“1212创意中国”系列活动之魏因加特(Wolfgang Weingart)的文字设计中国巡展2017•广州站开展在即

魏因加特的文字设计中国巡展2017·广州站

Weingart Typography China Touring Exhibition 2017· Guangzhou

展览时间：2017 / 11 / 28—12 / 17

Date: 28 November - 17 December, 2017

展览地点：广州美术学院昌岗校区美术馆，三楼

Venue: 3rd Floor, Art Museum,Guangzhou Academy of Fine Arts （Changgang Campus）

开幕时间：2017 / 11 / 30，15:00

Opening: 3pm, 30 November, 2017

 

主办：广州国家广告产业园、广州美术学院、中央美术学院美术馆、同济大学设计创意学院

Hosts: Guangzhou National Advertising IndustrialPark, Guangzhou Academy of Fine Arts, Art Museum of Central Academy of Fine Arts, Tongji University College of Design and Innovation

承办：广州美术学院视觉艺术设计学院、广东现代广告创意中心发展有限公司、广州美术学院美术馆

organizers: School of Visual Arts Design of Guangzhou Academy of Fine Arts,Guangdong Modern Advertising Creative Centre Development Co., Ltd, Museum of Guangzhou Academy of Fine Arts

协办：瑞士苏黎世设计博物馆、瑞士苏黎世艺术大学 Connecting Space Hong Kong、香港知专设计学院及香港专业教育学院（李惠利）

Co-organizers: Museum fürGestaltung Zürich, Zurich University of the Arts, HongKong Design Institute and Hong Kong Institute of Vocational Education (Lee WaiLee) 

支持：中央美术学院设计学院、广东美术家协会设计艺委会、深圳市平面设计协会、北京设计周、1212创意中国

Support:  School of Design of China Central Academy of Fine Arts,the Design Committee of Guangdong Artists Association, Shenzhen Graphic Design Association, Beijing Design Week,1212 Creative China

赞助：瑞士联邦政府科技文化中心、康戴里中国、上海艾登印刷有限公司、北京飞行鱼文化发展有限公司艺术微喷工作室、广州广物房地产开发有限公司

Sponsors: Swissnex China, Antalis China,Shanghai ADD Print Co., Ltd, Beijing Flying Fish Culture DevelopmentCompany, GicleeWorkshop, Guangwu Real Estate Group

媒体合作：DESIGN360、最毕设、Typeisbeautiful、陆俊毅设计现场

Media Partners: DESIGN360, BGD Design, Typeisbeautiful,Lujunyi Design Live 

艺术总监：曹雪

Art Director: Cao Xue

策展组（广州站）：刘平云、余作朝、万千个

Curatorial Team (Guangzhou): Liu Pingyun, Yu Zuozhao, Wan Qiange 

由广州国家广告产业园、广州美术学院、中央美术学院美术馆、同济大学设计创意学院主办的“魏因加特的文字设计中国巡展2017·广州站”将于11月28日-12月17日在广州美术学院昌岗校区美术馆展出。

活跃于1960和70年代的瑞士平面设计师与设计教育家沃夫冈·魏因加特（Wolfgang Weingart）在瑞士国际主义风格的基础上，打破了媒介与技术中的限制和常规，在设计过程中创造性地运用铅活字排印、底片拼贴等媒介与手段开创了全新的平面设计语言，他通过设计教学与实践影响了从世界各国慕名而来的年轻设计师，其中来自美国的设计师将被称为“新浪潮”的文字设计从瑞士巴塞尔带到了北美。这股浪潮与彼时在美国兴起的后现代主义相呼应，对当代平面设计产生了极为深远的影响。本次展览得到了苏黎世设计博物馆（Museum für Gestaltung Zurich）的大力支持。苏黎世设计博物馆藏回顾总结了魏因加特几十年以来的所有作品，通过这次展览在中国大陆第一次也是最完整地介绍魏因加特的设计作品。超过200件由魏因加特捐赠的设计作品、过程手稿及其学生作品将在本次巡展中展出。

Portrait Wolfgang Weingart, photograph,2011

 

瑞士平面设计师与设计教育家沃夫冈·魏因加特（Wolfgang Weingart）生于二战时期的德国，年轻时期在斯图加特接受了专业的字体排印训练，之后赴瑞士巴塞尔设计学院（Schule für Gestaltung Basel）深造。1960年代中期，魏因加特开始了他的实验文字设计与抽象图形构成，并受到瑞士国际主义设计代表人物时任平面设计系主任的阿敏·霍夫曼（Armin Hofmann）的注意。尽管魏因加特的设计作品和当时正处于鼎盛时期的瑞士国际主义风格迥异，霍夫曼仍充分感受到其中蕴含的能量，1968年霍夫曼邀请魏因加特在学院任教。随后的几十年间，魏因加特通过设计教学与实践影响了一批又一批从世界各国闻名而来的年轻设计师。其中以Dan Friedman和April Greiman等为代表的美国设计师将被称为“新浪潮”的文字设计从瑞士巴塞尔带到了北美，而这股浪潮与彼时在美国兴起的后现代主义相呼应，对平面设计产生了更为深远的影响。

 Wolfgang Weingart, TypographischeMonatsblätter Nr. 11/1973, magazine cover from his series of 8,1973,letterpress

 

被称为“顽童”（enfantterrible）的魏因加特因其反叛精神为人所知，他善于打破媒介与技术中的限制和常规，创作的手段和媒介跨越了手工和机械铅活字排版、多重底片拼贴、复印机、凸版印刷与平版胶印等，甚至还尝试性地使用了数字化设计工具。他突破了铅活字排版中水平和直角方式构成的天然限制，大胆地改造字母与词语间距，通过使用多种字号形成强烈对比，灵活运用铅字素材和自创的材料改变整体的构成方式。1970年代，魏因加特将半色调底片结合拼贴手法，利用照排技术设计出具有丰富层次和独特质感的海报印刷作品。魏因加特种种超前的设计手法和理念，尽管发生于数字化设计浪潮来临之前，但却教科书般地向后辈设计师们预示了一种新的平面设计语言的可能。

 

Wolfgang Weingart, Experiment Buch,doublepage, 1962, wood print

 

魏因加特长期从事研究性的平面设计工作，坚持不懈地致力于平面设计作为一种视觉语言的深化。这种深化的设计语言所蕴含和发散出的能量对现当代平面设计产生了超越时代和媒介的影响。魏因加特“背叛”的瑞士国际主义设计风格尽管继续影响着世界并被不断地发展，但是他激发的“新浪潮”以及其后汇入的后现代主义设计思潮，却以另一种方式大大增加了现代平面设计的广度与深度。

 

Wolfgang Weingart, Das Kotzenbuch,doublepage, 1970–1972, letterpress, manual typesetting

 Wolfgang Weingart,TypographischeMonatsblätter Nr. 11/1970, double page, 1970, letterpress

 

魏因加特的活跃时期早在中国对外开放、当代平面设计作为一门专业技能和知识萌发之前，对于大多数中国设计师而言或许还有一些陌生。当下中国的平面设计语言和视觉文化正在快速发展、媒介和技术以惊人的速度迭代变迁，而文字设计的重要地位近年来在中国设计界和设计教育中也在被不断地强调。在这样一种中国语境里“重温”魏因加特的文字设计，是为了把一种超越时代与媒介的重要设计传统和思潮化入本土设计的文脉。希望这个展览以及越来越多这样的引介可以为现代中国平面设计的发展、视觉语言的丰富贡献经验和参考，为中国设计师在媒介和技术的深刻理解基础上形成深厚的现代设计观和方法论提供依据和基础。

 

Wolfgang Weingart, M, photoopticalexperiment, 1965, photo collage

 

Wolfgang Weingart, KunstgewerbemuseumZürich– Schreibkunst, exhibition poster, 1981, offset (photo collage)

 

Wolfgang Weingart, Q, design alternativesforthe cover of the magazine Design Quarterly, 1995, Xerography

Wolfgang Weingart, Was ich morgenamliebsten machen würde, typographic text interpretation,1965,letterpress,manual type setting

Wolfgang Weingart, Das Kotzenbuch,doublepage, 1970–1972, letterpress, manual typesetting

Wolfgang Weingart, Kunstkredit 1978/79.Mustermesse Basel, exhibition poster, 1979, offset (photo collage)

Wolfgang Weingart, The 20th CenturyPoster,exhibition poster, 1984, offset (photo collage)

 

Weingart Typography China Touring Exhibition 2017· Guangzhou

 

Swiss graphic designer and design educatorWolfgang Weingart is known for his pioneering work in typography and graphicdesign in the 1960s and 70s. He rebelled against the then dominant SwissInternational Style and spoke with an eloquent typographic voice of his own.Through teaching and practice Weingart influenced generations of students fromall over the world and inspired a “New Wave” of typography which traveled fromBasel to North America. This wave reverberated with the emerging Post-modernismin the country to create an impact on graphic design in profound ways. WeingartTypography China Touring Exhibition presents the first comprehensive exhibitionin China devoted to the work and teaching of Wolfgang Weingart and is based onthe exhibition by Museum für Gestaltung Zürich in 2014. All of the exhibitscome from the Museum’s own collections and are donated by Mr. Weingart,including more than 200 pieces by Weingart himself as well as examples of hisstudents’ work.

 

Born in Germany during WWII, Swiss graphicdesigner and design educator Wolfgang Weingart was formally trained as atypographic apprentice in Stuttgart. He then went on to study in Schule fürGestaltung Basel. In the mid-1960s, Weingart embarked on his typographicexperiments and abstract graphic compositions, which got into the attention ofthe eminent “International Typographic Style” representative and Dean ofgraphic design Armin Hofmann. Although Weingart’s design was in many waysdivergent from the then prevalent “Swiss Style”, Hofmann still sensed itspotential energy. In 1968 Hofmann invited Weingart to teach at the school. Inthe next decades, Weingart would influence through teaching and practicegenerations of young designers who were attracted to the Basel school by itsreputation. Later, American designers, among them Dan Friedman and AprilGreiman, were to bring what’s called the “New Wave” typography from Basel toNorth America. This wave reverberated with the then emerging Post-modernism inthe country to impact on graphic design in profound ways.

 

Often described as an “enfant terrible”,Weingart was known by many for his revolutionary character. He is good atbreaking the rules and restrictions imposed by medium and technology.  His choice of mediums  and techniques encompass manual andmechanical lead typesetting, lithographic film collage, xeroxing, letterpressand offset printing, and even an investigative use of digital design tools. Hebroke the rules of typesetting including the dogma of the right angle, spacingout letters and words and creating stark typographic contrasts with the use ofmultiple type sizes at once. His flexible use of type and inventive choice ofmaterials resulted in a distinctive visual quality in his (typo-)graphiccomposition. In the 1970s Weingart used collaged layers of halftone film in hiscomposition to create posters with a rich and unique visual texture. Weingart’spioneering design methods and concepts, though preceding the arrival of digitaldesign tools, foretold possibilities of a new typographic style to futuregenerations of designers almost like a textbook.

 

Weingart has devoted a lifetime to theresearch and practice of graphic design, continuously expanding its visuallanguage. The energies released from this expanded language exerts an influenceon modern and contemporary graphic design that transcends medium and time. TheSwiss International Typographic Style that Weingart rebelled against continuesits course of development and influence the world today in newer mediums andcontext. Nevertheless, the “New Wave” inspired by Weingart later echoed by thepost-modernist movement in graphic design has undoubtedly expanded the widthand depth of modern graphic design.

 

Weingart’s active period precedes theopening up of China, before contemporary graphic design emerged as an area ofexpertise in China, therefore he might seem a little distant to most Chinesedesigners. But as the visual vocabulary and culture of Chinese graphic designrapidly expand with the explosion and alternation of media and technology,typography is once again brought to the agenda by Chinese designers and designeducators. To “revisit” Weingart’s typography in China today is an attempt tointroduce a crucial design tradition and thinking that transcends time andmedium into our own context. We hope that this exhibition, together with manymore such to come, will contribute to the development of modern Chinese graphicdesign and the enrichment of its visual lexicon, and provide grounds andreferences for more and more Chinese designers to form their own designmethodology by rigorously investigating contemporary medium and technology.

（广州国家广告产业园）