Taking 523 posters found in the streets, graphic designers René Put (1962) and Rianne Petter (1975) carefully studied and deconstructed their composition, investigating and isolating certain elements and reassembling them into a brand new poster. Poster No. 524 presents their researches, revealing how a creative process unfolds, how art operates in public spaces and how one goes about creating a visual identity. Offering a history of poster design since 1900, Poster No. 524 is a how-to manual that will allow even novices to make their way into the world of poster design, giving step-by-step insight into how one makes a poster effectively communicate. This book will be an engaging tool for both students and professionals seeking to analyze and construct the framework and creative space of a poster.

Art and architecture project alongside the N16 route. With projects by Tractor (Peter Aerts, Denis Dujardin, Honoré d’O, Lore Perneel, Luc Reuse, Frank Vande Veire, Hugo Vanneste, Dirk Zoete), Architecten De Vylder Vinck Taillieu, Sarah & Charles, Office Kersten Geers en David Van Severen , Michaël Vanden Abeele, Uaps, Wesley Meuris, Architecten Robbrecht en Daem, Valérie Mannaerts, Philippe Vander Maren, Richard Venlet, Ann Veronica Janssens. Text contributions by Joeri de Bruyn, Maarten Van Acker, Jeroen Boomgaard, Isabelle Makay and Oscar Van den Boogaard. Photograpy by Geert Goiris and Kristien Daem. Initiated by the cities Bornem, Puurs, Willebroek and Mechelen in collaboration with VAi, vlaamsarchitectuurinstituut.

Video has commanded a place within the domain of the visual arts since 1965 and has now grown into one of the most widely used forms of art. After the successful introduction of the medium in the United States, Europe followed suit with the Netherlands playing a pioneering role. The video-art circuit in the Netherlands evolved thanks to a unique cross-fertilization of local and international tendencies, and to the provision of workshop facilities by institutions like Het Lijnbaanscentrum, Jan van Eijck Akademie, Monte Video and De Appel. From the early 1970s to the mid-80s, the new medium rapidly achieved maturity, with artists discovering its creative possibilities and documentary expressiveness–but continuously needing to defend its validity. The gradual integration of simpler and cheaper montage techniques in the production process marked a turning point for video art, clearing the way for its assimilation into the art world in the 90s. Recognizing that there are multiple ways to explain and record the development of video art, The Magnetic Era offers a variety of perspectives and themes, as communicated via a range of writers, rather than a strict chronology.

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