is a shepherd in the French mountains for most of the year and spends the rest of her time riding her horses or driving her camper van towards where ever she feels like going.
La cigale et la fourmi, which lends its title from a famous fable by Jean La Fontaine about a singing grasshopper and a hard-working ant, is a long-term photography/text project containing a vortex of ideas. It is about the metaphorical place where our personal lives and western society collide, about commitment, feasibility and the human need to be seen in a world that continuously seems to move away from us.
For this installation, which was part of Noorderlicht 2023, Karianne asked me to structure her texts. They consist of insights, thoughts, letters, conversations and stories all circling around the idea of freedom. To keep intact the strolling of thoughts and also containing a conversation in which nothing is set in stone were the key elements for designing the texts. A playfull way of going about a somewhat abstract phenomenon as freedom.
This first collaboration might be followed up by working more closely together on the book Karianne will get published somewhere in the future.
Colophon Photography & text
Karianne Bueno
Concept & design
Anouk de l’Ecluse
Installation photos
Harry Cock
kariannebueno.com
A Horse Dressed Up Like A Zebra
Eva van Ooijen
Book design
A designed podcast or an investigation in the form of a book? A Horse Dressed Up Like A Zebra contains research for 4 episodes of the podcast ‘Dear Dr. A.’ in which investigative journalist Andreas Nimmerdor tells the story of a fraudulent scientist, Dr. A., who claims to have made an archaeological finding in the Amazon region. Nimmerdor’s proposal leans heavily on an archive that was donated to him by the artist Eva van Ooijen. In return, she asks him to answer her question: ‘How to become a fraud?’.
This publication leads you through a jungle of stories through different perspectives. Eva looks at the modern world like an archaeologist from the future, examining reoccurring themes and trends. Not taking things as truth but creating one. We delved into the world of Eva van Ooijen, and her Dr A. and shaped her ‘artistic research’ project.
‘By far the most beautifully designed podcast proposal ever published...’
— Anton de Goede editor-in-chief VPRO podcasts
Colophon Text & story
Eva van Ooijen
Concept
Anouk de l’Ecluse
Daphne de Vries
Design
Anouk de l’Ecluse
Edit
Eva van Ooijen
Anouk de l’Ecluse
Pantheon Drukkers
Paper
Munken Print White 115 gr
Arena Smooth Ivory 90 gr
Font
Calluna
Neue Haas Unica
Helvetica Neue
Courier Prime
evavanooijen.nl