Marius Lundgård

My first appropriation (Sep 22, 2011).

This poster was made for a personal competition followed by an exhibition in the apartment of Marie Burlot. The brief was to create a poster with the use of black and red, as well as to make it relate to fashion.

Drawings, annotations, notes, etc.

A series of drawings around the topic of puking as a reaction to social restrictions. The project was done under guidance by Sara van der Heide (GRA, 2008).

This book is a visual rendition of Allen Ginsberg’s delivery of his poem America at Berkeley in 1956. The poem – Ginsberg’s voice – is transcribed and typeset in Times Bold, while the audience’s laughter and comments is painted in Indian ink straight on the silkscreen film. (Printed with Kees Maas at the GRA silkscreen workshop, 2009.)

The content for this book consists of eight images that are connected by way of association. The first image was an image selected by Julia Born, who also was the teacher for this assignment (Gerrit Rietveld Academie, 2009). The eight images were combined in all possible combinations while printing the book in an edition of 5 at the Stencilkelder in Amsterdam. The book has 64 pages.

An attempt at illustrating the ancient latin palindrome, as an alternative intro sequence to Guy Debord’s 1978 film named after the palindrome, which can be translated to AT NIGHT WE ENTER THE CIRCLE AND ARE CONSUMED BY FIRE (2009).

This book was made in collaboration with Barbara Iwanicka, and was commissioned by the Amsterdamse Hogeschool voor de Kunsten (AHK) through the Rietveld Academie, Amsterdam. It mainly discusses the notion that ‘everyone can have something valueable to say about art’ while demonstrating this statement by discussing the selected artworks by three contemporary Netherlands-based artists: Robert Wevers, Jeroen Kooijmans, and Luna Maurer. Its content derives from a two-year-long project entitled ‘No Landscapes’ about the interpretation and appreciation of art by people in various social groups.

The design concept consists of two main ideas:

1. The questioning of the authority of the art interpreter, by attempting to level the hierarchy between profiled art commentators (art critics, scholars, etc.) and people outside the art community (elementary and high school students, youth of autism, people in elderly care, etc.). All the authors’ last names were removed, leaving only their first names. While underlining the non-importance of the authority of the commentator, this removal produces an informal tone.
2. The translation of the context in which the commenting sessions were performed, by way of tilting text, creating the notion of a multitude of contributors.

The project was initiated by professors of art teaching Terry Barrett (University of Ohio) and Robert Smit (AHK). Offset-printed in an edition of 2000, 208 pages, 162×255 mm, ISBN 978-90-78964-60-5, 2010.

The book may be ordered by emailing Ingrid Grunwald at AHK.

Curator Julia van Mourik asked me to design one of her invites for Lost & Found, and audiovisual event in which she showcases contemporary and past work by filmmakers and artists.

The theme of the event for which I was asked to contribute, was Geosphere, a term that refers to the sphere circumscribed by the Earth’s crust.

The idea which I based the invite on, is the concept of compression, which can be visualized by crumpling a sheet of paper to a ball, which is essentially the same process that holds the Earth together (gravity pressing the material together from all angles until it forms a sphere).

The typography combines Univers Bold Extended, Normal and Condensed, again to mimic the concept of compression.

The invite was first printed on one side with the type, and then on the other side completely black. The mimeograph printing technique was chosen so as to achieve the rub-off effect. During a week of August 2010 I stood in the Stencilkelder in Amsterdam crumpling the 1000 invites, next to Sander, the printer, who was handing me the freshly printed sheets. All the invites were then stretched out and folded—a process which refers to the title of the event—Lost & Found.

Radikal Medium is a grotesk typeface created for the typography class taught by Radim Peško (2nd year, Gerrit Rietveld Academie, 2009).

Why is it that we tend to subdivide our perceptions into dualities? This project deals with the paradox of ambiguity in perception – when no definition has any implications – using negation as a methodology. The book was exhibited at the GRA graduation show, and the smudge marks were made by the visitors browsing it. (Black chalk on thread-bound recycled paper, 2010).

A drawing sculpture which consists of an indian ink-soaked circular piece of cardboard stuck on the back of a sheet of rice paper. (2010)

A series of self-portraits, which are elaborations of the initial Eclipses posters. These prints were part of my graduation project at the GRA. (Printed with Harmen Liemburg at the GRA silkscreen workshop, Amsterdam, June 2010.)