Here’s a project from the archives that we never got around to posting, but seeing as how we are in the process of redesigning our magazine, it seemed like a good time to exhume this. The July/August 2012 issue of Walker featured a fashion editorial shot on the occasion of the exhibition, This Will Have Been: Art, Love & Politics in the 1980s, known colloquially as “The 80s Show.” We took the typical content of our magazine (shop spread, Target Free Thursday Night event listings, restaurant blurb) and framed it with a custom style.

The spreads were modeled by Claudette Gacutti, shot by photographer Cameron Wittig, with wardrobe from Cliché, and shoes from Ina Grau.

Below: outtakes, prep, and storyboards.

Installation view of The Museum of Non Participation: The New Deal

The Museum of Non Participation: The New Deal is a fictional museum by London-based artists Karen Mirza and Brad Butler. The exhibition’s multilayered text, sound, film and performance addresses peculiar evolving questions around the public institutions and the collisions of art and the political praxis. In their new act, The New Deal, the duo transforms the gallery space into an open-ended platform to question the marginalization of the common, perpetuation of the bourgeois, urgency of the political resistance,  growing tension between the 99% and the 1%, among other social and political struggles we are confronting in this geopolitical entanglement. Mirza and Butler keeps the audience at the verge—purporting the importance and the urgency to choose a political position for social change. The artists also curated the Walker’s Art News From Elsewhere as another form of their participatory reaction. Their investigations in the dissonance of the public realm and the idea of turning around the public’s positions and perspectives intrigued the initial idea for the exhibition’s graphics.

The word MUSEUM is horizontally flipped to create a subtle tension within the title—turning the museum into the city and vice versa. (It’s similar to glass doors that have push and pull signs on the same side to disorient you.) Reversed type also connotes the act of resistance and Urdu alphabet’s right-to-left writing system.

Attendees perform Bertolt Brecht’s The Exception and the Rule on the opening night

Mirza and Butler, with the curators and local participants, performed Bertolt Brecht’s Exception and the Rule as an inquiry into the conditions of capitalism, free market and power play. Play scripts for the players were incorporated as a part of the opening night performance.

The enlarged gallery guide (12 × 18 inches) evolved from the urgency of the situation. Non Participation: Acts of Definition and Redefinition is compiled with local and international contributors’ understandings of the art of opposition and resistance. It is on view in the gallery and for those of you who can’t make it, the texts will be available to read on the Visual Arts blog in the coming days.

See more photos of the piece here.

Job Wouters
Home   2013
At the Walker Art Center in conjunction with Insights 2013.

Our initial sketches for the identity started out as purely typographic solutions, shying away from anything that was too mannered or too painterly, I suppose. Because the nature of the show was more akin to a dialogue between painters with different studio practices rather than a definitive survey of contemporary painting, we were looking for a typeface that had a kind of voice that was open, casual, and engaging. We quickly landed on Cooper (a family of weights developed by Bitstream, but based on Oswald Cooper’s original typeface Cooper Black in 1920s) and were drawn to its calligraphic qualities, and its versatility as both a display and a book face.

As we were going through this process, we kept going back to language as the base of the identity, trying to surface a sort of overall voice that could speak for all the artists in the exhibition. (It was also a way to avoid using particular pieces to represent the exhibition as a whole, as that didn’t make too much sense, conceptually.) At this point, nothing was really that interesting to us, other than the visual look of the words. But then, for some reason, we noticed the way punctuation marks were drawn and modeled in the typeface, and wondered if there was an idea in there we could use.

Punctuation marks help to define the rhythm of a sentence, the tone of language, the character of voice, depth of information; heavy tasks for things that are basically dots, dashes, and loops in the written word. But they’re also just marks. Paintings in a way could be traditionally understood as a series of marks built up on a surface, this time on canvas (mostly), rather than on paper or screen, but by no means do these type of marks lack the same conceptual weight as punctuation.

Alex Olson, one of the painters in the exhibition, describes the marks she makes as signifiers, visual gestures that suggest many things, references both within the unbearable history of painting, but also in daily life. Some marks look like a product of reproduction, some marks explicitly exaggerate the notion of the brushstroke as a unique moment, and sometimes, if you’re really fancy, it does both. Even the absence of the mark in painting is kind of a mark in itself, the attempt  trying to conceal the act of painting itself.

From this new conceptual standpoint, we finally created these “ditto” marks as a way to graphically represent the title of the exhibition. In the way that these quite literally refer to the repetition of the word “painter” in the name, they forefront the mark as the basis for many of the paintings in the show. Even the repetitive nature of the marks themselves suggest production and reproduction, constantly painting as a way to refine and clarify their own strategies as they tackle each work, which are then endlessly re-blogged in a contemporary context that shares images of these works online and in print. I think this provided a unique visual entry point into the ideas of the exhibition, and was a natural complement to Cooper. It could stand alone as a graphic gesture, or it could impose itself on other things, or hide itself as a discrete signifier. Here are some of our initial sketches exploring these ideas:

∴ After going through this sketching process, here is how the final identity system turned out:

Admission passes & event flyer (gate fold with translucent metallic spot):

Landing page for Studio Sessions blog posts:

Posters in the Garden Café and bus shelter:

Title graphics (translucent cut vinyl marks layered on phototex printed vinyl—the marks get switched out in new colors on both title graphics over time):

Gallery guide: Notes for an exhibition (Marks gloss coated on the cover. *Notice where the staples align.):

[popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] are [popup url="http://en.wikipedia.org/wiki/Leftovers"]leftovers[/popup], marginal, often too-small-to-be-noticed forms and spaces that live their life below radar level. They are usually not product of any adequate profession – be that art, architecture, or design. They have been there for the ordinary and common life. They have been there for a business that has already lost the competition within global economy, but that carries on. [popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] do not comply with aesthetic or qualitative standards and fashions.

But they are valuable in at least three points, referring to the international global style. They contain the local, the romantic, and the glamorous. Insofar, they are able to create an organic public sphere, open for participation, business, and talk. Thus, they embody spaces, essential for political, social, economic and aesthetic negotiation.

The Glamorous > Istanbul > Cultivated Neon Signs

Istanbul has been described as [popup url="http://en.wikipedia.org/wiki/Exoticism"]exotic[/popup] and [popup url="http://en.wikipedia.org/wiki/Orientalism"]oriental[/popup]. These terms obviously originate in a Western perspective, in which Istanbul appears as the ‘Other’ of the old European city. Yet, there might be a better term to describe specific phenomena in Istanbul: [popup url="http://books.google.de/books?id=rY8MT5UYS5AC&lpg=PP1&pg=PA167&q&f=true#v=onepage&q&f=true" width="750"]glamour[/popup]. [popup url="http://books.google.de/books?id=rY8MT5UYS5AC&lpg=PP1&pg=PA167&q&f=true#v=onepage&q&f=true" width="750"]Glamour[/popup] stands for something irrational, ineffable, and enchanting. It is rather the uncontrolled situation than the image-perfect sleek scenery. It is not associated with success and superiority; that would confuse it with glossy or luxury. [popup url="http://books.google.de/books?id=rY8MT5UYS5AC&lpg=PP1&pg=PA167&q&f=true#v=onepage&q&f=true" width="750"]Glamour[/popup] is a more ambivalent, difficult, broken, and even critical form. [popup url="http://books.google.de/books?id=rY8MT5UYS5AC&lpg=PP1&pg=PA167&q&f=true#v=onepage&q&f=true" width="750"]Glamour[/popup] is not just beauty. It is rather an effect of imagination than a particular kind of style. It is inspiring in that it includes the risk of achieving something that is actually not achievable: the light works that refer to shops that are hardly there at all, too small, too barren. These lights promise outside, what there does not exist inside. Yet, they have these led signs that attract attention and mean modern business. They are hilarious and in that they show optimism and energy literally and metaphorically. They create a street show that is communicative [1] challenging [popup url="http://www.google.de/search?client=safari&rls=en&q=bosphorus+bridge+lights&oe=UTF-8&redir_esc=&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi&ei=H9w1UcXlB8jRtAbsl4EQ&biw=1581&bih=1069&sei=Idw1Ub-fJsHcswbi1IGACg"]communal high voltage decoration[/popup]. They promote the business while creating a special kind of symbolic architecture, using iconic signs, smileys, hearts, crowns, etc. They are popular culture producing an aesthetic without knowing. Still, they light the nights for local, mostly poor, neighborhoods, characterized by layered complexity and seeming chaos. It is these aspects that decide over death and life of great cities – adapting the title of the famous book by the American activist [popup url="http://en.wikipedia.org/wiki/Jane_Jacobs"]Jane Jacobs[/popup] [2].

[1]
[popup url="http://books.google.de/books?id=tRRcSXUFEoEC"]Robert Venturi, Denise Scott Brown, Steven Izenour: Learning from Las Vegas, MIT Press 1972[/popup]
[2]
[popup url="http://books.google.de/books?id=cw_YaT_I_b8C"]Jane Jacobs: The Death and Life of Great American Cities, Random House 1961[/popup]

[popup url="https://maps.google.com/maps/ms?msid=202825181413411341311.0004d71c6e73b2404bbf5&msa=0&ll=41.009722,28.95222&spn=0.00216,0.003602&z=19&t=k&output=embed"]Internet Café and Call Shop, Sultan Internet House, Aksaray, Istanbul[/popup]
In Sultan Internet House it is possible to “smoke water pipe and check mails at the same time”. The surreal space is about 40 square meters and full with computers. They play loud arabesque music inside; smoking is allowed. The neon signs are produced by [popup url="http://www.animasyonluledtabela.net"] Animasyonlu Led Tabela[/popup] in Istanbul.

[popup url="http://translate.google.com/translate?hl=en&sl=auto&tl=en&prev=_dd&u=http%3A%2F%2Fforum.teknokulis.com%2Ftopic.php%3Fid%3D1262"]Internet Café and Call Shop, 3D Internet, Aksaray, Istanbul[/popup]
Also called Cybercafe, this internet café is at the basement of an apartment building. It advertises 3D Internet with blinking LEDs. Below the typography, there is an image of 3D-Glasses that do not blink anymore. On a big poster in front of the entrance they write “3D Internet, for the first time in Istanbul”. Inside, there are about 20 computers connected with 3D-Glasses and headphones, separated with simple wooden boxes from each other, like [popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/3dinternet-inside.jpg" height="375"]the open space office of Jacques Tati’s Playtime[/popup]. Inside this wooden boxes [popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/polystation.jpg" height="375"]not PlayStation but PolyStation game consoles[/popup] are connected. The owner tells, “we have internet, yes, but if you want to see 3D, we have games and films.”

[popup url="https://maps.google.com/maps/ms?msid=202825181413411341311.0004d71c6e73b2404bbf5&msa=0&ll=41.011532,28.953682&spn=0.00216,0.003602&z=19&t=k&output=embed"]Internet Café and Call Shop, Internet C@fe, Aksaray, Istanbul[/popup]
They say: “We don’t have Internet”. They offer orange juice, toast, coffee and black tee. [popup url="http://goo.gl/1FdJG"]Students with uniforms[/popup] are not welcome inside.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/internetclub-inside.jpg" height="375"]Internet Café and Call Shop, Internet Club, Aksaray, Istanbul[/popup]
Internet Club, actually is a 24 hours open game hall, with a huge range of games. They also check examination notes, or make reservations from hospitals for old people, who do not have internet at home and “print everything you want with a laser-printer”. On the shop window it is written in English: “Have Arabic Keyboard”. They offer Playstation 3, Digital TV, Cinema 3D, Call Shop as written at the entrance door. Everyone can become a member of the Internet Club.

[popup url="http://www.enderfoto.com"]Photography/Internet Shop, Ender Teleskop, Sirkeci, Istanbul[/popup]
In Ender Teleskop, [popup url="http://en.wikipedia.org/wiki/File:Galileo_Donato.jpg" width="750"] the reconstruction of one of the first built telescopes by Galileo[/popup] is exhibited. On the shop window there are a lot of binoculars, telescopes. Inside, there is wireless internet and black tea for free, and a big table for laptops.

Job Wouters
Home   2013

As part of Insights 2013, we asked Job Wouters to create a mural inside the museum, which you see above. Here’s a time-lapse video of the mural installation, as well as video of his Insights lecture and some more pictures of Job’s adventures in Minneapolis.

Now accepting applications for the Walker Design & New Media Fellowship–Deadline: May 5, 2013

Take our new  T.B.W. Creative Personality Test to see your geometric relationship with the “collective creative unconsciousness.”

This year we are inaugurating our first Design & New Media fellowship. We are searching for designers who are comfortable and adept at developing projects for both print and screen and can move fluidly between media. Ideal candidates will be firmly grounded in visual design principles and the print design process with demonstrated experience in interaction design and front-end development. In addition to print projects such as exhibition identities and collateral materials, this year’s fellow will be focusing on select projects such as design updates to the Walker website, online publishing initiatives, and our first e-publishing project. The fellow will join an accomplished team of professionals known for creating industry-leading work. Immersed in the Design, Editorial, and New Media departments, fellows gain a deeper understanding of design; work on projects with rich, interesting content; and are expected to produce work to the highest standards of design excellence. Fellows are employed full-time and are involved in all aspects of the design process, including client meetings and presentations through production and development.

Selected from a highly competitive pool of applicants, fellows come from graphic design programs throughout the United States and abroad. Fellows represent a diverse range of design programs, such as Art Center College of Design, California College of Art, California Institute of the Arts, Cranbrook Academy of Art, Eastern Michigan University, Minneapolis College of Art and Design, NC State University, Rhode Island School of Design, Royal College of Art, Werkplaats Typografie, and Yale University, among many others.

How to apply

Please attach a letter of interest, a résumé with the names and contact information of three references, and a pdf portfolio containing 8–10 examples of graphic design work (print and web) to walker.design.fellowship@gmail.com. Keep your files under 10MB. No phone calls please.

For more information, visit our fellowship page.  Also check out the Walker’s job listings.

We look forward to meeting you!

Read more here.

“Also, we will have ALL NEW ARTIST BOOKS IN THE PRINTED MATTER SHELF in the Walker Shop starting that night by Sam Falls, JSBJ, Howard Johnson, David Horvitz, Ryan Foerster, Seth Price, and John Dogg! Which is totally awesome all by itself.” —Michele Tobin

[popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] are [popup url="http://en.wikipedia.org/wiki/Leftovers"]leftovers[/popup], marginal, often too-small-to-be-noticed forms and spaces that live their life below radar level. They are usually not product of any adequate profession – be that art, architecture, or design. They have been there for the ordinary and common life. They have been there for a business that has already lost the competition within global economy, but that carries on. [popup url="http://en.wikipedia.org/wiki/Pedigree"]Non-Pedigrees[/popup] do not comply with aesthetic or qualitative standards and fashions.

But they are valuable in at least three points, referring to the international global style. They contain the local, the romantic, and the glamorous. Insofar, they are able to create an organic public sphere, open for participation, business, and talk. Thus, they embody spaces, essential for political, social, economic and aesthetic negotiation.

The Romantic > Istanbul > Adopted Landscapes

The tensions with globalized economy, with biological and technological reality are more than noticeable in [popup url="http://goo.gl/NvaU1"]Istanbul[/popup], where the gap between the rich and the poor seems huge in every aspect of life. However, there are preserved local microcosms and habits that ignore these problems and that are arguably [popup url="http://www.marxists.org/reference/archive/hegel/works/ae/ch03.htm"]romantic[/popup] in a productive way (not consumerist like in [popup url="http://www.viaportvenezia.com/flash/index_eng.html"]theme park-like housing projects[/popup]). Their forms combine functional with impractical elements, creating organisms that achieve somehow autonomous aesthetic statements. Of course, these statements are raw and barbaric from a perspective of high culture: they are collections of sunny beaches, palms, mountains, cows, and Porsches. But these statements do imply what [popup url="http://en.wikipedia.org/wiki/Lectures_on_Aesthetics"]Hegel[/popup] observed for [popup url="http://goo.gl/49qjT"]romantic art and architecture[/popup]: they contain a principle of subjectivity, of particularity and individuality, not in the singular element, but within the overall sentiment and longing [1]. Nature, [popup url="http://goo.gl/vArSr"]kitsch[/popup] landscapes, palms and beaches exist for decorative and atmospheric reasons, not for product placement. Above all, there is something comfortable and relaxing within the most humble scenes that display pragmatism and pose at the same time.
Spaces are shared, where there is almost no room, hospitality is exhibited even to dirty street animals; there are clichés, dreams, fragments of better lives that also improve the actual existence – if only for a sense of [popup url="http://www.marxists.org/reference/archive/hegel/works/ae/ch03.htm"]romantic[/popup] humor. People offer tea, Nescafe, bananas, and an Atatürk calendar to us.
[1]
[popup url="http://textea.phil-splitter.com/html/die_romantische_architektur.html"]Georg Wilhelm Friedrich Hegel: Vorlesungen über die Ästhetik
1835-1838[/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/romantic-big/huangguoshuwaterfall.jpg" height="750"] [/popup]
[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/bakkal.jpg" width="500" height="375"]Grocery, Öz Karadeniz Market, Yıldıztabya, Istanbul[/popup]
The grocery, bakkal shop where you can buy everything, sells nutella and fake Nutella [popup url="http://goo.gl/glEKm"](Sarelle)[/popup] side by side. Everything is in perfect order. The shape of the food counter and the colors of the food matches the stream of the [popup url="http://goo.gl/tvAzK"]Huangguoshu Waterfall[/popup], framed at the rear wall. The owner thinks that this image goes very well with his shop – even though he doesn’t know where it was photographed.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/romantic-big/swissalps.jpg" height="750"] [/popup]
[popup url="http://goo.gl/QEtuf"]Meatball Restaurant (Köfteci), Untitled Restaurant, Akarsu, Istanbul[/popup]
At the entrance of the restaurant, selling grilled meatballs, there is a plastic poster of the [popup url="http://goo.gl/zGO0h"]Swiss Alps[/popup], a surreal collage of spring and winter of the same landscape, reminding Magritte’s Empire of Light. The blue/green poster is a big contrast to the red/pink restaurant-space. Its frame is printed, so that there is no need of a wooden frame. There are even cows. The tiny TV was showing a film with [popup url="http://www.youtube.com/watch?v=7Ry5COQsGEo" width="750"]Türkan Şoray[/popup], who made a lot of films thematizing: [popup url="http://www.youtube.com/watch?v=r5R3tZZqNMk" width="750"]girl is poor, boy is rich: boy falls in love with girl.[/popup]

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/romantic-big/oludeniz.jpg" width="750" height="500"] [/popup]
[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/melih.jpg" height="375"]Barber, Melih Erkek Kuaförü, Karlıtepe, Istanbul[/popup]
The vibrant red and pink furniture of the very narrow corridoresque barber shop is complemented by the huge all-over wallpaper of a mediterranean beach; [popup url="http://goo.gl/PhT2M"]Ölüdeniz[/popup], reflected by the mirrors at the opposite side. Every mirror is showing a part of the beach. Beside the elegantly curved beach, [popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/melih-inside.jpg" height="375"]there are 9 clocks (7 on the wall, 2 on the table), and 5 calendars[/popup], perhaps counting the minutes until – what? The humorous Barber tells that “he is a big fan of [popup url="http://www.youtube.com/watch?v=md-rzafAY34" width="750"]Orhan Gencebay[/popup]“, who is famous with his nostalgic and melancholic lyrics, for example, the song “Batsın Bu Dünya” meaning “This World Should Sink”. Gencebay being called the advocate of arabesque music denies this classification and calls his style independent turkish music: “[popup url="http://goo.gl/qapW0"]even sociologists misapply the term [/popup],” says Gencebay. He adds: “[popup url="http://goo.gl/qapW0"]I am talking about melancholy, fatalism and drama, my music has nothing to do with arabesque.[/popup]”

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/romantic-big/lakeabant.jpg" height="750"] [/popup]
[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/mustafa.jpg" height="375"]Barber, Kuaför Mustafa, Eyüp, Istanbul[/popup]
In the microscopic kitchen area of ‘Berber Faik’, the image functions as a virtual window into the Bolu Province, where he comes from. The teapot seems to get its water directly from the fresh water [popup url="http://goo.gl/I1Gcm"]lake Abant[/popup]. In a very democratic way, there are hung up fan posters of [popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/mustafa-inside.jpg" height="375"]Galatasaray,[/popup] [popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/mustafa-inside1.jpg" width="375"]Besiktaş and Fenerbahçe[/popup] footballers around the sinks.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/romantic-big/goldfish.jpg" height="750"] [/popup]
[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/faik.jpg" width="375"]Barber, Berber Faik, Eyüp, Istanbul[/popup]
There are not only two [popup url="http://goo.gl/xgVll"]goldfish[/popup] and a swordtail in the tiny shop, but also two canary birds and a cat, crunching brekkies. Documented by photographs, there is also a horse, a squirrel, and a lion. The barber is drinking tea with a friend in this living still life. He is really kind to everyone especially to [popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/faik-inside.jpg" width="375"]his animals[/popup]. The fish recently got a new lighting in their aquarium.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/romantic-big/tahiti2.jpg" width="750" height="500"] [/popup]
[popup url="https://maps.google.de/maps/ms?msid=202825181413411341311.0004d71c6e73b2404bbf5&msa=0&ll=41.011341,28.951313&z=18&t=k&output=embed"]Greengrocer, Untitled Greengrocer (Manav), Aksaray, Istanbul[/popup]
The greengrocer does not leave decorative decisions to chance: [popup url="http://goo.gl/hGDSy"]the pink sunset over Tahiti[/popup] is placed above exotic fruits, like pineapples and coco nuts. Over it, there is a framed quote headlined with “Word of Advice” written by the 13th century Persian mystic and poet [popup url="http://en.wikipedia.org/wiki/Rumi"]Mawlānā Jalāl-ad-Dīn Muhammad Rūmī (مولانا جلال الدین محمد رومی),[/popup] who said: “What you seek is seeking you.”

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/romantic-big/phantomisland.jpg" height="750"] [/popup]
[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/yavuz.jpg" width="375" height="500"]Barber, Yavuz Erkek Kuaförü, Dörtyol, Istanbul[/popup]
The space combines wood with pastel shades: the walls are pistachio, the chairs are lilac. It is a gentleman’s business that offers tea to a worker, who enters the room to limber up. The painting, one of the berber tells us, depicts a [popup url="http://goo.gl/3aYbI"]phantasy place[/popup]. “It is a dream landscape,” he says. An old tape of [popup url="http://www.youtube.com/watch?v=tSt9FiIFVTU" width="750"]Müslüm Gürses[/popup] is laying on the table. He points at [popup url="http://www.youtube.com/watch?v=jKNcbuf_LUA" width="750"]the tape:[/popup] “and this is the dream music, best to listen to on tape”. The other barber of the shop prefers [popup url="http://www.youtube.com/watch?v=GKe3WeTJ9cI" width="750"]Bülent Ersoy[/popup], because her music is sad and happy at the same time. At the beginning of the singer’s career, [popup url="http://www.youtube.com/watch?v=bpinRyUYwwY" width="750"]Bülent Ersoy[/popup], aka Diva or Abla (“Sister” in Turkish), wasn’t accepted as a transsexual musician; now she is a big star.

[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/romantic-big/konangyuan.jpg" height="750"] [/popup]
[popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/as.jpg" width="500" height="375"]Barber, As Erkek Kuaförü, Moda, Istanbul[/popup]
The walls of the light green painted Barber shop are covered with 36 framed images of [popup url="http://www.m-a-u-s-e-r.net/non-pedigrees/outside/as-inside.jpg" width="500" height="375"]very romantic landscape sceneries.[/popup] The floor is painted in blue creating an underwater atmosphere together with the walls. Most of the hanging images are illustrating heavenly good weather with palm trees, sea, beach, mountains, sunset, wooden boat, … no geographic limitations. A poster of a small island called [popup url="http://goo.gl/KgB0W"]Koh Nang Yuan[/popup] at Koh Tao (in the Gulf of Thailand) is placed directly opposite the entrance; it is the biggest image in the shop.

As part of Insights 2013, we invited each designer to address a different surface of the Walker, from the outside to the inside, the social to the virtual. Eike König was asked to create something for our website,  so he and his studio Hort decided to take on the Walker masthead. They created five of their signature hand-drawn animations that will randomly load on the Walker homepage during the week of Eike’s lecture.