Ellipsis after Closure
Designer: Nicha Keeratiphanthawong, Tabea Nixdorff
Format: 160 x 220 mm mm
Price: € 24,00
“Ellipsis after Closure” is a 2020 Werkplaats Typografie End of the Year Show in book form by Nicha Keeratiphanthawong and Tabea Nixdorff, with mended hole contributions submitted by participants who took part in hole mending meditation workshops in 2020.
Following endless digital threads of information and being in constant touch with ‘hardware,’ it is easy to forget one’s bodily presence and situatedness. Weavings, just like computer coding, are complex automated nettings. Only the point of rupture—a dropped stitch, like a bug in the code, a systemic error—redirects the attention outside of the machine by requesting a manual intervention.
The book is printed with white ink on black paper, and stitched on a Singer sewing machine.
Nobody Remembers a Shapeshifter (WT reader)
Project by: Werkplaats Typografie
Designer: Mariana Lobão & Andrea Salerno
Format: 155 x 210 mm mm
Price: € 20,00
‘Nobody Remembers a Shapeshifter’ is simultaneously the title of a fashion show, the password to enter the show’s venue, and the title of this book. The fashion show that lacked a fashion collection served as an exhibition context for the participants of the Werkplaats Typografie. Each participant contributed to the expanded format of the fashion show, creating work that existed specifically within the support structure: from online platforms to wayfinding on the street, from coordinated services to spatial interventions, from the ferry dock to the catwalk.
This publication is an extension of the show, a premeditated afterthought expanding on the collective gesture and individual efforts of Andrea Salerno, Austin Redman, Darío Dezfuli, Frédérique Gagnon, Gerardo Madera, Hannah Sakai, Jannete Mark, Loes Claessens, Maria Smit, Mariana Lobão, Michelle Lin, Michiel Terpelle, Mirjam Reili, Miron Galić, Moriz Oberberger, Nicha Keeratiphanthawong, Rebecca Metzger, Sangah Shin, Sarah Cleeremans, Simona Koutná, Susan van Veen and Tabea Nixdorff. Written review by Constant Dullaart.
Project by: Werkplaats TypografieAdd to cart
WT Modeshow Goodie Bag (collectible)
Designer: Andrea Salerno
Format: 229 x 343 x 121 mm mm
Price: € 25,00
100 goodie bags were made available on the occasion of the WT Modeshow 2019 Nobody Remembers A Shapeshifter. Their contents consist of contributions by all WT participants involved in the project. Apart from operating independently as small editions or multiples, the items work as promotional samples, hinting at specific works that appeared in the exhibition. The result is a collection of souvenirs that represents and expands the structural elements of the Modeshow.
Since every item comes in a different print run, the contents of every bag are different and randomly distributed.
100 Andrea Salerno, This Flyer
100 Gerardo Madera, On Gummery
100 Loes Claessens, Eternal Scapes Download Card
100 Mariana Lobão, Model Instructions
96 Michiel Terpelle, Time Specimen
95 Darío Dezfuli, Crampled meme
83 Simona Koutná, All The Things She Said
70 Susan van Veen, Pana Sonic
60 Austin Redman, Car Decal
50 Maria Smit and Tabea Nixdorff, A Sample
40 Frédérique Gagnon and Nicha Keeratiphanthawong, Face Stickers
36 Mirjam Reili, Melting Point Tokens
35 Michelle Lin, Captive Portal
30 Sarah Cleeremans, Last Minute Polaroids
30 Darío Dezfuli and Mariana Lobão, The Slimy Menace
30 Hannah Sakai, Your Skin Reveals a Radiant Feeling
30 Jannete Mark, DIY Future Predictions Poems
30 Moriz Oberberger, Shuttle Service D’Angelo Wunderbaum
30 Moriz Oberberger and Rebecca Metzger, From A to Being
20 Darío Dezfuli, KT Evening Gloves
9 Sangah Shin, Sangah Shin 10:39 Arnhem
1 Andrea Salerno, Lost and Found
0 Miron Galić, Nothing
Fehler lesen. Korrektur als Textproduktion
Designer: Tabea Nixdorff
Format: 230 x 304 mm mm
Price: € 18,00
“Fehler lesen. Korrektur als Textproduktion” is an essay on textual errors and a personal quest to find them. Misprints demonstrate the vulnerability of a text. Here we catch a glimpse of the pre- and post-production phases, work that is to a large extent invisible. Thus, the juxtapositions of words that are printed and those that are intended (errata) reveal far more than a simple genealogy of wrong vs. right: they document vestiges of the work done in the shadows, the wrestling with language. Displacements, reconstructions, and lacunae become visible. In her essay Tabea tracks the social, linguistic, media, and poetic dimensions produced by correction and textual criticism. Who does the correcting and what traces does this mostly invisible work leave behind? What shifts in meaning do mistakes trigger? To what extent does the medium play a part in authoring the text. “Fehler lesen. Korrektur als Textproduktion” appears as part of the Applied Publishing Studies series.
Designer: Maria Smit, Tabea Nixdorff
Format: 105 x 148 x 10 mm mm
Price: € 12,00
“A Scent” is a supplement, originally published for the Modeshow, an event by Werkplaats Typografie in Amsterdam, June 2019. “A Scent” is a translation from visual language to olfactory language. “A Scent” is a rereading and rewriting of “The Fashion Show Poetry Event Essay” by New York Language poet Hannah Weiner.
A folded sheet and 2ml bottle in a case.