Nüssli Christof by helmhaus

PORTFOLIO

Christof Nüssli

6/2022

S—t doesn’t add up 4K video, 13:26mins, 2021 A park in which Scotland’s national stadium once stood serves as the physical and mental space for a chamber play taking place in the spring of 2020. The emptiness of this clearly defined space melts

with pop culture, social issues, humor, and bare numbers. Happy dogs, sweaty athletes, and lurking beer drinkers perform in this human-made recreational architecture while the narrator sings “Mathematics” by Mos Def. Borrowing from the tradition of the video diary, “S—t doesn’t

add up” links the mundane with a (supposed) search for clarity. Sound: Claudia Vasiliu. WATCH

SCREENINGS: Videoex, Swiss competition, 21–29 May 2022 (Special Mention) Winterthurer Kurzfilmtage, Swiss competition, 9–14 November 2021

Geneva International Film Festival, 4–12 November 2021

–×–=+ (Work in progress), 2021–2022 In collaboration with Claudia Barth. Borders are speculative fictions

with real consequences. As writer Georges Perec once noted, borders are lines ‘for which millions of people have died.’ Borders govern our lives: there is no place on earth you can live without being inside a

set of someone’s borders and under their authority. I’m here, you are there, we are on this side, they are on the other side, ad infinitum. For the project –×–=+ artists

Claudia Barth and Christof Nüssli will plant seven flags at seven points on a selfappointed north-south line through Switzerland. This work is a physical comment on an abstraction. The symbols

on the flag (–×–=+) are a playful deconstruction of the monolithic simplicity of the Swiss flag. Flags are almost unfailingly used to signify borders and they depend on wind to animate them, though

weather knows no borders. These flags will hardly fly, for they are deliberately oversized, borne down by their own weight of signification: raised on sculptural bases of wood

and metal, but inlaid with patterns like those left by parasites, undermining the structural integrity of these aggressive constructs. These flags erected and abandoned, votive offerings at the mercy of

the sky; the works completion is in its destruction, the final stroke will be had by the landscape itself. (Leila Peacock) TRAILER

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Dragica Rajčić Holzner

der Mensch dort

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ca. 63 h 8 min

es passiert manchmall das menschen welte verwekseln sich zufellig am unbekannten Stellen behruren es ensteht dan kurtzschluss von gefühlen gegen alles was Menschen trennt

KURTZSCHLUSS

nichts zu tun viel zu tun alles so zu erhalten alles so zu verendern der welt hier die welt dort der Mensch hier

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Dragica Rajčić Holzner

–×–=+

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Dragica Rajčić Holzner

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in schlimmsten fall ach was, ich komme von Balkan

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Wessen ein fall es war beim Gipfellsturm stück stoff aufzuhengen der Mond hat die Ehre eine mit sternen drauf zu schwingen vielleicht hatte Mond lieber eine mit halbmond wenn alles so weiter geht heng jeder von uns eine aufs kopf dass alle wissen das wir holzkopfe sind

PFAHNEN SIND UNENTBERLICH

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–×–=+ For the project –×–=+ artists Claudia Barth and Christof Nüssli have planted seven flags at seven points on a self-appointed northsouth line through Switzerland. This work is a physical comment on an abstraction. The symbols on the flag (–×–=+ ) are a playful deconstruction of the monolithic simplicity of the Swiss flag. Flags are almost unfailingly used to signify borders and they depend on wind to animate them, though weather knows no borders. These flags will hardly fly, for they are deliberately oversized, borne down by their own weight of signification: raised on sculptural bases of wood and metal, but inlaid with patterns like those left by parasites, undermining the structural integrity of these aggressive constructs. These stands were initially intended to recall the anti-tank barriers familiar from WWII, but contexts change fast; these objects are all over the news right now as war rages in Ukraine.

Kinder wir reisen kinder wir reisen mit leeren koffern wie reisende nie tun wenn wir irgendwo einkommen werden wir unsere Hende ausbreiten das regen staub durchnesst nie lange bleiben wir was wir waren zeit der trenen zeit des lachens wollten wir auf dem Bergen lassen Uns zu treffen hofften wir in jenem Stadt auserhalb des Namens in jenem Dorf wo wir empfangen werden so als ob Wir nie eine reise angetreten sind

–×–=+

EMIGRANTEN

–×–=+ In his book ‘Lines’, anthropologist Tim Ingold observes that ‘for the Inuit, as soon as a person moves they become a line… you lay one line of tracks through the expanse… thus the entire country is perceived as a mesh of interweaving lines rather than a continuous surface.’ This example feeds his idea that ‘colonialism, then, is not the imposition of linearity upon a nonlinear world, but the imposition of one kind of line on another. It proceeds first by converting the paths along which life is lived into boundaries.’

Printed on thin cotton dyed-black, the design is negatively applied using bleach, a positive absence. These flags are designed to disintegrate. The artists estimate that each one will eventually be eaten away by the elements. This idea recalls ancient rituals that predate nationalist pageantry. In many Celtic cultures the practice still exists of the ‘clootie well’, where small strips of cloth or ribbons are dipped in running water and then tied to the branches of a tree as part of a healing ritual; as the cloth disintegrates the illness will be cured.

–×–=+ The threat of invisible maladies upon the integrity of our bodies raises the question: do bodies have borders? Are we our em-bordered? Our skins may indicate yes, but our breath and all our many fluid excretions suggest otherwise. Even the subjective force with which we experience ourselves is a slippery and expanding thing that intermixes messily with the selves of others. Where I end and you begin is not a simple question. Borders are unnatural in all their imagined forms.

Björk

“Declare independence Don’t let them do that to you Declare independence Don’t let them do that to you Raise the flag. Raise your flag (Higher, higher)”

“The answer, my friend, is blowin’ in the wind The answer is blowin’ in the wind”

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wwww.minusmalminusgleichplus.ch

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Bob Dylan

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Max Frisch, Fragebogen, Suhrkamp

Quinn Latimer

“Hat Heimat für Sie eine Flagge?” A straight line, like a white cube, is a geometric abstraction. During the 16th century when the practice of using analytic geometry and interconnected coordinates to plot topological spaces became commonplace, the line metamorphosed from a scientific into a political technology for containing the spheres of influence of nationalist ideologies. We live in a lattice of interlocking cartographic regimes, where measuring instruments of obsessional precision have created these invisible divides. Borders govern our lives: there is no place on earth you can live without being inside a set of someone’s borders and under their authority. I’m here, you are there, we are on this side, they are on the other side, ad infinitum. Borders are speculative fictions with real consequences. As writer Georges Perec once noted, borders are lines ‘for which millions of people have died.’

Reinhold Messner

“Mein Taschentuch bleibt meine Fahne”

“Border of the prison-industrial complex Border of language Border of fluency Border of the surging nationalist party Border of the Ottoman Empire Border of Marxism Border of fascism Border of the form you stole for me Border of the tourist and border of the stateless Border of terminology Border of international monitors Border of Fortress Europe Border of the Athenian League Border of the corporation Border of bodies of land not water Border of the local smuggling operation Border of the machine Border of a sister crossing a border Border of the fanatic Border of conflict Border of war Border of that linguistic distinction Border of the supplicant Border of the state Border of the camp Border of birth Border of its waters Border of …”

Offset print, 50x70cm, 300ex Coronastipendium

With support by Dragica Rajčić Holzner; edition8 Quinn Latimer; Sternberg Press Max Frisch; Suhrkamp 9.7.–4.9.2022 Claudia Barth, Christof Nüssli –×–=+

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Mensch zu Mensch Kultur was für ein Wort

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jezt gegenüber Auge um Auge Auge in Augen Licht in Ihren Augen ist getrübt

KULTUR TÊTE A TÊTE

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Das es menschenherde gibt welche unkontroliert auf Ihre Grenze zukommt habt Ihr aus Fernsehen entnommen das Kultur dieser Menschen (wenn überhaubt) mit Eure Kultur nicht vergleichbar ist haben Euch Politiker erklert

A desire path (Trampelfad) is perhaps the antithesis of a cartographic border-line. Desire paths are those informal pathways created by humans and animals that run contrary to design or planning, often short-cuts that account for the physical complexities of terrain; intuitive and efficient, their often non-linear scrawl becomes visible through the erosion of footsteps over the earth. They are used as a metaphor for anarchism, intuitive design and the wisdom of crowds. By this measure the (most often straight) lines drawn on a twodimensional map to demarcate official borders represent a desire of a different kind, from the few not the many, who frequently display an absurd disregard for the physical realities of the landscapes they bisect. –×–=+

Leila Peacock

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6.–7.8., Moving Borders with Andrea Bagnato and Marco Ferrari

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CAPANNA CORNO GRIES

9.7., Opening

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HOTEL FURKABLICK, FURKA PASS

10.7., Walk with Claudia Barth and Christof Nüssli

STEINGLETSCHER, SUSTENPASS

30.7., Walking and swimming with Dragica Rajčić Holzner

OBER NAS / UNTER NAS

4.9., Finissage with Börek and grill

VICTORIA BÄCKEREI & GRILL, FAHRWEID

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23.7.–24.7., Camping with Nammu (Niştiman Erdede & Bager Şen)

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KIESGRUBE HOHENTENGEN / RHEINUFER

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23.7., Border-walk with Claudia Barth and Christof Nüssli

STÜHLINGEN, GRENZE SCHWEIZ DEUTSCHLAND

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Claudia Barth, Christof Nüssli –x–=+

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One of the things that defines the long tradition of landscape painting – a genre of art so beloved in the 19th century – is the inclusion of the sky. We live beneath the sky, with which we have always had a quasimystical relationship as something essentially unknowable. The sky put us in our place, it is the final frontier. But our earth bound maps, in their permanently face-down twodimensionality, skyless and resisting all that is ineffable and sublime, are somehow anti-landscape paintings. We could think of this art project as one that returns these anti-landscape paintings to the landscape. These flags are erected and abandoned, votive offerings at the mercy of the sky; the works completion is in its destruction, the final stroke is had by the landscape itself. –×–=+

Bigger Dreams HD video, 8:04mins , 2021 In collaboration with Tom Huber.

Found images from car advertisements build a narrative around the contemporary treatment of our environment and western

consumerism. Breathtaking nature serves as a backdrop for speeding cars, happy families, adventure-seeking men in midlife crises and other

creatures from the very heart of our society. “We offer big dreams, breathtaking landscapes and endless bliss in a place of

unlimited possibilities. Come on board. Discover.” WATCH

EXHIBITION: 25.11.–27.11.2021; Bigger Dreams; Kabinet Visarte Zurich (CH)

1.-Mai-Plakate Each poster 895x1280mm, silkscreen, 2008–2022

EXHIBITION: 29.4.–7.5.2022; 1.-Mai-Plakate; Rindermarkt 23, Zurich

Antibody (Work in Progress), 2020– 2023 In collaboration with Christoph Oeschger

The artists follow exemplary stories from the last two centuries on measuring the world and its inhabitants. The film reveals parallels between some 19th-century science

and today’s scientific and social approach to surveillance images, standardization of nature, and measurement of humans.

The film is based on fictional, theater like interviews with historical persons, which are juxtaposed with found and invented advertisements around the topic. Meanwhile,

apples, which could be seen as stand-ins for the human body, have the leading role in the visual narration.

SHOW REEL 1 (Fruit museum) SHOW REEL 2 (Fruit-press) SHOW REEL 3 (Studio)

Museo di Frutta, Torino + Mosterei Moehl, Arbon

Measure Me (with Alphonse B.) Digital print on newspaper, 500x700mm, 150ex, 2021

In collaboration with Christoph Oeschger (as part of the ongoing project “Antibody”).

The eyes from Alphonse Bertillon's collection of criminals return the gaze of the “technical” eye to

the sharpness measuring card. Who looks at whom? Who generates data in the process, and how is this data

processed? What ethical parameters are considered appropriate today for measuring people and their

environment? Printed and released for online Printed Matter Art Book Fair,

February 24, 2021. Self published by cpress. WEBSITE

Trees Etc. 2-channel HD video, 6.40mins (looped), 2021 “The brave warrior Diegane Ni Ni Senghor who founded the village in 1731 came here to look for a new home. He chose this spot because, on the

Installation sketch

way, he met two small animals, and they were soaked. So he thought that if he dug a well here, he could find water. There were also bushes, two small bushes. One of these bushes has become the big tree of the village. […] Many things are changing, especially the

soils. Where we used to farm, the salt has moved in. There is a forest in Nguecokh that is threatened by the salinization of the soil. You could say that all this is a consequence of climate change, and Nguecokh is not spared. It is the sea that is advancing because of global

warming. […] This really is a deeply sacred forest and is home of the legend of Dialane. It is said that there are mystical beings, mostly invisible, only a few initiates can see them. These beings collect the water and hold it back. If the village was threatened by drought,

there was a ritual with dances to the sound of the tam-tam. The initiates would address the beings, lamenting the lack of water, calling for rain. And often, it rained a few hours later." Voice messages by Mamadou Senghor, local teacher

Sound by Tom Huber. WATCH

Visibility HD video, 9min, 2020 Images and thoughts combined to form a multi-layered essay on visibility in five chapters. There is no attempt to do justice to the vast topic, but rather to generate an idiosyncratic perspective.

In the style of a stream of consciousness, everyday observations mix with politics and pop culture. The starting point is images from the ZHDK research project's wind tunnel, which I combine with my archives' found and own footage.

Sound: Claudia Vasiliu. WATCH EXHIBITIONS: 5.2.–6.3.2022; Tschüüss Festival; Centre Culturel Suisse; Paris (F)

10.12.2021–2.2.2022; New Contemporaries; South London Gallery; London (UK) 25.9.–28.11.2021; New Contemporaries; Firstsite; Colchester (UK)

Under the Skin Video, 16:40min, 2019 Zooming into two books containing mug shots from around 1880–1935, Under the Skin, draws lines from historical events to contemporary developments of control and

surveillance. While describing what she sees in the books, the narrator intertwines subject areas like; how time changes perspectives on historical events, the role of archives as foundations for power and control, the possible brutality of bureaucracy, the current

state of facial recognition and personal experience with the law enforcement. Under the Skin questions given structures of power and asks how we can take back the sovereignty of information.

WATCH SCREENINGS/EXHIBITIONS: 2021: _Memory, Kunstmuseum Olten, Olten (CH)

_Videosurveillance Sur-Prise Du Visible, Lavoir Numerique, Gentilly (FR)

_Rencontres Internationales Paris/Berlin, Haus der Kulturen, Berlin (DE)

2020: _Rencontres Internationales Paris/Berlin, Louvre, Paris (FR)

2019: _VideoEx (film festival), Zurich (CH)

_Kurzfilmtage Winterthur (CH), Kurzfilmtage Recommendations

googly eyes (artist book) Offset print, 235×315mm, 2019 googly eyes is an inventory of fried eggs on Deli storefronts in Brooklyn. Through rephotographing these food replicas and cutting up texts Nüssli explores a fast-changing neighbourhood while trying to

understand current American politics and consumer culture without losing his humour. “Stick with us. Don't believe the crap you see from these people. Just remember what you’re seeing and what you’re reading is not what’s happening.” – Where to look if you do not want to watch anymore?

Christof Nüssli; googly eyes; 68 pp.; 83 colour photographs; Softcover; 230×312mm; 500 copies; Text by Christof Nüssli; Published by cpress, Zurich; Distributed by Idea Books, Amsterdam; ISBN 978-3-9524710-4-3 WEBSITE

Untitled (googly eyes) Site specific installation, inkjet print on vinly, 2019

Installed in front of the Swiss Institute, New York City, October 2019

Splash, drip, drip, woo, splash, ayy Digital print on fabric, sound (looped), size variable, 2019

EXHIBITION: Schaulust, Photoforum Pasquart, 22 September – 24 November, 2019.

SOUND

Oh, I See, (1899–2018) Knitted scarf, 148×20cm, 2019 The Rennie Mackintosh font and the two slogans from pop culture refer to the burnt down Art School Buidling by Charles

Rennie Mackintosh. A fan scarf for a building that the artist never saw himself but about which everyone talks in the town he just came. A building that society has divided into two camps of reconstruction

and demolition. The scarf also refers to the strong identity attribution about the two football clubs in Glasgow. To what extent can a group identity create a sense of belonging?

EXHIBITION: Glue Factory, Glasgow, April 26 – May 3, 2019

Phantom Pain 2-channel video, 19.30mins (looped), 2019 This 2-channel essay video asks how a collective memory comes into being and what images and experiences are

needed for it. The author mixes his own thoughts with various examples from popular culture, history and the now to create a unique narrative about remembering and rewriting history. It questions why a society needs monuments

and images and which images should be. The video is an indirect examination of what life after the fire at the GSA was like. This local approach serves as the basis for a global view of the topics. The video refuses to nail down a single idea instead

it brings together fractures of thoughts and creates a contemporary perspective. In a post-Brexit britain society. WATCH

EXHIBITION: Glue Factory, Glasgow, April 26 – May 3, 2019

CHRISTOF NÜSSLI 10. April 1986, Zurich Haldenstrasse 156, 8055 Zurich +41 44 520 90 86 www.christofnuessli.ch www.cpress.ch

SCREENINGS AND FESTIVALS 2022 "S—t doesn't add up" at Videoex, Swiss Competition, Zurich (CH) 2022 "Visibility" at Rencontres Internationales Paris/Berlin, Louvre, Paris (FR) (Video Library) 2021 "S—t doesn't add up" at Kurzfilmtage Winterthur, Swiss Competition 2020 “Under The Skin” at Rencontres Internationales Paris/Berlin, Haus der Kulturen, Berlin (DE) 2020 “Under The Skin” at Rencontres Internationales Paris/Berlin, Louvre, Paris (FR) 2019 “Under The Skin” at Videoex (Film Festival), Zurich (CH) 2019 “Under The Skin” at Kurzfilmtage Winterthur (CH), Kurzfilmtage Recommendations

SOLO EXHIBITIONS 2022 –x–=+, Furk'Art, Furka Pass (CH) 2022 1.-Mai-Plakate, Rindermarkt 23, Zurich (CH) 2021 Bigger Dreams, Kabinett Visarte Zürich, Zürich (CH) 2014 MKR_04, Scriptings, Berlin (DE) 2014 MKR_03, Corner College, Zurich (CH)

GROUP EXHIBITIONS (EXCERPT) 2022 Tschüüss Festival, Centre Culturel Suisse, Paris (F) 2021 New Contemporaries, South London Gallery, London (UK) 2021 New Contemporaries, Firstsite, Colchester (UK) 2021 Videosurveillance Sur-Prise Du Visible, Lavoir Numerique, Gentilly (F) 2021 Memory, Kunstmuseum Olten, Olten (CH) 2019 Untitled (googly eyes), public installation at the Swiss Institute, New York (US)

2019 Schaulust, Photoforum Pasquart, Biel (CH) 2019 Scratch Your Face Away, Material, Zurich (CH) 2019 Hopelessly Devoted, The Garment Factory, Glasgow (UK) 2019 MFA Interim Show, Glue Factory, Glasgow (UK) 2017 Werk- und Atelierstipendien der Stadt Zürich, Helmhaus Zurich (CH) 2017 Athens Photo Festival 2017, Benaki Museum, Athens (GR) 2017 PGH Photo Fair 2017, Carnegie Museum of Art, Pittsburg (USA) 2017 Istanbul Photobook Festival, Istanbul (TUR) 2017 Uncensored books, O3ONE Art space, Belgrade Photo Month, Belgrade (RS) 2017 Situations #65, Fotomuseum Winterthur, Winterthur (CH) 2016 Kiss and Fly, Istituto Svizzero di Roma (IT) 2016 Caméra(Auto)Contrôl, Centre de la Photographie, Geneva (CH) 2016 Édition(s) Expérimentale(s), UQO Gallery, Gatineau (Quebec, CA) 2016 Édition(s) Expérimentale(s), Toronto Art Book Fair (CA) 2015 Werk- & Atelierstipendien der Stadt Zürich,Helmhaus, Zürich (CH) 2014 BYOB, ISCP, New York (USA) 2014 global aCtIVISm; ZKM / Museum für Neue Kunst, Karlsruhe (DE) 2014 Haus im Aus; Labitzke, Zurich (CH) 2013 Supervision; Remise, Zurich (CH) 2013 Mit Mokka nach Mekka, for Bruce; Kunstverein, Amsterdam (NL) 2013 Werkplaats Typografie End of Year Show; De Ateliers, Amsterdam (NL) 2012 Don’t use your dog’s name: reflections on the processing of behaviour; Split/ Fountain, Auckland (NZ) 2012 Inexactly This/Kunstvlaai (with Werkplaats Typografie); Amsterdam (NL) 2012 Project room (with Werkplaats Typografie); New York Art Book Fair, MoMA PS1, New York (US) 2012 Armin Hofmann – Farbe; Galerie Susanna Kulli, curated by Fabienne Ruppen, Christof Nüssli, Zurich (CH) 2012 Werkplaats Typografie End of Year Show; De Ateliers, Amsterdam (NL)

2012 Sound Poster (with Werkplaats Typografie); Festival international de l’affiche et du graphisme, Chaumont (FR) 2012 Vacanze da Trame (with Werkplaats Typografie); Bologna (IT) 2011 Project room (with Werkplaats Typografie); New York Art Book Fair, MoMA PS1, New York (US)

FILMOGRAPHY 2021 Bigger Dreams, 8.05 2021 S—t doesn't add up, 13.26mins 2021 Trees Etc., 2-channel video, 6.40mins 2020 Visibility, 9.03mins 2019 Phantom Pain, 2-channel video, 19.30mins 2019 Under the Skin, 16.40mins

ARTIST BOOKS 2019 googly eyes, cpress, Zurich (CH) 2016 Withheld due to:, cpress, Zurich (CH) 2014 Miklos Klaus Rozsa (with Christoph Oeschger), cpress/Spector Books, Zurich (CH)

RESIDENCIES 2022 Visarte, Cité Internationale des Art Paris (3 months) 2021 Freiraumstipendium, Fachstelle Kultur Kanton Zürich (6 months) 2018 Bibliothek Andreas Zuest, Alpenhof, Appenzell, Switzerland (CH), (1 month) 2018 Swiss Institute/Pro Helvetia, New York City (US), (3 months) 2016 Istituto Svizzero di Roma, Rome (IT), (10 months)

HONORS (EXCERPT) 2021 New Contemporaries, London 2018 Shortlist, Swiss Design Award, BAK 2017 Kassel Photobook Award 2017 – The Experts Selection 2017 Best Book Design from all over the World 2017; Bronze medale 2017 One of the Most Beautiful Swiss Books, 2016

2016 Shortlist, Swiss Design Award, BAK 2015 Best Book Design from all over the World 2015; Bronze medale 2015 The Best Dutch Book Design of 2014 2014 Aperture Foundation First Photo Book Award (Shortlist) 2014 Most Beautiful German Books; Stiftung Buchkunst (DE) 2014 Development grant from Fördergesellschaft Hochschule für Gestaltung Karlsruhe/Zentrum für Kunst und Medientechnologie (ZKM)

WRITINGS 2020 Gestures of Resistance, or, can you feel the future? (unpublished) 2019 Untitled, googly eyes, cpress, Zurich (CH) 2013 ...asked...about the...book from...; In conversation with Seth Siegelaub; Werkplaats Typografie, Arnhem (NL) 2012 Armin Hofmann – Farbe, Texts on the exhibition; Fabienne Ruppen, Christof Nüssli, self published, Zurich (CH)

PERFORMANCES 2010 OLAF – Organisation zur Lösung der Ausländerfrage, in collaboration with Andreas Heusser and Christoph Oeschger 2009 Kriegsentwicklungshilfe, in collaboration with Andreas Heusser

LECTURES/TEACHING 2021 Violent Images, Lette Verein, Berlin (DE) 2019 Lecture, Month of Photography in Minsk, Brest (Belarus) 2018 Lecture and 5 day poster workshop, SUPSI, Lugano (CH) 2018 Lecture and 1 day poster workshop, Accademia Belle Arti Bologna, Bologna (IT) 2017 Lecture and 4 day poster workshop, Sema, Kazan (RU) 2017 Situations #65, Fotomuseum Wintherthur (CH) 2017 Typo Club, HKB, Bern (CH) 2016 Fahrenheit 39, Ravenna (IT)

2015 End of the semester reviews, Iowa State University, Rome (IT) 2015 Best Book Design from DE/AU/CH/NL, Hauptbücherei, Vienna (AU) 2015 Tag der Typografie, Luzern (CH) 2015 Book Case Studies (4 Days Workshop), Lhgwr Gallery, The Hague (NL) 2015 txt.img, Schau!Fenster, Zurich (CH) 2014 Swiss Institute, New York (US) 2014 Freitagsküche, Frankfurt am Main (DE) 2014 F+F Schule für Mediendesign, Zurich (CH)

EDUCATION 2018– 2020 Master of Fine Arts, Glasgow School of Art, Glasgow (UK) 2011– 2013 Master of Design, Werkplaats Typografie, Arnhem (NL) 2006 – 2008 Typographic Designer (BfGZ Zurich)