Timetable - SHIFTED!!!
NEW Section - LINEUP!!! (See below)
Accreditation
10:00-14:00 27th November, 2009
Stanica, Zilina-Zariecie, Slovakia (cultural center)
Trains & Buses - Departures
Beginning of the conference
14:44 27th November, 2009
Stanica, Zilina-Zariecie, Slovakia (cultural center)
End of the conference
18:00 28th November, 2009
Graphic designers (but not only) from six Central European countries meet every year at the conference aiming at group exchange of professional experiences and building of the field identity following the message of the guild, field groups, associations and traditions. These institutions protected professions in history and builded healthy working environment. On the one hand they gave correct working conditions and appropriate financial assessment for their members and on the other hand they guaranteed appropriate quality for the market. Within new conditions of contemporary life these structures exists, but they are mostly focussed on presenting and advertising the field itself and they don't solve the very specific problems of the graphic designer in reality. Our ambition is not to substitute the traditional institutions, but to build a dynamic platform for permanent discussion and consulting, higher information exchange, professionalism and working culture in our field.
From the sociological point of view, competition is a rivalry between two or more persons or groups for an object desired in common, usually resulting in a victor and a loser but not necessarily involving the destruction of the latter. (http://dictionary.reference.com/)
From the ecological point of view, it is the struggle among organisms, both of the same and of different species, for food, space, and other vital requirements. (http://dictionary.reference.com/)
Competition in economics is a term that encompasses the notion of individuals and firms striving for a greater share of a market to sell or buy goods and services (Wikipedia). Merriam-Webster defines competition in business as "the effort of two or more parties acting independently to secure the business of a third party by offering the most favourable terms.
Competition in the field of visual communication is interconnected with market and runs on several levels.
On the practical level, competition is a tool, an instrument in the hands of the client or sponsor. Competition allows the client to select the best of a number of proposed solutions to his demand. For the graphical designer, competition is a developmental pathway through which he improves his professional, economic and social status. Competitiveness and rivalry in the field of graphical design are not constrained to business only. Designers often seek professional prestige, disregarding economic rewards, while the field itself is often still (relatively) unsuccessful in its competition with other arts for social and cultural recognition.
What conditions of professional competition would be satisfactory for graphical design? What is the role that trade unions should play? Are competitions perceived as a developmental driver? What are contemporary preferences and trends? In which way do ‘destructive’ and ‘cooperative’ competition models manifest themselves in graphic design? To what extent do competitiveness, professional relations and private life affect graphic designers? Is it possible to define ‘healthy’ and balanced tendencies of competitiveness on the level of organizations and individuals?
15.00 - Niko Manikas (A)
15.35 - Tomasz Budzyn (PL)
16.10 - T-shirt competition
16.20 - Bernhard Faiss + Andrea Kessler (A)
16.50 - break
17.15 - Lukáš Veverka (CZ)
17.50 - Jirka Toman (CZ)
18.25 - T-shirt competition
18.35 - Zuzana Wienk (SK)
19.10 - discussion limited
Sobota
13.00 - summing up + hit chart
13.20 - Alan Záruba (CZ)
13.55 - T-shirt competition
14.05 - Joana Niemeyer (D-UK)
14.40 - T-shirt competition
14.50 - Pavel Zelenka (CZ)
15.25 - discussion
Alternation of the program reserved!
Pepijn Zurburg (NL) - CANCELED!
Joana Niemeyer (D-UK)
CVHer personal work combines illustration and typography in the developmental stages and is expressed through traditional skills such as screenprinting or bookbinding. Joana has also curated exhibitions such as the badge show Stuck on Me, which was hosted at the Notting Hill Arts Club, London and the Galerie Walden, Berlin. The exhibition included designers such as Jonathan Ellery, Experimental Jetset and Spin.
In 2009, Joana and Lisa Sjukur set up the design studio April in London where they look after clients such as Alain de Botton, John McAslan + Partners and the V&A. They have also had commissioned work shown at Paris’ Aiports and the Athens Metro.
Her brainchild Graphic Europe: An alternative guide to 32 european cities has just ben published by Ciacada Books and includes contributions by Filip Blažek and Marcel Benčík.
www.studio-april.com
Niko Manikas (A)
CVI want to point the emphasis on competition on the practical level, on the relations between client and designer, on how different clients choose what designer and why. What are the parameters a client chooses a certain designer. How can the designer manifest his position in an ever growing market.
Bernhard Faiss + Andrea Kessler (A)
CVa collective of artists and designers working in the interdisciplinary field of concept and design, intervention and installation, illustration and photography, sculpture and painting as well as architecture and urban studies.
There are no restrictions in the choice of methods and tools. Exhibitions in Vienna, Maribor, Bratislava, Linz, Krems etc. Awards: 2008 Award for Experimental Tendencies in Architecture Living and working in the city, in the countryside and elsewhere.
Bernhard Faiss, born 1972 in Vienna, graduated in 1999, studied Graphic and Visual Media Design at the University of Applied Arts Vienna. Andrea Kessler, born 1977 in Linz, graduated in 2007 [individual diploma program], studied Architecture and Digital Art at the University of Applied Arts Vienna. Together with Ronald Genswaider, artist and coder, born 1976 in Vienna, isebuki was founded in 2004.
In its projects isebuki questions and redefines the boundaries of society's drifts and developments. The concepts are based on a sustainable lifestyle with main focus on a socio-cultural alternative to a capitalistic way of life.
In their lecture they will introduce the principles of their creative practice as artists, designers and architects. Whilst presenting their different projects it will be explicit how their work is interconnected with their attitude to life.
Tomasz Budzyn (PL)
CVgraphic designer, correspondent of 2+3D polish design quarterly, coordinator of Cracow Design Zone, curator of design exhibitions and contest.
If you think about subjects like competition, competitiveness among designers and their professional competition, perhaps you need to answer several questions. Why do we take part in competitions, what do they give to us, does competitiveness make sense to our jobs, is it creative, can competitiveness - in the way the market uses it - describe designer's work.
Alan Záruba (CZ)
CV LectureIn 2006 Czech Television initiated a tender process for the creation of its new logo and a uniform visual style. Out of seven tenderers that advanced to the second round, an international jury, of which I have been a member, selected the solution submitted by a graphic designer Štěpán Malovec.
Pavel Zelenka (CZ)
CVPrague Spring is not only a historical époque of political liberalization but it is also a classical music festival which tradition spans more than sixty years. Although the festival has the same logo from the very first season during the past twenty years the event did not have a recognizable visual identity. Therefore the organizers decided to change the situation for the 65th season of the festival and they invited five renowned Prague’s studios to the tender for a festival’s new visual identity.
Jirka Toman (CZ)
More LecturePractice of competing on logos, CI and so on are in fact a direct reflection of the society and in our region, it is often not very positive relationship. But I beleive that there is the way out. I will try to convey to you everything I know about this problem and give a few examples of how a well-chosen selection procedure for management help and hurt bad, or vice versa. Perhaps then it will be easier for you to decide where and when to participate or when rather strongly reject.
Zuzana Wienk (SK)
CV
Lukáš Veverka (CZ)
CVPublic competitions are one of the best way to get a project and to size up the skills with other creative ones. Unfortunately this is not true in Czech Republic. Why?
From the sociological point of view, the accompanying programme – party in the evening has the same importance as the official part. Competition and competitivness will hit the evening too. We have VJ battle and DJ clash, including man-to-machine fight, read further for more! Also, we have the huge selection of the visual and music genres and styles, wider-ever.
Teplí kovboji žerou puding
(Urbsounds Collective) Live
DJ Jukebox
More
Batcha De Mental (Kyl The Sistem)
More
Bisley (Suburb)
More
Marek Menke (Batcave)
More
DJ Reverend (JAH Division) - maybe also
More
Date: 27th - 28th November, 2009
Place: Stanica, Zilina-Zariecie, Slovakia (cultural center)
Conference language: English
Participant fee: Students - 10 EUR / professionals - 20 EUR
(price includes two days of lectures, ticket for party)
Accommodation: Hotel - app. 25 EUR, Dorms - app. 12 EUR
What was Kupé4 about? "Nation -- Design -- State" 2008
Is there still any reason to talk about national design?
Haven’t been national schools (such as polish, dutch, swiss…) flushed-down by the synchronised aesthetics already?
Can we consider every design national according to its place of origin or the designers nationality?
If we talk about national design can we simultaneously use the term state design?
What is the difference between design used by the state for inwards and outwards communication?
Does the quality of state design relate to the quality of the culture of state or nation?
What was Kupé3 about? "KAP vs. SOC" (Commercial vs. Social Design) 2007
The aim of the third conference was to discuss the relationship between commercial and social design. Commercial and social design seems to be in different categories of graphic Designer's work. In both areas they solve economical and ethical aspects of their both design fields. They coexist and supplement and penetrate each other. In this synergy they co-create visual culture in our countries.
What Kupé2 was about? "Exposition of graphic design" 2006
The topic of the second conference was to find an elementary definition of the term: "graphic design". The term "graphic design" has, here in Slovakia but also in whole Central European region, a lot of unclear interpretations and associations.
What Kupé1 was about? "Self-defense of graphic designer" 2005
The first conference was focused on "The Self-Defense of the Graphic Designer" and we discussed and tried to find the possibilities of communication and methods of work with public and commercial institutions, NGOs, freelance work for advertisement agencies, personal projects in our own country and countries of CE.
