Lürzer's Archive 224 (US edition) 3/23

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UPFRONT

The reasons why we are ‘creative’ are endless.

And the ‘what’, the resulting output, is also unlimited.

The Words Issue – written drawings.

Fukt magazine No. 17, Reviews page 202.

However, when it comes to you, dear reader, what might satisfy your individual ego?

Even the most dedicated copywriter, art director, or creative director tends to have lurking in the back of their mind a desire to set their own brief. Something that gives them the freedom to research and develop their very own personal obsession, from which they create and produce a delightful masterpiece, one that entertains and informs the world, stands apart from normal professional life. One that may bare their soul more than usual, or perhaps just deliver a real ripper of fantastical invention. Fame and/or fortune hopefully to follow.

Such aspirations are likely to be focused on media, with mass audiences and critical acclaim. For some that might be a computer game, or via design or architecture, but these media demand a lot of teamwork to assist the big delivery. This rather dilutes the ego boost.

In contrast, writing a film or a book, or producing fine art, can permit execution of an idea that will be mostly if not entirely attributed to one person (even if it takes an industry of helpers to actually deliver the final product). And so we might suspect that most creatives whose names appear in these pages fancy applying themselves to a book or a film idea, or perhaps even outing themselves in fine art form.

Many try but few achieve wide acclaim for these departures from the day job. Real life, or the limits of talent, get in the way. For such reasons, everyone may enjoy reading our profile of Shehan Karunatilaka, who has landed major honors on two novels in a row. For almost 20 years as a creative director, Shehan is one of the select few Booker-Prize winners and is about to see his work translated and published all around the world. But our interview reveals how the path to globally-published novelist is far from easy, direct, quick or painless. It’s unbelievably hard, indirect, long-winded, and truly tortuous at times.

Despite that, Shehan seems to have a chilled-out sensibility that helps him endure at length and finally succeed. But no wonder he still keeps his hand in at the advertising work.

What a contrast: working on social media as a creative gun-forhire, compared to the many years of development and rewriting that were required before either of Shehan’s novels saw the light. He thanks advertising for teaching him to handle criticism and rejection well …

In contrast, our other major interview, with Jaime Robinson, shows how creative minds are not only set for endurance and stress, but are also wonderfully impulsive and magpie-like in how they acquire and use material. We see her mood board of inspirations mix a ‘bananas’ — as she calls it — 400-year-old violent horse race with the Barbie film.

Such diverse explorative modes for sure come out somehow in the work from her agency. Perhaps, one of these days, if she suffers long enough, there may also be a great book or film to expect. It could be a cracker.

Of course, as ever, our issue is full of more than 100 pages of the inspired work of many, as we show the best ads that we have seen from around the world. If yours has been selected, congratulations for being one of this issue’s stars. Rest assured, we know it took incredibly diverse inspiration and no small amount of perspiration to get here.

Now, how’s the novel doing?

Yours

Michael Weinzettl, Publisher & Editor-in-Chief Lürzer’s Archive

Vol 3/2023

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Contents

1

UPFRONT

4

THE SMALL PRINT

6

ECLECTIC

10 INTERVIEW Jaime Robinson 16 PRINT WORK 127 FILM WORK 136 INTERVIEW Shehan Karunatilaka 141 AUTO SPECIAL REPORT Stop here for ultra-rapid inspiration charge 193 BACKDROP Classics Reviews

THE SMALL PRINT LÜRZER’S ARCHIVE Issue 224 3/2023

Lürzer’s Archive Issue 224 3/2023

ISSN 0893 - 0260 ISBN 978 - 3 - 903909 - 06 - 9 Cover: Client Mascotas Bichos Agency Pangea DM, Bogotá Creative Direction Miguel Angel Grillo Art Direction Silvia Julieta Rodriguez Digital Artist Gregori Ramirez

EUR 18.90 ISSN 1727-3218 LuerzersArchive.com

Publisher & Editor-in-Chief Michael Weinzettl

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Contents © 2023 Lürzer International Ltd. All rights reserved

Managing Editor Christian Hrdlicka

Distribution/Retail latrade@lurzersarchive.com

Art Director Christine Thierry

All other inquiries, check website or email help@lurzersarchive.com

Brand and Design Direction SIX Contributing Editor Maeve O’Sullivan

Published by Lürzer International Ltd. 151 Wardour Street London W1F 8WE United Kingdom

The contents of this magazine may not be reproduced in whole or in part without prior written permission from the publisher, Lürzer International Ltd. Lürzer’s Archive is a trademark of Lürzer International Ltd, London.

Editorial Research Josh Lambie

Director Lewis Blackwell

Ad Sales USA Claudia Coffman

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ECLECTIC

Superpowers Getting your work in Archive gives you a boost ... but what if you could create your own superpower?

We asked recent stars from our pages to devise their personal superpower and share how they would use it.

MARTIN DORN Art Director Demner, Merlicek & Bergmann, Vienna

ALESSANDRA SADOCK Creative Director Leo Burnett Tailor Made, Rio de Janeiro

My superpower would be telepathy. At creative briefings, I could understand what my clients really want or how much they can actually spend. At home, I could finally understand why my boyfriend always leaves the toothpaste open.

I was very shy. With a lot of effort, I left it behind.

I gained many powers: articulation, self-esteem, confidence. But my initial super shyness gave me a superpower: listening. Listen to what people say and what they don’t say. Listen before you think, create and inspire. People notice when they are heard. And it all starts and ends with people.

Skye Deluz Creative Director Rethink, Toronto The power to turn into a fly.

It’s a triple win: ability to fly, be invisible, and crash picnics.

DELPHINE PERRET Senior Art Director Freelance, Dublin FRANCESCO GUERRERA Chief Creative Officer Different, Milan, Italy I would like to have a superpower that works for just one day. The ability to clean up all the seas in the world from plastic and bring back to life all the species that died due to pollution. This is so I could swim with millions of fish in an uncontaminated sea.

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I’ve been an art director for years but I can’t draw!

Where I’m from, we call an early kids’ drawing ‘a potato’ and here I am still sketching spuds! So I’d love the superpower of good drawing! Then I could be an art director by day and a super sketch artist by night!

GENEVIEVE HOEY Creative Lead 72andSunny, Sydney My gift would be stopping time. Creating The Moment, a space where a person is free to pause indefinitely at an excellent juncture in their life – though in the real world, it would be only for a few seconds. A place for deep thought, without your attention demanded elsewhere. While this might not make me the most powerful, I’d probably be the most popular superhero in the world.

CARLOS VILLACÍS Creative Art Director BBDO Ecuador, Guayaquil

TONY WAISSMANN Chief Creative Officer Republica Havas, Miami My chosen power would be eternal youth but when I talk about that I don’t talk about being a child, but about being young. How would I use it? I wouldn’t have to think that in the future there are things that I won’t be able to do. I wouldn’t put on my glasses to read packaging in the supermarket or to read how to take medicine because I don’t think I would need any medications. I would like life to happen but not aging. My power would not be to live longer, it would be to live the same but in the best conditions of life.

My superpower would be the power to multiply myself because I think it would be great to spend as much time on the things that make me happy: creativity and my family.

NIAMH RYAN Senior Copywriter Boys + Girls, Dublin Time waits for no man … but would it wait for a woman?

Pausing time, anytime, would be my superpower and I would RELISH it. But not for a productivity boost or to get more done in a day. I would carve out a pocket in time, a personal bubble, an uninterrupted vacuum – to do as I please.

SAMY BENAMA and DAMIEN GUIOL Chief Creative Officers Change, Paris If we had a superpower, it’d be to turn ourselves into timetraveling flies, leap forward 20 years, slip into a jury room and come out with loads of ideas.

Vol 3/2023

ARJUN MUKHERJEE Vice President and Senior Executive Creative Director Wunderman Thompson, Kolkata Superpower: Creates temporary clones of himself …

Seen at his desk. At film shoots. In concerts. On Machu Picchu. Taking cat naps.

Directing animation films.

Clicking clouds. Talking to stray dogs. Scavenging for art.

All, at the same time. He can collect multiple experiences every second. He can pack a million lifetimes into one.

6–7

ECLECTIC

GABRIEL MATTAR Chief Creative Officer INNOCEAN Worldwide Europe, Berlin The power of persuasion … I believe having ideas is the easiest part of our industry.

Convincing people to give their all to bring them to life, is the hardest. Persuasion is the ultimate superpower, therefore.

NACHO VALLEJO Creative Director Amén McCann, Montevideo Today there’s only one little thing I’d like to have: I’d want to be like Darth Vader and be able to strangle some people when they start saying stupid things, especially at meeting presentations. Or else, simply being omnilingual. As the big copywriter that I am, I think about that and I start drooling.

TERRI ROBERTS Creative Director Ray Creative Agency, St. John’s, Canada Occasionally, I’d like the ability to stop time.

Just to remind myself how fast it goes.

And perhaps, save a little money on antiaging serums.

RACHEL TWEEDY Creative AMV BBDO, London I wish I had the power to find the perfect transparent PNG in an instant. Finding them is a constant challenge in the life of a deckbuilding creative, and nothing beats that split second when an image thumbnail loads and the background goes from the gray checkerboard to nothing at all.

RIA OCAMPO Associate Creative Director Ogilvy, Singapore I’d want to see live subtitles of what people really mean with what they say. Just like we see on screens, I can switch it on and off and change the language as I’d like. It would be nice to know who the genuine people are or help those who can’t speak up. I’d be an office hero if I could cut meetings short.

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MIKE FRITZ Creative Director Engine Group, Melbourne I’d love a superpower where I could effortlessly master any skill just by thinking of it – I’d be a proclaimed artist, musician, writer, linguist, jiu jitsu black belt, surfer, F1 driver and macrame weaver, all in one. Imagine that LinkedIn bio.

AMY CURRELL W W W. J S R A G E N C Y. C O M

A G E N T S @ J S RA G E N C Y. C O M

+44 (0) 20 7228 6667

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INTERVIEW

Learn from the Palio, etc.

As co-founder and Chief Creative Officer of New York-based agency JOAN, Jaime Robinson is seven years into driving towards a wild and precious life for all.

Vol 3/2023

10-11

INTERVIEW

Three works from JOAN JR Three works from JOAN? I’m giving you four, because that’s how I roll.

Black Forest JR So Juicy, Ja This was from Middle Earth JOAN. We created a 100% made-up people of the Black Forest, where gummies grow on trees and the good citizens harvest them. We developed actual rituals that these people do, games they play, and songs they sing. We did the legwork.

And to launch it, we sent real travel influencers to ‘discover’ the world and then had Lonely Planet write up a travel special. You gotta commit to the bit.

L[A] What was the last thing that you really got inspired by?

JR We went to see the Palio horse race in Siena, Italy this past July. It’s a completely bananas bareback race that happens literally in the center of Siena – and has happened annually since 1644 (the only times it stopped was for WWI, WWII and COVID). Each neighborhood competes, racing under a banner that is centuries old, with rivalries and alliances they will take to their grave. The jockeys carry whips and can whip the other horses and the other jockeys! It’s so fast, and so intense. Of the ten horses in the race, four finished WITHOUT riders. And they could have won, too, even without their jockey. I didn’t expect it to get inside me so much, but it did. The pageantry, the drama, the ferocity of the competition, the legends, the rituals, the sneaky tricks, the adrenalin, the Italian passion. It meant something. It changed me. We were welcomed like locals and to be a part of something that was so much bigger than us was electric. I honestly couldn’t stop thinking about it for weeks.

L[A] Have you found inspiration as fleeting or is it something that can be tapped into on command?

JR Inspiration is both fleeting and readily available. Get your head out of your phone, go for a wander, look at the damn world.

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It’s glorious. People across time and space have found ways to fill even the dullest corners with something wonderful that they have made with the sole purpose of making you, a stranger they will never meet, feel something.

L[A] You have previously mentioned that advertising marketed at women can often be too ‘vanilla’ and unprovocative.

Do you feel there has been improvement on this in recent years?

If so, how? If not, why not?

JR Yes, but for a different reason than you might think. Advertising and entertainment built for women used to be its own thing, as if women were the only ones who could enjoy a story where a woman was the hero, or only women could enjoy an ad for a women’s product. Times have changed. Now entertainment and advertising marketed towards women is enjoyed by ALL genders. I mean, just look at the summer of 2023 to see the billions of dollars generated by Barbie/Taylor/Beyoncé, not all of which came from people with two X chromosomes. Since forever, young girls have had to grow up imagining themselves in the shoes of male characters. For the first time maybe in all of history, women’s stories are people’s stories.

L[A] What is the best piece of advice you have ever received?

Top left: ZenBusiness JR Own What’s Yours This is one of the more recent campaigns we’ve done. I love how of-the-zeitgeist it is, what with Quiet Quitting and the Great Resignation and the like. ZenBusiness is a platform that helps entrepreneurs start up and run their businesses, so it really couldn’t have been more ready for a bold moment in 2023. I also love how uncomfortable it makes me feel as an employer. We asked the most pokey questions of people. We urged an uprising.

Top right: Womanikin JR This was our first ever product and we developed it to answer the fact that women are 27% less likely than men to receive CPR in public. We had no money to promote this, so we started by asking, ‘What’s a free media vehicle?’ We realized that there are thousands of CPR classes that happen daily, all on flat-chested manikins. What if instructors had an aide to get people over their squeamishness of touching breasts and even just raise awareness of the issue? This one went truly viral with no money spent and was readily adopted by the medical community (we were invited to eight international CPR conferences). It’s being tested and used on a national level in Argentina and New Zealand. What an impact.

Left: Netflix, Rules for the Modern Woman JR This was our first piece of work, way back in 2016, a social video that we did in, like, five days. I just loved how of-the-moment it was and how it captured the radical change that women were going through.

JR Read in a book of Mary Oliver poems: ‘Doesn’t everything die at last, and too soon? Tell me, what is it you plan to do with your one wild and precious life?’

L[A] Leaving Wieden + Kennedy New York to start your own company must have been a daunting prospect at the time.

What advice would you give someone who similarly wishes to carve their own path?

JR Please read the Mary Oliver poem above. Remember, nobody gets out of this place alive. Find a path that you love NOW or create one yourself. I needed to try to stand on my own two feet, to build a place where someone else wasn’t telling us what to do or holding a bag of money over our heads, and I needed to see how far we could take something.

I’m still seeing that, because we have so much farther that we believe we can go. Whatever a dream looks like for you, YOU are the only one who is responsible for ensuring it happens. You have a short time on Earth. Milk it for everything you can!

The other day, I saw an interview with a tattoo artist I admire, Victor J Webster. Someone asked him about creating large scale tattoo works and suggested to him that tattoos were a daring medium for an artist because they were so permanent. He laughed, saying that tattoos are one of the least permanent art forms

around. They all return to dust. We’re only made of meat and heart. You’re going to die. Might as well live first.

L[A] Can you share insights on the challenges of being a creative who now finds themselves deeply involved in complex management discussions and business evolution?

JR Oh, jeez. It’s such a hard transition and, to be honest, I’m still managing through it. The only thing I can suggest is to find the thing you love about being a creative and find a way to view your management and business duties in that light. For me, being creative is all about fostering shared meaning through emotion and storytelling and creating communal experiences. OK, that can be practiced on a macro scale by working through all of the things that are required of a business owner and a company leader. Work on answering the questions: Why are we doing this? Why should we hire you as an agency? What role does each person play at this table or at this company? What story should we tell next? Now, for you, being a ‘creative’ might be all about solving puzzles, or maybe it’s about crafting something to perfection. So then look at your new duties through that light. And again, if you’re not happy, life is short, and there’s no shame in choosing a path that doesn’t have a C-suite title.

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INTERVIEW

Image: courtesy Warner Bros Pictures Three works Jaime admires from others The Barbie Movie JR My lord. THIS is what branded entertainment should be.

What a creative triumph. It manages to be silly and funny but it also moved me to tears. And the funny thing is, I’ve met so many people of all different genders and ages who cried when they saw it – and they all seem to cry at different parts. Now remember this has Ryan Gosling also galloping on an imaginary horse wearing a rock and roll Ken fanny pack, and you realize the sheer genius of Greta Gerwig and Margot Robbie.

L[A] JOAN works to bring a modern take on legendary brands as well as developing campaigns for modern legends.

How are the challenges different when working with an established brand as opposed to an up-and-coming one?

JR Legends who need to modernize and modern companies who want to become legends all share the same ultimate needs – they are usually already doing DIFFERENT things right. We have a tool called the Modern Legend Growth Wheel that we use to diagnose brands and chart a path forward. For modern brands, they usually need rigor. The legendary ones need some sparkle.

We use the Growth Wheel to set brands up for success in the long term and short term. If you’re a client and this sounds good to you, give us a call, eh?

L[A] What is something that you would still like to learn?

JR

I’d love to be able to tap dance like a motherfucker.

L[A] What is the most irrational superstition that you have?

JR I’m an Italian-American woman with an American-American woman’s level of anxiety, so it’s a smorgasbord of crazy up there.

Spilled salt, new shoes on the bed, open umbrellas in the house – all no good. Saying the name of the Scottish play before curtain time. No good. I also always have a Diet Coke, a hot beverage, Lürzer’s Archive

and a glass of water on the table at a pitch. You know, for good luck. It makes a ton of sense.

L[A] What are the ingredients for a successful and innovative campaign?

JR It all starts with an addiction to newness and to pushing boundaries. You have to ask, ‘Is this moving the football down the field?’ And I mean that in terms of both subject matter and in terms of delivery. Find the thing that needs to be said NOW and say it in a new way. There’s no use pretending you’re putting on a play – make an emotional connection with real people that exist and for the real world that exists. Personally, I also love finding ways to engage audiences to play a role. It’s my creative addiction.

L[A] On that note, what piece of ad work do you find yourself returning to for inspiration?

JR I don’t really. That’s not meant to sound cool. But if you want to make the future, you can’t look to the past.

L[A] Is there something that frustrates you about the advertising industry?

JR How much we love the smell of our own farts. Honestly, who gives a shit about half the stuff we celebrate?

14-15

Top left: The Grimace Shake TikTok Trend JR I am pretty sure this was made up by regular people and I love it even more for that. I always say that social media gives everybody a chance to be in on the inside joke. And in this one, they got to peacock and challenge each other with their creativity. I mean – they willingly f’d up their cars, got messy and stained carpets, all in the name of making something for others to enjoy. It also drove mega sales – McDonald’s got a 14% bump in sales YoY. Damn. So good.

Top right: The Rehearsal JR The conceit is hilarious. And Nathan Fielder knows how to be entertaining. But at some point, maybe around the second or third episode, this show went from being a TV show to being art.

L[A] What is your biggest indulgence?

JR

Martinis and shrimp cocktail. And picking my nose.

L[A] What is your favorite room in your house?

JR I love my back patio when it’s autumn and I have a giant mug of coffee and I am writing something I love.

L[A] How does your time split out between different kinds of work? For example, how much do you get to work in close creative detail on projects or within specific creative project teams?

JR 30% external relationship-y things, 30% internal relationship-y things, 40% creative work detail, 30% dreaming and planning for the future and 10% making and pouring coffee and also 7% doing basic math practice.

L[A] When you begin a new project, do you approach it differently to how you did in the past?

JR Sometimes my new projects are self-initiated and those just come from an idea that happens in the shower or like, on a walk, or something.

But if it’s a client assignment, I ALWAYS start the same way, which is knowing what I want the project to feel like, finding a

song that makes me feel that way, and listening to it on repeat.

Then I think: ‘What can I do that nobody would expect?’

L[A] Is there anything that is still on your creative to-do list?

JR

So much. And each year, that list gets longer.

L[A] Is there something that you have learned to love as you get older?

JR What a sweet question. Weirdly, I never wore shorts before this year. But I think a cute pair of black denim jorts is really useful in the summer.

L[A] What would the one universal trait be that all creatives should possess?

JR An unnatural and probably unwarranted level of confidence that tells you that you could probably accomplish ANYTHING – be a famous doctor, make a movie, be a celebrated author/artist – if you tried hard enough. ie delusions of grandeur L[A] How would you describe your next six years in six words?

JR

You ain’t seen nothin’ yet, baby.

Vol 3/2023

14–15

PRINT

Print [18–125] Client Unilever Agency LOLA MullenLowe, Madrid Creative Direction Tomas Ostiglia, Jorge Zacher,

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Kevin Cabuli Art Direction Ezequiel Scarpini Copywriter Josefina Mateo Photographer Sophie Ebrard Illustrator Mario Niveo

Vol 3/2023

16–17

AUTOMOTIVE

VOLVO Campaign

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See more of the campaign at luerzersarchive.com

Agency Arena Media, Lima Creative Direction Renzo Viacava Art Direction Daniel Alvan Copywriter Paulo Ballón Digital Artist Jeanpeare Villena

DAIMLER TRUCK Campaign

Agency Scholz & Friends, Berlin Creative Direction Jörg Waschescio Art Direction Matthias Spaetgens, Benedikt Gaideczka

Vol 3/2023

18–19

represented by fox creative 323-828-8272 info@foxcreative.net

www.jeffludes.com jeffludes

AUTOMOTIVE

ACTIVE MOTORS, FORLAND Campaign

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Agency Publicidad Comercial MullenLowe Nicaragua, Managua Creative Direction Fernando Franco, Alejandro Mendoza

Art Direction Mauricio Carvajal, Carlos Blandon Copywriter Alejandro Mendoza Digital Artist Carlos Blandon

HONDA PUERTO RICO Campaign

Agency WILD Fi, Montevideo Creative Direction Germán Ferrés, Yamil Sahid, Rodrigo Planel Art Direction Renzo Saxlund

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Vol 3/2023

Copywriter Verónica De La Cruz, Martín Tenaglia Digital Artist Germán Canencio

22–23

BANKING, INSURANCES

HSBC UK Campaign HSBC UK is working with homelessness and housing charity Shelter to help people build financial resilience and break the vicious circle of homelessness.

Lürzer’s Archive

Agency Wunderman Thompson UK, London Creative Direction Mike Watson

BEVERAGES, ALCOHOLIC

STELLA ARTOIS Campaign

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Agency GUT, Buenos Aires Creative Direction Thomas Chatenay, Alex Romero, Gaston Gual Art Direction Julian Amarillo Copywriter Haroldo Moreira

Vol 3/2023

24–25

BEVERAGES, ALCOHOLIC

CORONA Campaign

Lürzer’s Archive

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Agency David The Agency, São Paulo, David, Madrid Creative Direction Fabricio Pretto, Edgard Gianesi, Renata Leão

Art Direction Felipe Revite Copywriter Filipe Rosado Photographer Thierry des Fontaines

BEVERAGES, ALCOHOLIC

COORS LIGHT Campaign

Lürzer’s Archive

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Agency Alma DDB, Miami Creative Direction Virgilio Flores, Daniel Corrêa, Bruno Trad Copywriter Humberto Maldonado

Photographer Ale Burset Digital Artist Diego Speroni, Juary Leocadio

BALLANTINE’S Campaign

Agency OLIVER Agency, London Art Direction Daisy Newman Photographer Natasha Alipour-Faridani

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Vol 3/2023

30–31

BEVERAGES, NON-ALCOHOLIC

PEPSI Campaign

Lürzer’s Archive

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Agency Mullenlowe Delta, Guayaquil, Ecuador Creative Direction Jaime Duque, Andre Pedroso, Juan Camilo Velasquez Art Direction Jaime Duque, Nataly Cobo

Copywriter Alejandra Gonzalez Illustrator Juan Villamil

PEPSI Campaign

Agency Alma DDB, Miami Creative Direction Daniel Correa, Bruno Trad Photographer Marçal Vaquer Digital Artist Raya Sader

Vol 3/2023

32–33

BEVERAGES, NON-ALCOHOLIC

SCIENCE IN SPORT Campaign

Lürzer’s Archive

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Agency M&C Saatchi, London Creative Direction Matt Lee Art Direction John Farley Copywriter Alex Lucas

COCA-COLA Campaign

Agency VMLY&R, Kansas City Creative Direction Rafael Pitanguy, Gabriel Jardim, Guto Monteiro Art Direction Pedro Assis, Guilherme Possobon

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Vol 3/2023

Copywriter Daniel Thomer, Breno Oliveira Photographer Francisco de Deus Digital Artist Fuze Image

34–35

COSMETICS

Lürzer’s Archive

PARK STYLING Campaign

Agency &Co., Copenhagen Creative Direction Thomas Hoffmann Art Direction Thomas Hoffmann Copywriter Thomas Hoffmann

Photographer Sofie Barfoed Typographer Thomas Hoffmann Digital Artist Anders Martin Jensen

GALESYN Campaign

Agency Superfy, Melissia, Greece Creative Direction Fotios Georgiou Art Direction Fotios Georgiou Illustrator Fotios Politis

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Vol 3/2023

36–37

ENTERTAINMENT

SANCHO BBDO Campaign Campaign to raise awareness of LGBTIQ+ issues.

Lürzer’s Archive

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Agency Sancho BBDO, Bogotá Art Direction Juan David Pérez, Andrea Ojeda Copywriter Juan Diego Rivera Pineda, Mateo Pinzón Digital Artist Juan David Pérez, Andrea Ojeda

P. 303.249.4112 CHADCHISHOLMCREATIVE.COM

FASHION

DIOR Campaign

Lürzer’s Archive

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Agency Dior in-house , Paris Photographer Alex Upton

FOOD

HELLMANN’S Campaign Playing on the Australian phrase: “Throwing a shrimp on the barbie” (slang for barbecue), this Hellmann’s ad leans into the Barbie movie hype with a witty campaign from Ogilvy UK.

Agency Ogilvy UK, London Creative Direction Juliana Paracencio, Daniel Fisher Art Direction Nick Shay

Vol 3/2023

Copywriter Anja Muller Typographer Laurence Blake Digital Artist Bruno Rodrigo de Miranda

40–41

FOOD

BURGER KING Campaign

Lürzer’s Archive

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Agency BBDO, Guayaquil, Ecuador Creative Direction Carlos Vergara, Ernesto Ravelo Art Direction Carlos Villacis

Copywriter Renato del Salto, Paul Morales Photographer Fernando Franco

MCDONALD’S Campaign

Agency TBWA, Brussels, TBWA, Paris Creative Direction Jeremie Goldwasser Art Direction Jef Boes, Jeremie Goldwasser

Vol 3/2023

Photographer Jef Boes Digital Artist Jef Boes, Annelien Debusschere

42–43

FOOD

SARSON’S Campaign

Lürzer’s Archive

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Agency Wonderhood Studios, London Creative Direction Ben Edwards, Guy Hobbs Art Direction India Penny

Copywriter Tad Buxton Photographer Karen Thomas

LA CONSTANCIA Campaign

Agency The Juju Colombia, Bogotá Creative Direction Andres Norato, Laura Garzon, Daniela Osorio

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Vol 3/2023

Art Direction Juan Espitia, Sebastian Sandoval, Juan David Monroy Copywriter Laura Garzon Photographer Manuel Olarte

44–45

FOOD

EL SALAR Campaign

Lürzer’s Archive

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Agency Ogilvy Bolivia, La Paz Creative Direction Henry Medina Art Direction Gerson Chavez Copywriter Henry Medina Digital Artist Midjourney

FOOD

MCDONALD’S CANADA Campaign

Agency Cossette, Montreal Creative Direction Anne-Claude Chenier, Cedric Audet Art Direction Guillaume St-Hilaire, Sébastien Robillard

Vol 3/2023

Copywriter François-Julien Rainville Photographer Mathieu Lévesque

46–47

FOOD

MAYNARDS BASSETTS Campaign

Lürzer’s Archive

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Agency VCCP, London Creative Direction David Masterman Art Direction Elias Torres Copywriter Daniel Glover-James Photographer Franck Allais

SPACECRAFTED MULTICHOCOLATE Campaign

Agency &Co./ NoA, Copenhagen Creative Direction Thomas Hoffmann Art Direction Thomas Hoffmann Copywriter Thomas Hoffmann

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Vol 3/2023

Photographer Christoffer Birkkjær Illustrator Christoffer Birkkjær Typographer Thomas Hoffmann Digital Artist Christoffer Birkkjær

48–49

FOOD

Lürzer’s Archive

LE CHOCOLAT DES FRANÇAIS Campaign

Agency TBWA, Paris Creative Direction Benjamin Marchal, Faustin Claverie Art Direction Olivier Mularski

Vol 3/2023

Copywriter David Philip Illustrator Aurore Carric, Ionomycin Digital Artist Younes Chekouh

50–51

FOOD

MCDONALD’S Campaign

Agency Scholz & Friends, Hamburg Creative Direction Jens-Petter Waernes Art Direction Matthias Spaetgens, Matteo Pozzi, Wanslez Quaresma, Francesca Montrucchio, Sarah Ibrahim

08:30

23:30

07:00

22:00

Lürzer’s Archive

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Copywriter Paolo Bartalucci Photographer Torsten Roman

FOOD

BURGER KING Campaign

Agency Bartle Bogle Hegarty (BBH), London Creative Direction Helen Rhodes, Felipe Guimaraes Art Direction Jennifer Ashton

Vol 3/2023

Copywriter Oliver Short Photographer Lou Escobar

52–53

FOOD

BRF FOODS Campaign

Lürzer’s Archive

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Agency Africa, São Paulo Creative Direction Sergio Gordilho, Erico Braga, Rodrigo Marangoni Art Direction Eduardo Vares, Gabriel Felde, Victor Moraes

Copywriter Victor Capato Illustrator Firmorama Design Studio

KFC Campaign

Agency TBWA\RAAD, Dubai Creative Direction Walid Kanaan, Alexander Pineda Art Direction Paula Zambrano, Rodrigo Scapolan

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Vol 3/2023

Copywriter Diego Florez Illustrator Black Madre Atelier

54–55

FOOD

Lürzer’s Archive

ARCOR Campaign

Agency Athos Bolivia, Santa Cruz de la Sierra Creative Direction Fernando Fernandes, Pablo Jove Art Direction Fito Chipana Ramos, Ruben Ruiz, Daniela Serrate

Copywriter Victor William Mendez Ugarte, Mani Cáceres Méndez, Daniela Hernández Photographer Vale Montoya, Thalía González, Rebeca Gutiérrez

Illustrator Alvaro Cuentas Paredes, Adrian Méndez Akamine, Luis Acha Typographer Daniela Serrate Digital Artist Angel Rapu

RITZ Campaign

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Agency VCCP, London Creative Direction Jim Capp Photographer Lol Keegan

Vol 3/2023

56–57

FOOD

Lürzer’s Archive

HILTL VEGETARIAN RESTAURANT, ZURICH Campaign

Agency Ruf Lanz, Zurich Creative Direction Markus Ruf, Danielle Knecht-Lanz Art Direction Isabelle Hauser Copywriter Markus Ruf

MCDONALD’S Campaign

Agency Scholz & Friends, Hamburg Creative Direction Christian Kroll, Jens-Petter Waernes Art Direction Matteo Pozzi, Wanslez Quaresma

Vol 3/2023

Copywriter Paolo Bartalucci Illustrator D’Avila Studio Digital Artist D’Avila Studio

58–59

FOOD

KITKAT Campaign

Lürzer’s Archive

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Agency Publicis Middle East, Dubai Creative Direction Mohamed Bareche, Rafael Augusto

Art Direction Tina Balaa, Mohamed Youssef El Naggar, Paulo Ottaviani Copywriter Hani Mohsen, Nicolas Richard

SUSHI MARKET Campaign

Agency Creamos, Medellín, Colombia Creative Direction Jose Montoya E Art Direction Luis García Copywriter Jose Montoya E

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Vol 3/2023

60–61

FURNITURE

CENCOSUD COLOMBIA Campaign

Lürzer’s Archive

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Agency The Juju Colombia, Bogotá Creative Direction Andres Norato, Laura Garzon, Daniela Osorio

Art Direction Juan Espitia, Juan David Monroy Luis Aponte Copywriter Laura Garzon Photographer Own Bank

HOUSE + GARDEN

AKZONOBEL Campaign

Agency Mullen Lintas, Gurgaon, India Creative Direction Sarabjit Singh, Nisheeth Shrivastav, Ram Cobain Art Direction Aastha Gupta Digital Artist CDL Design

Vol 3/2023

62–63

HOUSE + GARDEN

UNILEVER Campaign

Lürzer’s Archive

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Agency LOLA MullenLowe, Madrid Creative Direction Tomas Ostiglia, Jorge Zacher, Kevin Cabuli Art Direction Ezequiel Scarpini

Copywriter Josefina Mateo Photographer Sophie Ebrard Illustrator Mario Niveo

FORTUM Campaign

Agency TBWA, Helsinki Creative Direction Joni Furstenborg Art Direction Fredrik Strümer Copywriter Jonathan Fanta Photographer Marko Rantanen

Vol 3/2023

64–65

HOUSE + GARDEN

POWNER Campaign

Lürzer’s Archive

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Agency OneWG Multicomunicação, Florianópolis, Brazil Creative Direction Marcus Vinicius

Art Direction Marcus Vinicius Copywriter Paulo Mendes Photographer Andrei Nekrassov

WEBER COLOMBIA Campaign

Agency VMLY&R Commerce, Bogotá Creative Direction Tito Chamorro, Edwin Pineda Tobon, Emerson Martínez Art Direction Andrés López Beltrán, Joan Gaspar

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Vol 3/2023

Copywriter Samuel Torres Digital Artist Sebastián Correa

66–67

MISCELLANEOUS

ENGLISH.KZ Campaign for English language courses in Kazakhstan.

Lürzer’s Archive

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Agency TBWA\Central Asia & Caucasus, Almaty Creative Direction Juan Pablo Valencia Montero Art Direction Juan Pablo Valencia Montero, Alexander Klepov

Copywriter Juan Pablo Valencia Montero, Dana Raushanova Digital Artist Nargis Buken

MUSEUM HAUS KONSTRUKTIV Campaign

Agency Ruf Lanz, Zurich Creative Direction Markus Ruf Art Direction Catherine Martin Copywriter Markus Ruf Illustrator Catherine Martin

Vol 3/2023

68–69

OFFICE EQUIPMENT

BARCO Campaign

Lürzer’s Archive

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Agency TBWA, Brussels Creative Direction Jan Macken Art Direction Philip De Cock Photographer Jef Boes Digital Artist Patrick Bras

PETFOOD

MASCOTAS BICHOS Campaign

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Agency Pangea DM, Bogotá Creative Direction Miguel Angel Grillo Art Direction Silvia Julieta Rodriguez Digital Artist Gregori Ramirez

Vol 3/2023

70–71

PETFOOD

ARCHER DANIELS MIDLAND Campaign

Lürzer’s Archive

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Agency Cappuccino, São Paulo Creative Direction Cacá Passos, Vitor Elman Art Direction Cacá Passos, Guilherme Albino

Copywriter Rodrigo Mahs Photographer Cacá Passos Digital Artist Cacá Passos

PHARMACEUTICALS + OTC

BRISTOL MYERS SQUIBB (BMS) Campaign

Agency Arteaga, San Juan Creative Direction Aníbal E. Quiñones Art Direction Juan Carlos Lopez, Ana Torres

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Vol 3/2023

Copywriter Nadeshka Monroig Photographer Eduardo Wallace, Diego Chiliano

72–73

PHARMACEUTICALS + OTC

Lürzer’s Archive

ZENSEX CONDOMS Campaign

Agency Agencia Vena, Lima Creative Direction Luis Leon, Dennis Kuoman Art Direction Luis Leon, Cristhian Pastor Copywriter Dennis Kuoman

ELI LILLY Awareness campaign for memory and thinking issues.

Agency Area 23, New York Creative Direction Joe Capanear, Tim Hawkey, Chris Bernesby Art Direction Erica Byrnes, Evan Schmidt, Dani Schiliro

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Vol 3/2023

Copywriter Danielle Burke, Alan Markenson, Bianca Troncone Typographer Eduardo Tavares Digital Artist Carioca

74–75

PHARMACEUTICALS + OTC

NESTOR PSYCHOGERIATRIC ASSOCIATION Campaign

Lürzer’s Archive

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Agency Superfy, Melissia, Greece Creative Direction Fotios Georgiou Art Direction Giannis Simos Copywriter Fotios Georgiou Digital Artist Tereza Ferentinou

PHOTO

CANON Campaign

Agency Hakuhodo International, New Delhi, India Creative Direction Ritesh Narang Art Direction Ritesh Narang Copywriter Ritesh Narang

Vol 3/2023

76–77

PHOTO

Lürzer’s Archive

NIKON Campaign

Agency Circus Grey, Lima Creative Direction Piero Oliveri, Gonzalo Aste, Carlos Tolmos Art Direction Francisco Ayras, Miguel Ucañan, Daniel Muñoz

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Vol 3/2023

Copywriter Percy Rocha, Tomas Cruz, Victor Diaz Photographer Ken Lund

78–79

PUBLIC EVENTS

Lürzer’s Archive

ADC (ART DIRECTORS CLUB), BERLIN Campaign

Agency Scholz & Friends, Berlin Creative Direction Arno Lindemann, Philipp Weber Art Direction Matthias Spaetgens, Christian Wellhäußer

Vol 3/2023

Copywriter Felix John Digital Artist Frank Winter

80–81

PUBLIC EVENTS

BERLINER PHILHARMONIKER Campaign

Lürzer’s Archive

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Agency Scholz & Friends, Berlin Creative Direction Robert Krause, Philipp Weber, Jens-Petter Waernes Art Direction Matthias Spaetgens, Matteo Pozzi, Wanslez Quaresma

Copywriter Felix John, Paolo Bartalucci Photographer Heribert Schindler

ROXY CINEMAS Campaign

Agency MullenLowe Mena, Dubai Creative Direction Paul Banham, Prerna Mehra Art Direction Alejandro Bottas Copywriter Belen Arregui

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Vol 3/2023

82–83

PUBLIC EVENTS

Lürzer’s Archive

CINÉMA DU PARC Campaign

Agency Les Evades, Montreal Art Direction Martin Dupuis Illustrator Owen Gent

CINÉMA DU PARC Campaign

Agency Les Evades, Montreal Art Direction Martin Dupuis Illustrator Mathieu Potvin

Vol 3/2023

84–85

PUBLIC EVENTS

GIFT OF WINGS Campaign

Lürzer’s Archive

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Agency Hoffman York, Milwaukee Creative Direction Mike Roe Art Direction Casey Hoaglund

Copywriter Jordon Frauen Illustrator Casey Hoaglund Typographer Casey Hoaglund

PUBLISHERS, MEDIA

FRANKFURTER ALLGEMEINE ZEITUNG Campaign

Agency Scholz & Friends, Berlin Creative Direction Wulf Rechtacek Art Direction Matthias Spaetgens, Wulf Rechtacek Copywriter Alexander Tietz Photographer

The FAZ congratulates Russian human rights organisation Memorial on being awarded the Nobel Peace Prize 2022.

Strapline: There is always a clever mind behind it.

Irina Scherbakowa, Founder of Memorial.

Vol 3/2023

86–87

PUBLISHERS, MEDIA

XTRIM Campaign Xtrim offers an app with more than 70 live HD channels and Video On Demand content.

Let the tree say in its branches Let the sea write it in the sand To love we are seagulls To love we are mermaids

Our love is not a fairy tale It's a song about the seas Birds that are marked For love, they fly in pairs

I am the flower of amorfinos Being a flower, your flower I want to water me in your body Like the January breeze

I want your breeze my love And this is what my soul craves between earth and sky no one loves this way

Lürzer’s Archive

Agency Paradais DDB, Guayaquil, Ecuador Creative Direction José Reinoso, José Serrano Art Direction Byron Poveda, Daniel Gabela, Sebastian Pulla

Copywriter Andres Celis, Yamir Zuñiga, Eduardo Hernandez Illustrator Alefes Silva, Karla Alcazar

We are two mighty rivers that travel to the same sea Two gods or two colossi but with the same gaze

Two reasons, two poems Two oaks of equal sap Our fire only burns who does not know how to look

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Vol 3/2023

88–89

PUBLISHERS, MEDIA

CHECKERED PAST RECORDS Campaign

Lürzer’s Archive

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Agency MMB, Boston Creative Direction David Register Art Direction Candy Anderson Copywriter David Register Photographer David Register

PRO LEAGUE Campaign

Agency LDV United, Antwerp, Belgium Creative Direction Dries De Bruyn Art Direction Yannick Schoch

See more of the campaign at luerzersarchive.com

Vol 3/2023

Copywriter Wesley Kuystermans Photographer Jef Boes Digital Artist Jef Boes

90–91

PUBLISHERS, MEDIA

NETFLIX Campaign

Lürzer’s Archive

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Agency media.monks, Bogotá Creative Direction Cesar Castaño, Alejandro Cussó, David Correa

Art Direction Alejandro Cussó, David Correa, Daniel Ramos Copywriter Cesar Castaño, Sergio Gil

RETAILERS

IKEA Campaign

Agency The Newtons Laboratory, Athens Creative Direction Dimitris Vikelis Art Direction Alex Brouhard

Vol 3/2023

Copywriter Eva Marou, Vangelis Garofallou Digital Artist Dimitris Vikelis

92–93

RETAILERS

NOTONTHEHIGHSTREET.COM Campaign

Lürzer’s Archive

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Agency Uncommon Experience Studio, London

RIOCENTRO SHOPPING Campaign

Agency Poligono Studios, Quito Creative Direction Paúl Egas Scarino Photographer Paúl Egas Scarino

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Vol 3/2023

94–95

RETAILERS

ILLA CARLEMANY Campaign

Lürzer’s Archive

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Agency Knock, Barcelona Creative Direction Marc Vila, Juanra Alfaro Art Direction Carlota Bartolí Copywriter Àlex Barredo Digital Artist Martí Bru

XXXLUTZ Campaign

Agency Demner, Merlicek & Bergmann / DMB., Vienna Creative Direction Daniela Sobitschka Art Direction Marc Hörzer Illustrator Midjourney Digital Artist Kilian Nagy

Left: Suction robot.

Right: Lint roller.

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Vol 3/2023

96–97

RETAILERS

Lürzer’s Archive

THE BRICK Campaign

Agency FKA, Edmonton, Canada Creative Direction Craig Markou Art Direction Gord Montgomery, Kulvinder Roshan Copywriter Pavan Meshram Digital Artist Jed Pelech

XXXLUTZ Campaign You do not need to wait 74 years for appropriate seating.

Agency Demner, Merlicek & Bergmann / DMB., Vienna Creative Direction Francesco Bestagno, Mario Goldsteiner Art Direction Viktoria Mannsberger Copywriter Mariusz Jan Demner

Vol 3/2023

98–99

SERVICES

MÜNCHNER VERKEHRSGESELLSCHAFT (MVG) Campaign Top: Every child knows that you’re faster with electricity and on rails.

Bottom: You can take to the streets for the environment. And under the street.

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Ruf Lanz, Zurich Creative Direction Markus Ruf Art Direction Mario Moosbrugger Copywriter Markus Ruf Digital Artist Tobias Stierli, Lorenz Wahl

AUTOHELLAS HERTZ Campaign

Agency Ogilvy Greece, Athens Creative Direction Panos Sambrakos, Gianna Katopodi, Aggeliki Kornelatou Art Direction Sotiris Kizilos Copywriter Niove Sfyri

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Vol 3/2023

100–101

SERVICES

TRANSPORT FOR LONDON Campaign

Lürzer’s Archive

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Agency VCCP, London Creative Direction Simon Learman Art Direction Ali Augur Illustrator Andrew Hudson

ROYAL MAIL Campaign

Agency Abbott Mead Vickers (AMV) BBDO, London Creative Direction Tim Riley Art Direction Alan Wilson Copywriter Diccon Driver Photographer Nick Dolding

In this campaign, Royal Mail uses dancers to show its dramatically ‘lighter’ carbon footprint compared to its UK competitors.

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Vol 3/2023

102–103

SERVICES

DEUTSCHE BAHN Campaign Top: Your way to work.

With eco-electricity from German railways.

Bottom: Electricity for your evening spent in front of the TV. Pay-off: Climate protection can be so simple.

Lürzer’s Archive

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Agency Ogilvy, Frankfurt Creative Direction Peter Strauss Art Direction Sergej Chursyn Photographer Michel Jaussi Digital Artist Patrick Salonen

CLARO Campaign Claro is a leading telecommunications provider in Latin America.

See more of the campaign at luerzersarchive.com

Agency God, Guayaquil, Ecuador Creative Direction Cesar Sepulveda, Jose Leon Fon Fay Art Direction Cesar Sepulveda, Ronald Moreano

Vol 3/2023

Copywriter Ricardo Portes, Roberto Zevallos Photographer Roberto Valdez “Robinski”

104–105

SERVICES

PROTERGIA Campaign

Lürzer’s Archive

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Agency The Newtons Laboratory, Athens Creative Direction Giannis Sorotos Art Direction Panos Nouveloglou, Danae Sierra, Ioanna Terekidou

Copywriter Mary Vamvaka Photographer Vassilios Michail

SOCIAL + ENVIRONMENT

SEA SHEPHERD ÖSTERREICH Campaign

Agency BROKKOLI Advertising Network, Vienna Creative Direction Patrik Partl, Phil Hewson Art Direction Maik Wollrab Copywriter Moritz Pleininger

Let’s make sure that these sea creatures become extinct.

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Vol 3/2023

106–107

SOCIAL + ENVIRONMENT

Lürzer’s Archive

FOUNDATION “TIER IM RECHT” (RIGHTS FOR ANIMALS) Campaign

Agency Ruf Lanz, Zurich Creative Direction Markus Ruf Art Direction Isabelle Hauser, Dave Schellenberg Copywriter Markus Ruf Digital Artist Michèle Aschmann

GREENPEACE CHILE Campaign

Agency BBDO, Santiago de Chile Creative Direction Francisco Cavada, Alvaro Becker, Matias Escalona Art Direction Sergio Araya, Carlos Berrios, Eduardo Revetria

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Vol 3/2023

Copywriter Jorge Abuhadba, Matias Painemal Digital Artist Gonzalo Arévalo

108–109

SOCIAL + ENVIRONMENT

GOBIERNO DE CHILE Campaign

Lürzer’s Archive

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Agency BBDO, Santiago de Chile Creative Direction Francisco Cavada, Alvaro Becker, Patricio Reyes

Art Direction Joaquin Toro, Eduardo Herrera, Mario Gutierrez Copywriter Tomas Cisternas, Javier Bustos, Alejandro Marabolí

WWF Campaign

Agency 109 Agency, Casablanca Creative Direction Mehdi Daoudi

Vol 3/2023

Art Direction Youssef Chaou Copywriter Youness Jafri Digital Artist Youssef Chaou

110–111

SOCIAL + ENVIRONMENT

WWF HUNGARY Campaign

Lürzer’s Archive

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Agency Artificial Group, Budapest Creative Direction Vera Langer Art Direction Laura Lőrinczy, Sándor Szalay Copywriter Liliána Nemes

NISSAN Campaign

Agency TBWA\RAAD, Dubai Creative Direction Sumanth Wilkins Art Direction Rodrigo Scapolan Copywriter Sanele Ngubane

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Vol 3/2023

Illustrator Ricardo Moreira Digital Artist Ricardo Moreira

112–113

SOCIAL + ENVIRONMENT

PET STATION Campaign

Lürzer’s Archive

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Agency God, Guayaquil, Ecuador Creative Direction Cesar Sepulveda, Jose Leon Fon Fay Art Direction Cesar Sepulveda, Ronald Moreano

Copywriter Ricardo Portes, Roberto Zevallos Digital Artist Raro Creative Lab

RESPET Campaign

Agency Sodatres / Fresh Creative Office, Managua Creative Direction Jaime Cueto Art Direction Jaime Cueto Copywriter Jaime Cueto

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Vol 3/2023

Photographer Teresa Garcia Illustrator Teresa Garcia Typographer JuanJo Montes de Oca Digital Artist Teresa Garcia

114–115

SOCIAL + ENVIRONMENT

RESCUE OUTREACH Campaign

Lürzer’s Archive

See more of the campaign at luerzersarchive.com

Agency Hoffman York, Milwaukee Creative Direction Mike Roe Art Direction Emily Adkins Copywriter Mike Roe

Photographer Emily Adkins Illustrator Emily Adkins Typographer Emily Adkins

CHANGE THE REF Campaign

Agency Energy BBDO, Chicago Creative Direction David Lubars, Josh Gross, Luiz Sanchez

See more of the campaign at luerzersarchive.com

Vol 3/2023

Art Direction Charles Foley, Lance Vining Copywriter Gary du Toit Photographer David Prior

116–117

SOCIAL + ENVIRONMENT

AMNESTY INTERNATIONAL Campaign

Lürzer’s Archive

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Agency Bar Ogilvy, Lisbon Creative Direction José Carlos Bomtempo, Joao Amaral, Nuno Rica Art Direction António Duarte Copywriter João Freitas

BLUE / YELLOW Campaign

Agency TRUTH., Vilnius Art Direction Ugnius Miksta Copywriter Marius Mozuraitis Digital Artist A EYE - Image Synthesis Lab

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Vol 3/2023

118–119

SOCIAL + ENVIRONMENT

MAYOR OF LONDON Campaign

Lürzer’s Archive

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Agency Ogilvy UK, London Creative Direction Andy Forrest, Nicola Wood Art Direction Ian Brassett, Dave Anderson Copywriter Ian Brassett, Dave Anderson

Illustrator Dom Flaherty Typographer Dom Flaherty Digital Artist Dom Flaherty

SESC FLORIANÓPOLIS Campaign

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Agency Ezcuzê Propaganda, Florianópolis, Brazil Creative Direction Eric Fonseca Art Direction Pimentel Ramiro Copywriter Anderson Nascimento Illustrator Pimentel Ramiro

Vol 3/2023

120–121

SOCIAL + ENVIRONMENT

Lürzer’s Archive

BREAST CANCER NOW Campaign

Agency BMB, London Creative Direction Matt Lever Art Direction Bianca Eglington Photographer James Day

KENNETH COLE Campaign

Agency Kenneth Cole Productions, New York Creative Direction Steve Wyatt Art Direction Alina Galaktionova

See more of the campaign at luerzersarchive.com

Vol 3/2023

Copywriter Steve Wyatt Photographer Steve Wyatt Typographer Alina Galaktionova

122–123

SOCIAL + ENVIRONMENT

Lürzer’s Archive

IPSWICH RIVER WATERSHED ASSOCIATION Campaign

Agency MMB, Boston Creative Direction David Register, Neal Hughlett Art Direction Alan Duda, Alexa Caruso

Copywriter David Register, Neal Hughlett, Hannah Glickenhaus Illustrator Midjourney

TRAVEL + LEISURE

THE RESORT AT PAWS UP Campaign

See more of the campaign at luerzersarchive.com

Agency MMB, Boston Creative Direction David Register, Mike Shaughnessy Art Direction Mike Shaughnessy Copywriter David Register Photographer Dan Goldberg

Vol 3/2023

124–125

We believe the best work needs the best judging. cresta-awards.com

Celebrating creativity 1993 – 2023

Film [128–135] Client Tuborg Agency Wibroe, Duckert & Partners, Copenhagen

Creative Direction Rasmus Petersen, Lasse Hinke Director Torben Kjelstrup Production Thirsty Films

Vol 3/2023

126–127

FILM

CASTROL HYSPEC Has Arrived

VOLVO The Unboxing

Painted with a multicolor vibrancy, Castrol presents HYSPEC, which will act as a new standard for hybrid engine oils. Driving through a murky night scene, the electric vehicle illuminates the dark road it passes through. The CGI used in the film employs vivid imagery to showcase the precise engineering behind the product.

While a fully electric SUV might seem like a huge step in the development of electric vehicles, Volvo wishes to highlight the small aspects of the car … specifically the small carbon footprint it would produce. In a pastiche of unboxing videos, Volvo Cars CEO Jim Rowan features in the film holding a pint-sized Volvo, adding a fantastical element to the campaign.

Agency Brooklyn Brothers, London Creative Direction Orlando Warner, Sarah Levitt

Art Direction Laura Ibañez Production Partizan

Agency AKQA, New York Creative Direction Laura Visco, Peter Lund, Miles Unwin

Art Direction Andrew Lopez, Anders Wiberg, Shiko Murai Copywriter Simon Magnusson

Director Oliver Creamer Production Mill+

HYUNDAI Live Unlimited

FIAT Operation No Grey

Innocean Berlin puts the fantastical potential of a child’s imagination alongside the limitless qualities that the Hyundai KONA Electric has to offer.

The commercial follows a young boy as he plays with a toy car KONA. In the boy’s mind, the life-size counterpart is being chased by medieval horsemen and a mythical dragon.

In this spectacular stunt in the colorful village of Lerici, a gray Fiat 600 with Fiat boss Olivier Francois at the wheel was slowly lowered into a huge canister of orange paint. The simple message: gray is a boring color, and Fiat is not boring.

Agency Innocean Worldwide, Berlin Creative Direction Ricardo Wolff, José Suaid, Sebastian Pattis

Lürzer’s Archive

Art Direction Stefano De Luccia, Ahmet Kilic, Ana De Alencar Conrado Copywriter Nicolas Holz, Joao Pedro Pinto Vaz

Director Nicolai Fuglsig Production Sterntag Films

Agency Leo Burnett, Turin Creative Direction Francesco Martini Art Direction Giovanni Greco

Copywriter Enrico Pasquino Director William9 Production Twister Film

VOLKSWAGEN Too Slow

AXA Being a Woman Shouldn’t Be A Risk

Slow is smooth and smooth is fast in this charming spot for Volkswagen by The Community Agency. As two young brothers compete, one always seems to have the edge over the other. Whether running to be first to the bathroom or blowing out birthday candles, the rapid brother always succeeds. That is until their father shows the dangers of being too fast.

Insurance brand Axa makes a promise with its latest campaign to defend and support women around the world who still face personal risks.

From different sectors including business and education, the film shares an important yet optimistic message of inclusion and safety for women.

Agency the community, Miami Creative Direction Ricky Vior, Marcelo Padoca, Lucas Bongionanni

Art Direction Gabriel da Silva, Cora Fernandez Copywriter Federico Díaz, Hora Sormani, Aldo Gonzalez

Director Realité Production CANADA

Agency Publicis Conseil, Paris Creative Direction Steve O’Leary Art Direction Laura Aondio, Lucie Puybonnieux, Alexandre Perdereau

Copywriter Francesca Vitello Director Madeline Clayton Production Prodigious, Grand Bazar

LEMONADE INSURANCE Hold/Stuck/Jargon

STANDARD CHARTERED BANK Liverpool FC Play On

ORANGE TRUST Journey

While we all may have felt trapped in a metaphorical hell when processing insurance claims, New York based agency Gus takes this feeling to surrealistic levels in this witty campaign for Lemonade Insurance. Fortunately, with Lemonade’s efficient AI-powered service, insurance-based nightmares can be avoided.

In the build up to the Fifa Women’s World Cup, electriclime° and London agency Octagon have joined with Liverpool FC and Standard Chartered Bank to encourage young girls to stay in sport.

The campaign highlights the real-world benefits that can flourish from taking part in sport, such as team building and resilience.

Turning the dreary corporate exercise of a trust fall into an interpretive dance of freedom, this ebullient spot for Orange shows a young woman being flung from her office environment. As she and her colleagues dance through their surroundings they eventually become airborne, mimicking the added trust that Orange’s Web3.0 offers.

Agency Gus, New York Creative Direction Graham Douglas, Spencer Lavallee Art Direction Shelby Bass

Agency Octagon, London Creative Direction Dan Harrison, Jonny Watson Art Direction Dan Harrison, Jonny Watson

Agency Publicis Conseil, Paris Creative Direction Fabrice Delacourt, Romulus Petcan, Gabriel Gerhca

Copywriter Nick Garfield Director Beatrice Pegard Production Hobby Film

Copywriter Dan Harrison, Jonny Watson, Leonard Savage Director Armand Saint Salvy Production electriclimefilms Vol 3/2022

Art Direction Nicolas Hurez Copywriter Kevin Salembier Director Seb Edwards Production Wanda, The Mill 128–129

FILM

HENNESSY Life Is the Greatest Odyssey

BUDWEISER Greatness Is Hers To Take

HEINEKEN Heerlijk, Helder, Hoe je ons ook noemt

After a string of A-list directors, Hennessy has now enlisted Oscar-winning filmmaker Damien Chazelle to take the helm of this contemplative short film from DDB Paris. After a musician takes a sip of Hennessy, he is transported into an elegiac state where memories of the past and visions of the future overlap.

Featuring one of the most famous male footballers, Lionel Messi, this spot for Budweiser in the lead up to the Fifa Women’s World Cup shows Messi standing in solidarity with his female contemporaries. The spot ends reminding us that “greatness is hers to take”.

The Dutch love beer, as evidenced by one of their largest exports, Heineken. Their affinity for the lager is shown when a group of tourists visit Amsterdam and are left confused by the number of Dutch words there are for “cheers”.

Agency DDB, Paris Creative Direction Alexander Kalchev, Pierre Mathonat, Alexis Benbehe

Art Direction Perrine Tixier, Charline Boisdon, Mathieu Masse Director Damien Chazelle Production Loveboat

Agency Wieden + Kennedy, New York Creative Direction Rafael Melo Carram, Rose Sacktor Art Direction Laura Bailey

Copywriter Jen Hubbard Director Loren Denis Production Superprime Films

Agency Le Pub, Amsterdam, Boomerang, Amsterdam

TUBORG Tilt Your World

MAISON GUERLAIN Born in 1853. Made for the Future.

A change of perception can go a long way, as evidenced in this physics-defying film for Danish beer brand Tuborg. As a group of young people turn a bottle of Tuborg on its side, their whole environment shifts as well. As their world tilts, they adapt to their inclined surroundings with verve.

Utilizing AI to reimagine both the past and potential future of French perfume brand Guerlain, agency mnstr weave different visual styles to show the true style and elegance of Guerlain. We see the iconic bottle placed in the center of various art movements, from 1853 through to its place in an imagined future utopia.

Agency Wibroe, Duckert & Partners, Copenhagen Creative Direction Rasmus Petersen, Lasse Hinke

Lürzer’s Archive

Director Torben Kjelstrup Production Thirsty Films

Agency mnstr, Paris Creative Direction Louis Bonichon

Art Direction Mathieu Chéroux Production mnstr, Bonjour Lab Interactive

Production Czar

CADBURY Speakerphone

RITZ Crackers Ready When You Aren’t

B&Q Flip

A sincere story is at the heart of Speakerphone, part of a campaign for Cadbury exploring human relationships. After his first day at a new job, a father takes a call in his car from his son and describes the self-consciousness he feels in his new role. The son puts his mind at ease before revealing a treat waiting in the glovebox, a bar of Cadbury chocolate.

Capturing the early arrival of friends to an engagement, London-based agency VCCP depicts a family hastily tidying up their mess.

Children’s toys are flung underneath a sofa cushion, while the father clears the cluttered table by hurling himself across it. This ad for Ritz Crackers shows that the snack is always ready, even when you aren’t.

Spectacular spot about a woman whose life suddenly turns upside down when she realizes she is pregnant. This is represented by a couple’s house that is turned 180 degrees vertically to make it suitable for children. Incredibly, the scenes were not shot digitally, the house parts were mounted on a rotating device on set, which allowed for a one-shot take.

Agency VCCP, London Creative Direction Christopher Birch, Jonathan Parker

Agency VCCP, London Creative Direction Jim Capp

Agency Uncommon Creative Studio, London Director Oscar Hudson Production Pulse Films

Director Steve Rogers Production Somesuch

Director The Bobbsey Twins From Homicide Production Arts & Sciences

GOOGLE / TAITO Space Invaders: World Defence

ENDURA Always and Forever

DENIM SOLAR Proud to Be Boring

With gaming increasingly headed towards augmented reality heights, TAITO has partnered with Google to celebrate iconic video game Space Invaders for its 45th anniversary.

Integrating the classic game with modern technology, this sequel uses geometric data sourced from Google Maps to create an AR gaming sensation.

The longevity of Hummvee cycling shorts is portrayed in darkly humorous fashion as a father says goodbye to his young son before a bicycle ride. We cut to several years later when the grown son greets his father who is now a bicycle riding skeleton … but his shorts remain in perfect condition.

Languid superiority is the aim of the game in Denim Solar’s Proud to Be Boring campaign.

Demonstrated with a light touch in a duo of spots

by This Agency, we are shown that one does not need to know the technological lingo to enjoy the benefits of solar power.

Creative Direction Jakub Jakubowski Production Unit9

Agency Pentland Brands, London Creative Direction Matt Jones, Abi Stephenson Art Direction Abi Stephenson

Copywriter Matt Jones Director Jay Marlow Production Outsider

Vol 3/2022

Agency This Agency, Amsterdam Creative Direction Mark Goede, Ingmar Larsen

Director André Maat Production Holy Fools

130–131

FILM

EBAY Everyone Has A Thing

CHANNEL 4 Bake Off Everyone’s excited, even them

TAB Sport is our Sport

Employing a hip reinvention of the classic The Sound of Music song My Favorite Things, Australian agency Special portrays the idiosyncratic gifts that eBay can provide its customers.

Bringing ingredients to life is no longer clichéd chef jargon in this chirpy promo for the fourteenth season of the Great British Bake Off. Animated merry foods, from eggs to raspberries make a journey to the Bake Off tent for a timely demise … all in the name of Victoria sponge.

Australians are known for their love of sport, as well as their fondness for irreverent humor.

This film manages to capture both, as we see Australian citizens go to extreme lengths to find the precise answer to what the nation’s sport is.

Agency Special, Sydney Creative Direction Lea Egan, Sian Binder Art Direction Sian Binder

Copywriter Lea Egan Director King She Production Revolver, Somesuch

Agency 4Creative, London Creative Direction Tim McCourt, Sali Horsey, Zoe Nash

Director Juan Pe Arroyo Production The Line Animation

Agency The Monkeys, Sydney Creative Direction Stuart Alexander, Daniel Fryer Art Direction Brett Edwards

Copywriter Lizzy Wood Director Nick Ball Production FINCH

TOPGOLF Come Play Around

BRISTOL BAY Native Corporation Bristol Bay

HORNBACH The Square Meter

A surprising array of emotions can be expressed through hand movements, as evidenced by this quirky spot by Anomaly for driving range chain Topgolf. An assortment of golf players with giant hands for heads signal to each other using only hand signs, capturing both the camaraderie and irreverence of the Topgolf brand.

Seattle-based agency The Hilt has teamed up with for-profit corporation Bristol Bay Native to not only promote its shareholders but also the unity that is found in the Alaskan community.

With property becoming a precious commodity in ever-growing cities, Hornbach has proven that a lot can be done with a square meter. As the film follows a man in a compact apartment partaking in several activities like pottery and even ping pong, we see several other people in the building living similarly. What may first seem restricting is shown to be a liberating use of space.

Agency Anomaly, New York Creative Direction Craig Schlesinger, Stephen Mendonca

Lürzer’s Archive

Director The Sacred Egg Production Riff Raff

Agency The Hilt, Seattle Creative Direction Sunshine Stevens

Director Nick Hall

Agency Heimat, Berlin Creative Direction Guido Heffels, Christofer Kümmerer, Luis Jähner Art Direction Steven Jones-Evans

Copywriter Guido Heffels, Steve Rogers, Luis Jähner Director Steve Rogers Production TPF, Tony Petersen Film

IKEA Find Your Slice of Life

E.ON UK It’s Time

Ogilvy New York brings a chilled-out aesthetic to the Ikea brand via bright anime and lo-fit beats, as the animated campaign follows a series of young adults navigating their households.

Opening with bitter irony by having characters around the world sing Time Is On Our Side while the environment is in turmoil, this campaign from House 337 proves that time is against us in the climate crisis. The film highlights both the blissful ignorance that some have towards climate change, as well as the urgency with which we must face the situation.

Agency Ogilvy & Mather, New York Creative Direction Fanny Josefsson, Sho Matsuzaki

Copywriter Caleb York Production Clubcamping

Agency House 337, London Creative Direction Ross Newton Art Direction Kenny Meek

Copywriter Mary Johansen Director Hans Emmanuel Production Familia

KRUGER PRODUCTS Love Is Messy

AA It’s OK, I’m with The AA

AGENCY FOR INTEGRATED CARE We see you care

From the sly glances found down high school corridors to the full-bodied passion of a new romance, Canadian agency Broken Heart Love Affair explores the delightful messiness of love. Kruger Products, Canada’s leading paper manufacturer, is also shown to always be there to clean up after the mess that passion can create.

In the face of several gargantuan problems, ranging from swallowing your car keys to an actual asteroid hurtling into your car, members of the AA are left unfazed. The spot ends by reminding us that the British motoring association offers customers peace of mind for all carbased disasters.

With impressive direction by Matthys Boshoff, this campaign features single take films from the perspective of several caretakers. The single take brings out both the immediacy and intimacy of the life of a caretaker, as well as the incapacitated people they look after.

Agency Broken Heart Love Affairs, Toronto Creative Direction Denise Rossetto, Todd Mackie, Carlos Moreno

Agency The Gate, London Creative Direction Lucas Peon, Rob Bovington, Stephen Webley

Art Direction Todd Mackie Copywriter Denise Rossetto Director Mark Zibert Production Scouts Honour

Director Si & Ad Production Academy Films

Vol 3/2022

Agency The Secret Little Agency, Singapore

Director Matthys Boshof Production The Sweet Shop

132–133

FILM

PRISM+ As Close As It Gets

HUMANITY & INCLUSION After The News

The superior quality of the TV and sound systems provided by Prism+ is emphasized in this delightfully surreal campaign by MullenLowe Singapore.

From an old lady being taken to the front stage of a rock concert, to a young couple literally becoming an interrogation table in a police procedural, Prism+ technology might take you closer to the action than you were expecting.

After devastating news like a natural disaster is broadcast, it is easy to turn the channel to something more pleasant. The inconvenient truth that global affairs do not stop after the newscast ends is portrayed by Parisian agency Strike for NGO Humanity & Inclusion. The idyllic image of several broadcasters stopping their announcement when the camera stops rolling sharply contrasts with the reality of the situation.

Agency MullenLowe, Singapore Creative Direction Daniel Kee, Ang Shengjin

Art Direction Seow Khian Loh, Claudius Keng Copywriter Peh Xin Ying, Ernest Chin, Ernest Kok

Director Wuthisak Anarnkaporn Production Factory01 Co.

Agency Strike, Paris Creative Direction Jérôme Gonfond Art Direction Remi Lascault

Copywriter Jeanne Perrone Director Olivier Staub Production Dust

CHILD POVERTY ACTION GROUP Imagine

GREENPEACE FRANCE France A Dirty Game

FEDERAL MINISTRY FOR CLIMATE ACTION Austria Has Gone Looney

The Child Poverty Action Group raises awareness of children who have to go to school without a snack. The film shows a child entering a school canteen while other students open their lunch boxes filled with mountains of fruit, popcorn, donuts and burgers. The protagonist sits down to eat, but his lunch box is empty. Some kids have only their imagination to feed them.

In a powerful rallying cry against fossil fuel giants, Greenpeace has teamed up with Studio Birthplace to show the impact of oil use during the 2023 Rugby World Cup. Harrowing animation shows floods of oil submerge figurine-like spectators at a rugby stadium to demonstrate how much fossil fuel TotalEnergies extracts in just a few hours.

Taking a madcap route to promote an integral climate issue, the Austria Climate Ministry pronounces that the country has “gone loony” if households continue to waste energy. Using Roger Rabbit-style animation, the ad ends with a tongue-in-cheek wink at the audience while delivering its strong message.

Agency Creature, London Creative Direction Ben Middleton, Stu Outhwaite-Noel, Meg Egan

Agency Park Village, London, Studio Birthplace, Arnhem, Netherlands Creative Direction Sil van der Woerd, Jorik Dozy

Lürzer’s Archive

Director Adam Berg Production Smuggler

Director Studio Birthplace Production Studio Birthplace, Park Village

Agency Jung von Matt/ Donau, Vienna Creative Direction Andreas Kadenbach, Philippa Grob Art Direction Kristina Pokorny, Niklas Loitsch

Copywriter Theresa Scherrer, Johanna Philipp Director Ross Cooper Production PPMNext Film

ON Tri Kings

GREENPEACE Don’t Stop

OCADO Inspired Choice

With slick manga-inspired animation, Norwegian athletes Gustav Iden and Kristian Blummenfelt are turned into literal Vikings. The triathletes are shown evading fantastical monsters and beings both by swimming and cycling, tying in with the sports brand On.

This spine-tingling short film takes a stark look at the state of the world and all of our roles in it. Greedy corporations are partying like there’s no tomorrow, but this is the darkness before the dawn. As the madness accelerates, people are shaken awake as they confront the immediacy of the problem and the urgent need for change.

The fate of our planet is in our hands. And the fight starts today.

Sometimes the brain makes the strangest connections. In this spot for the online supermarket chain Ocado, people experience everyday situations and suddenly think of things they want to buy. Thanks to the Ocado app, this can also be done instantly online.

Agency Brother&Son, London Creative Direction Simon Brotherson Art Direction Yibi Hu ∂ Simon Brotherson

Director Simon Brotherson, Yibi Hu Production Passion Pictures

Agency Mother, London Director Samona Olanipekun

Production Lammas Park

Agency St. Luke’s, London Creative Direction Alan Young Art Direction Phillip Meyler

Copywriter Darren Keff Director thirtytwo Production Anonymous Content

QUILMES Welcome IPA

ORANGE The Bleues’ Highlights

EXPEDIA The Travellers

Bringing an air of celestial beauty to beer production, we see the stars align for Argentine beer brand Quilme. As a group of scientists gather at an observatory, they announce that “under the sign of Scorpio”, their new amber brew will be born. The tongue-in-cheek ad was created

by Buenos Aires-based agency La América.

The debate of gender in football has become more prominent in recent years and with the aid of VFX trickery, Orange and French agency Marcel blur the distinction between men’s and women’s football performance. What first appears to be a series of amazing football highlights by men is revealed to be the women’s Équipe de France.

Just as our luggage travels the world with us, so too does it have its own tale to tell. This campaign for Expedia created by Wieden+Kennedy Portland with dynamic direction from Kim Gehrig, shows the true heroes of travel, as suitcases and carryons embark on their own little odysseys.

Agency La America, Buenos Aires Creative Direction Christian Camean, Sebastián Stagno, Keke Roberts Art Direction Rafael D’Alvia, Manuela Charre

Agency Publicis Conseil, Paris, Marcel, Paris Creative Direction Fabrice Delacourt, Xavier Le Boullenger

Copywriter Audrey Prieto Director Juan Piczman, Hernán Corera Production argentinacine

Art Direction Vincent Teffene Copywriter Antonin Jacquot Production Prodigious

Vol 3/2022

Agency Wieden + Kennedy, Portland Creative Direction Derek Szynal, Pierre Jouffray Art Direction Nadia Ahmad

Copywriter Ellie Jones Director Kim Gehrig Production Somesuch

134–135

Lürzer’s Archive

INTERVIEW

Beyond the afterlife Almost a year ago, Shehan Karunatilaka’s latest novel won one of the world’s top literary prizes, more than a decade on from his previous prize-winning book. In the years before, during and since, he has had another life as a much-traveled advertising creative director. From his home in Colombo he renews a long acquaintance with Lürzer’s Archive … and ranges across his diversified career.

When The Seven Moons of Maali Almeida won the Booker Prize in November 2022, it pushed a novel that had struggled for publication into the forefront of literary discussion worldwide. The author, Shehan Karunatilaka, was only the second Sri Lankan to win the award (after Michael Ondaatje, writer of The English Patient).

While Karunatilaka was unknown to most of the global reading public, he had serious form. A decade before, his first novel, Chinaman, had picked up internationally important prizes and the acclaim of being listed as one of the very greatest cricket books ever by Wisden, no less (for the uninitiated, the Wisden Cricketers’ Almanack is seen as the ultimate authority on cricket). So, what happened? Why not a steady and continually rising profile?

Life in general happened and earning a living in advertising, then Covid … much got in Karunatilaka’s way. Out of this lengthy gestation a book finally emerged that is a darkly comedic and savage tale, which after a final rewrite and a name change became The Seven Moons of Maali Almeida. In this now much-acclaimed masterpiece Karunatilaka examines the terrifying times of the Sri Lankan civil war through a unique, complex imagining of the afterlife, a distinct mix of some familiar elements from various sources that is ultimately entirely unique. It is a device that enables Seven Moons to shed light on a gruesome history and the wider human condition while telling a fast-paced tale from the perspective of a murdered photographer. This much-troubled narrator, a man with messy relationships and a bad gambling habit, has a secret stash of compromising war images that he somehow needs to release into the world and try to right some wrongs … and even death can’t be allowed to stand in the way.

The process that led to the book, one of extensive research, creation and destruction, owed something to the writer’s even longer (and continuing) career as a creative director, where rejection and rewriting can be an almost everyday occurrence. Once you know the writer’s background (and indeed, somewhat ongoing career) the novel starts to have other possible readings.

Lürzer’s Archive went in search of the author and found a charming man who still freelances his creative talents internationally

among agencies while working on his own children’s book publishing while playing and learning a range of musical instruments for fun … and all while developing the next big book. We will have to wait for that but let’s dive into a diverting conversation.

L[A] Shehan, where are you at the moment?

SK I’m back in Colombo, in Sri Lanka at the same desk where I wrote the books. No more travel for a little while ... It’s been a hectic few months of travel. I’m here till the circus begins again.

L[A] Where do you go then?

SK There’s a European tour happening. I’ll be in Edinburgh and London and a few other cities. The book is being published in Greek, in Italian, in German and …

L[A] It has been a very different year.

SK Yes … and now Archive magazine! I’ve got some issues of the magazine around me here somewhere. I remember the time a few years ago when Basheer bookshop in Singapore had loads of copies and we were all obsessed with Lürzer’s and about getting into Archive.

L[A] What were you doing then?

SK I was a creative group head at BBDO Singapore. I had published the first book, Chinaman, and had quit advertising for a while but then went back in after a few years out.

When I first gave up advertising work, it was because I had this idea for Chinaman. I was living with my parents. I had a bit of money in the bank. So I could afford to take off for six months, which is what I thought it would take to write. It ended up being three years.

It was fairly common as well back in the day that every copywriter had a little screenplay, novel, or TV show. Now I guess, it’ll be a TV Vol 3/2023

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INTERVIEW

So I could afford to take off for six months, which is what I thought it would take to write. It ended up being three years.

show or video game or podcast idea they are working on. And every art director was a secret filmmaker, painter, all that. We had our other careers in mind because, you know, advertising is, or was, seen as a young person’s game.

When you’re in your 20s, you’re keen to win awards or to win a pitch. You sacrifice your weekends. Especially in Singapore, you’re expected to work till nine, ten, eleven every day. As you get on and have a family, these things start to matter less and less. But for a while, I was in that game.

L[A] What took you back into advertising?

SK When Chinaman finally came out, although initially self-published, it did better than I expected. It eventually got published in the UK, it even got published in the US. It did reasonably well in the subcontinent and was critically acclaimed. It won some prizes. But I still had to work as a copywriter. I’d get a paycheck every year for the book. With that, I might be able to go on a holiday or take friends out for dinner, but that was kind of it from three years of work on the book. I still had to do my job! I might work on a little pitch over a week or a couple of weeks and earn the same money as the book made in a year. That was kind of depressing.

Everyone wants to write, everyone wants to shoot films. I was pretty certain I wanted to keep writing. I just had to figure out a way to balance my career and writing. So 2013/2014, then I was back in advertising at BBDO in Singapore. My wife and I were expecting our first child and that’s when we made the decision to come back to Sri Lanka. Otherwise, we’d be stuck in Singapore and both of us working – she as an art director – and with jobs and two kids in daycare, there was certainly no novel writing time. We came back to Sri Lanka with the idea of being able to freelance. That’s what I did right up until Covid. Same with my wife. She got into interior design. I still commute to Singapore.

L[A] So, you were freelancing back to Singapore but living in Colombo?

SK Yes. I liked Singapore a lot more when it was just for some months, when I wasn’t paying Singapore rents all year. It is one of the most expensive cities in the world. January to April, I’d go. I freelanced around the block. So, JWT, Y&R. BBH – had a couple of stints there – Iris, BBDO, Grey … I even did a few months at Facebook. I would come in as a gun-for-hire copywriter. Four months of a Singapore salary is pretty good when you come back to Sri Lanka, especially now with the Sri Lankan rupee completely tanking. That worked out for a while. May till December was when I wrote. I worked that way for several years, on Seven Moons and some short stories.

I also started a kids book business, Papaya Books, with my brother. We figured that because something like The Very Hungry Caterpillar sells a million copies every year this was good business Lürzer’s Archive

to get into. I mean, all respect to the legendary Eric Carle who wrote it but I read it and thought, ‘we could knock this out in an afternoon!’

Yes, some children’s books are real masterpieces and I could never write like that. But I was reading Hungry Caterpillar and telling my brother, ‘You could draw this. I could write it ... there’s not much plot here. It’s a caterpillar who eats a lot of stuff – a lot of bad food, by the way – then becomes a butterfly.’ I thought, ‘Forget writing literary novels, which people may or may not read, may or may not publish.’

That was the beginning of Papaya Books. We are working on two books at the moment. One is about bugs.

L[A] How did you get back to the focus of writing a novel, and taking it to the global award level of Seven Moons?

SK Papaya was a fun business project, two books a year. Meanwhile, Chinaman had a life in the sense that it developed a cult following. It got optioned for film. Nothing much really happened.

Agency life didn’t fully suck me in but if I’m being honest, I only got the work balance right during Covid because up till 2019 ... well, we also had young kids. They are nine and six now but they were one and three at one point. So, I can blame all these excuses for slowing down my novel writing. When Covid came, I kind of panicked. The planes weren’t flying. I couldn’t go to Singapore to earn my freelance living. It usually happened by December, that I was broke … but now I couldn’t go to Singapore. December 2019, big Christmas, I was broke. So OK, let’s take the novel and try again, I thought. In all, Seven Moons took seven years.

I wrote a draft over three years, then realized it was ... well, not right. I went through three further rewrites and many title changes [Shehan explains the challenging and long process of working with an old friend who became his editor, Nat Jansz. It was her publishing company Sort Of Books, founded with her husband Mark Ellingham, that would go on to finally publish the novel].

During Covid I wondered ‘Am I going to have to get a proper job now? What’s going to happen?’ But clients were still there and, as you know, everyone moved to working remotely.

And it continues that way. Even now. I just had a briefing with Superson, a Finnish agency I work with through their Singapore office. When Covid came along I had about three or four agencies where I knew people I’d worked with – at BBDO, McCann, wherever – and who had now formed their own agencies. I know Covid was a terrible time for the world but we managed to stay healthy and stay indoors and just read all the unread books in our house while still having some work.

With work from home, I realized I didn’t have to just work from January to April. I could balance clients and ongoing work with writing. I could dictate that I work two or three days a week. That was ideal I think, and perhaps was my greatest moment over the last 15 years in writing. I mean, the book is obviously up there, but not the top five certainly. I think the greatest moment was when I realized I Vol 1/2023

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The Seven Moons of Maali Almeida, originally published in English by Sort Of Books, at far left, has now been translated and published in many editions worldwide.

I wondered ‘Am I going to have to get a proper job now?

What’s going to happen?’

But clients were still there ...

could keep writing. I didn’t know it was going to win a Booker Prize or even get long-listed but the great moment was when I realized I could still work on the book and finish it. If it gets reviewed, if it’s liked, fine. If it doesn’t, I’ll get over it. But I can write another one and another one and sustain this. I didn’t have to deal with that anxiety that we all have when we’re writing.

All that balance, all those questions went out the window because I saw I could just work as much as I needed to. Bills can get paid and the book doesn’t have to become a bestseller for me to justify myself. It can have its own life and I can keep writing.

Even when the Booker win happened I had a few clients going on at the time with work to finish. I had to say, ‘Hey, guy I need to take a break…’ because I was traveling non-stop. But that’s settled down. I had a briefing this morning and I think I might have one tomorrow. I’m keeping the advertising work going.

L[A] You obviously have a great creative need, which perhaps includes needing diversity in the work. Was it very early on that you knew you wanted to write a novel?

SK No. I started out more with other aspirations. You see the messy room I work in? There’s a keyboard there. There’s the drum kit and there’s a Telecaster, a couple of acoustic guitars. There are six guitars, the keyboard and the drum kit. I’m not a particularly talented musician. I mean, I love music. In my 20s, I was playing in bands, a bass player then. With typical male fantasies of making it in music. Back then when the music business wasn’t broken.

‘Yeah, I’m going to be a rock star and travel the world and make millions.’ Now, I don’t think kids are thinking about being rock stars because I have hardly heard a guitar-based band in the last 10 years.

L[A] Do you play in a band at all these days?

SK Well, that’s the only thing missing. My son’s learning drums so I’m kind of learning drums as well. I’m teaching myself the piano and teaching myself the drums during writing – as a break, as a fun thing.

That said, I think I’m pretty close to forming a midlife crisis band. There are enough 40-50-year-olds that we’ve been having conversations. I think that could happen … but the bands I have been in always have better names than the actual sound of the music.

L[A] Give us a name.

SK Power Cut Circus was the last band. We are thinking of resurrecting it because it’s quite apt now in Sri Lanka. Power Cut Circus was formed during the power cuts of 2005 after the tsunami.

Music was a first love and advertising was initially just a way to get my old man off my back. He was always asking, ‘What are you going to do with the English degree? You should have done accountancy or economics.’ He was a doctor. I think MBAs were in fashion then and he would say, ‘Do your MBA.’ I did English, philosophy and history. I think advertising was my way of saying, ‘Well, you can have a different kind of career.’

L[A] And then?

SK My bands got nowhere but advertising ... I was at McCann Colombo in my 20s and got to group head level. Then, as soon as you became a group head or senior writer, you could ask for a car. That was a big status symbol in Sri Lanka. I’m 25 and driving a car! That kind of got my old man off my back. But the thing is this now, and I can only say it when I’m looking back, I didn’t become a great musician because I didn’t practice guitar every day. I practiced when I needed to play a gig but the great musicians I know are obsessed. They have to play the piano every day. But I wrote every day. I didn’t do any of the other stuff but just even when I was doing my advertising stuff I wrote. I had a diary and I’d jot down ideas for films, for stories. And then I’d work on a few of those stories when I was bored. I think that came after I had been to London. I worked in London for about three or four years. I was at Springer & Jacoby then I was at an agency called Boy Meets Girl. It was a very interesting time.

In 2002 I joined Boy Meets Girl. I think 2005 was when it went bankrupt. That last year was very stressful because my work permit was tied to the firm. One by one, you’d see people leave … the CD would get fired, the account manager would walk out.

The accountant would walk out. The computers were taken away.

I never got fired from that firm but my mates got fired. I was probably too junior to matter. I stayed till the ship went down but I was, meanwhile, making notes and I remember thinking, ‘This could make a good novel, the demise of an agency.’ I haven’t written that novel yet. I might.

L[A] On that point, we will have to leave Shehan speculating.

He told us much more besides in the interview but perhaps he can tell us it again, reworked in a novel. Talking to him sent us, of course, to look again at his Booker-winning novel.

In the epigraph to the second section we found the words that summarize the swirling majesty of the book and may summarize the endless potential edits for this interview around Karunatilaka’s own work and life.

They are not his words but a thought-provoking selection from George Bernard Shaw: ‘Everything happens to everybody sooner or later if there is time enough.’

If that seems intriguing, do read the rest of the book.

Vol 3/2023

138–139

WWWow

Our brand new website is live and happening.

For just € / $ 149 a digital subscription gives you all the archive, interviews, and much more. luerzersarchive.com/shop

Lürzer’s Archive Special Report

AUTO23 23 Stop here for ultra-rapid inspiration charge

STANLEYSPOST.COM

@STANLEYS_POST

AUTOMOTIVE SPECIAL

We sing the body electric As we tackle our second annual Automotive special, let’s ask ourselves: is this the hottest creative sector of them all in communications?

L[A] 3/2022 Forwardism, Client BMW, Agency Jung von Matt, Hamburg

Of course, it shouldn’t be, should it? The world is burning.

Fossil-fuel guzzling transport is (partly) to blame, while wars are being fought over control of the minerals that are crucial to the new ‘sustainable’ world on wheels. How can automotive brands be so desirable?

But still they are. And new ones are surging up the brand equity tables, as quickly as others drop off too. For all that there are more worthy, more ethical, more pressing communication areas, the fact is that moving the message, moving the money, around the communications of cars and trucks and what-haveyou, is a big erogenous zone for creativity. We are playing with so many elements that turn us on when we shift the gears on shifting our vehicles powerfully from A to B, or perhaps just around the block, in a swanky fashion. Or, at the very very least, from the showroom to the parking lot.

And so we come to this year’s brief, the fuel behind Auto23.

Three questions were put to a range of highly informed and highly creative commentators, each one with impressive and hard won real-world experience of developing great ads for the automotive sector. They have stepped away from cracking the big ideas, moved from behind the straplines and the fancy images, put aside the quest for the outrageously experiential and the monstrously seductive film crafts, and focused on answering our big strategic questions: How is car culture changing in the face of electric vehicle development?

How is social media and brand participation shaping the automotive brand relationship with the consumer?

How much is lifestyle rather than new utility the driver of automotive branding?

Check out our commentators, see how their fine words juxtapose with the fine images, and join us in a few pages for the Auto23 conclusion where we will assess what they all agreed on. See if you agree with us on the take-aways. Whether you do or you don’t, feel free to tell us!

We reckoned these questions might reveal some of the deep thought behind driving future creativity. Some of our participants have gone for comprehensive answers to all three, some have majored on one. It’s all good.

Alongside our commentators’ highly-charged words, the curatorial team of Lurzer’s has analyzed our famous archive to see what the standout work is doing to catch our attention. There’s remarkable stuff in the coming pages that emerged just a year or two back and now looks radical, while formerly radical awardwinning work has drifted and now looks mainstream.

We present it as a mini guidebook as to where to consider pitching your creative radicalism, if nothing else.

Vol 3/2023

142–143

Francesco Martini Executive Creative Director Leo Burnett, Turin

My personal thought is that in the end the electric has not changed and will not change the world of cars at all. The way of refueling has changed, the rest of car culture hasn’t. It is a non-revolution.

And it was even less so from an advertising point of view: for years, brands have dared as little as possible to talk about electric and now they simply don’t want to talk about it anymore, they want to take it for granted.

In general, digital will become the first, and sooner or later, the only channel by which people will want to interact with the automotive world. People are looking for simplification. And if they can buy a car like they buy a pair of jeans, fine, otherwise they’ll do without it. With regard to advertising, I have the feeling that traditional media will remain a crucial asset for the major global car brands for a long time to come.

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The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

AUTOMOTIVE SPECIAL

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Contrary to what I thought a few years ago, lifestyle is still closely linked to automotive branding. It’s no longer the era of the car as a status symbol, but on the other hand, cars can still promise experiences and tell stories, more than many other products – let’s think about how often cars are protagonists in the movies. The automobile as a mere transportation tool, if it will ever be the future, doesn’t seem like a near future to me. And what Generation Z thinks today may also change in a few years, when, for example, they become parents.

One thing I’d like to underline is that the future of car brands and their chances of survival will depend on the choices they make in terms of sustainability, but way beyond electric cars and advertising greenwashing.

Those who will make brave business choices in advance of government laws will survive, those who will only think about appearances will disappear.

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1 L[A] 4/2017, Bates, Lisbon 2 L[A] 6/2018, Publicis, Istanbul 3 L[A] 2/2013, Blackninja, Recife, Brazil 4 L[A] 1/2013, DDB&Co., Istanbul 5 L[A] 2/2023, DDB, Melbourne, Client: Porsche 6 L[A] 2/2022, Ogilvy & Mather, Cape Town, Client: Volkswagen 7 L[A] 3/2013, AlmapBBDO, São Paulo

Vol 3/2023

144–145

LAURIE FRANKEL

DS REPS

NY 917 407 4292 LA 626 441 2224 SF 310 880 5529

Amanda Abrams Executive Creative Director Team One, Dallas

The cultures of road travel and commuting will evolve but not at the same pace that government policies would like them to. Acceptance of EVs and the infrastructure to support them are intrinsically intertwined. Range anxiety will be quelled when we have the resources and understanding to think of our cars like our phones for daily use. Road trips will become easier to navigate in EVs when charging options become quicker and more plentiful. There will reach a point when there is a boom in battery tech.

That will transform everything. But like many of us in the professional world, a hybrid approach makes the most sense right now.

Tuner culture will adapt as tuner culture always has. Cosmetic mods won’t change.

And while engine mods won’t be achievable, the inventive will always find ways to push a vehicle’s limits.

The culture of driving for sport off-road and on a track will remain. Right now, the passion for holding on to V8s and revered overlanding vehicles is heightening due to fear they will one day be replaced. But one day, down the road (see what I did there?), both will coexist. One thing is certain, the thrill and rush of being behind the wheel will never go away.

Social media – across a plethora of platforms and forms – gives us amazing opportunities to have conversations with people in a more intimate way. I’m not just talking about personalization, targeting and optimization but more specifically, social listening and deep niche interactions. In social you can find dedicated groups of people who are really into very specific aspects of culture and, when you do it in an authentic way, you, as a brand, can be a valuable participant in and addition to those conversations.

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Understanding human needs, wants and desires has never been more important in automotive advertising. As tech and vehicle designs evolve, the apples to apples comparisons of what vehicles have the best stuff become more and more difficult. What the brand stands for, what it means to you and how it treats you becomes so much more important. Even in the EV space, when the desire for a pure electric vehicle is there, people cross-shop across brands. But at the end of the day, after comparing range and rebates, the comfort for the brand you’re buying into plays a big role. Advertising should never be about reflecting a lifestyle back to someone in an ad. At its best, we should always be looking for that connection to what’s going on in someone’s world that we can help be a part of, enable or be an answer to.

1 L[A] 4/2019, DDB, Buenos Aires 2 L[A] 1/2019, JWT (J. Walter Thompson), Santiago de Chile 3 L[A] 1/2022, TBWA\Bolt, Shanghai, Client: BMW 4 L[A] 1/2022, Publicis Conseil, Paris, Client: Renault E-Tech 5 L[A] 3/2022, Grey, Bogotá 6 L[A] 3/2019, Geometry, Buenos Aires 7 L[A] 2/2020, BBDO, Berlin

Vol 3/2023

150–151

Jefferson Cortavarria

AUTOMOTIVE SPECIAL

Creative Director VMLY&R, Lima

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Today, the worldwide automotive scene is going through a transformation. Competition between well-known global brands is now joined by Chinese brands. This has created an oversupply in which each player must make wiser moves, it’s not only enough to be the best option, but you also need to say it the proper way.

Social media has become fundamental to this. Each time more opinions are created based on the content you see, not only on long-lasting video reviews like the ones on YouTube, but also on quick opinions, such as the ones you can see in an Instagram Reel or a TikTok. Here is where creativity plays a definitive role.

Ideas that know how to emphasize each lifestyle and ‘not practical’ necessities of the target and also resolve your doubts in appealing and compact ways, are the ideas that will tip the scales.

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1 L[A] 1/2020, Geometry, Buenos Aires 2 L[A] 5/2020, WAX, Calgary 3 L[A] 6/2019, AlmapBBDO, São Paulo 4 L[A] 6/2013, Y&R, Bogotá Lürzer’s Archive

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

DIRECTOR | PHOTOGRAPHER HARNIMAN.COM

US REP R ESENTAT ION EL IZ A BET H @ EL IZ A B ET HP OJ E . C O M an d R EST OF T H E WOR L D GIL L @ H A R NIM AN . C O M

BAXTOWNER.COM

B A R S H O N - WA L K E R . C O M

Photographer UWE DÜTTMANN

Duettmann.com

Rep. in US by Elizabeth Poje

Jimm Lasser Executive Creative Director Orchard Creative, New York 1

When I think about automobile advertising, I start with how the car makes me feel. I think Electric cars FEEL different from gas cars – you feel the POWER differently. Electrics are an off/on feel of power: you accelerate the instant you need it. With gas cars, the engine and driver have a push/pull relationship as the internal combustion engine shifts gears. With its more simple mechanics inside, we will FEEL the electric car less, but that doesn’t mean they will become a lifeless transportation tool. Electric cars will become more of a third space that moves – especially as self-driving technology improves. Interiors will be more of a draw than exteriors. The style with which the electric car functions (UX, interior design, functionality) will reign; agencies will tell compelling stories which show off the comfort and UX of electric cars’ insides.

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1 L[A] 2/2023, MullenLowe SSP3, Bogotá 2 L[A] 3/2018, TracyLocke, Dallas 3 L[A] 5/2014, Africa, São Paulo 4 L[A] 3/2019, DDB, Barcelona 5 L[A] 5/2020, ACNE, Stockholm 6 L[A] 5/2014, DDB, Moscow

All vehicles are needy. Gas cars have maintenance and repairs. Electrics require less maintenance, but they have to be charged — and charging takes time!

For car companies to be a part of the public charging experience, I would start with the car brand’s branded app on drivers’ phones. For example, if you charge your vehicle the app could facilitate unlocking content: episodes of your favorite show; movies, if you have the time. In the same way that credit card companies used lounges at airports to curate a fulfilling (branded) experience for customers, car companies are probably seeing the charging space as an opportunity to further engage with drivers even if the engine is off. For example, free access to HBO Max while you charge at a charging station. A (branded) content stream is a perk that could sway a buyer between models I would think.

The charging station also offers an opportunity for brands to engage directly with drivers — which until now has been mostly relegated to auto shows.

Charging stations are a new space for brands to connect, rather than go through dealerships. For example, with time on their hands, drivers might be open to seeing new models, which could be on display at stations (much like they would be at dealerships).

Another possibility is special live experiences (music, comedy, gaming) brought to you by the brand.

Lastly is culture. The charging station will become a hangout. A cross-section of people with free time will create its own output (which will be shared with the world on social media). There will be ways for brands to show up organically in that space as well.

As much as I enjoyed making TV ads for Chrysler, I believe social media will be the most effective storyteller for electric car brands moving forward.

Trusted social media personalities in the automotive space can most effectively demonstrate the full driver UX, comfort and function of a vehicle. They will own a leadership position in influencing the choice between electric cars.

Additionally, the soon to be emerging culture of charging stations will be interesting to watch develop. Charging takes time, which leaves the masses of electric drivers with time to do whatever. New customs and culture that develop will spread most effectively on social media.

Vol 3/2023

158–159

STEFFEN JAHN

MARCUS PHILIPP SAUER

HOLGER WILD

ZERONE GROUP

AUTOMOTIVE TALENT Steffen Jahn / Marcus Philipp Sauer / Holger Wild / Zerone Group

781 631 5235 | info@tmar.com | tmar.com

Andy Grant Executive Creative Director TBWA\ Group, Singapore

I think we have already seen a huge shift in this space since the introduction of Tesla. They have led the way in terms of how an electric car can look and behave, thus creating huge desirability and demand – with little to no traditional advertising spend. They have engaged fans purely on social media through Instagram and Twitter. It also helps that the CEO draws huge media attention to the brand! So as a real pioneer brand in this space, Tesla has set the bar for so many brands to deliver beautiful design and luxury in the space and to position the electric car market not only as a green and more sustainable way to go but also desirable and exciting at the same time. Car culture generally used to be about self-centered pleasure and/or utility, but with electric vehicles in the picture, the conversation has now evolved and expanded to include more outward-focused matters, such as caring for the environment and sustainability. Gone is the imagery of raw, roaring, fuel-thirsty engines and dirt roads – replaced by the quiet hum of technological ingenuity gliding down peaceful cityscapes.

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1 L[A] 2/2018, Slogan Propaganda, Fortaleza, Brazil 2 L[A] 3/2014, Grip Limited, Toronto 3 L[A] 5/2018, DDB, Berlin 4 L[A] 4/2018, Grabarz & Partner, Hamburg 5 L[A] 5/2013, Fred & Farid, Paris/Shanghai 6 L[A] 1/2023, DDB Aotearoa, Auckland 7 L[A] 3/2022, Berlin SCL, Santiago de Chile

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Social media has been a game changer for car brands and will continue to be. You no longer need glossy online catalogs. You can visit Instagram to see all the key features of a car, how other consumers are using these cars, and what they like or don’t like about them. It’s a two-way conversation and no longer just a one-way conversation.

It’s way more authentic and real. I watched a video recently on Tesla’s IG; it’s about a new feature they have – aircon for dogs. I’d never have known about this feature if not for social and as a dog lover, it absolutely draws me closer to the brand and aligns with our priorities and needs. Tesla has 9.5 million followers. BMW and Mercedes have over 36.9 and 37.5 respectively. Those are massive audiences to engage with.

I think lifestyle is still and will forever play a part – but with a purpose focus, not just the status focus we have seen in the past. In the next 5-10 years, most governments are going to push for electric vehicles on the road and green tax will make that more attractive to consumers.

It will become a responsibility of driving to be a green driver and limit your emissions. So your car now becomes a very important part of communicating your lifestyle and choices, and not just a status symbol. And I think we have seen this shift in how car brands are much more conscious of this through how they market themselves. There’s a clear purpose, and functionality is much more prioritized than aesthetic design and beauty. Purposeful design is more valued now than just design for design’s sake. If you can make purposeful and sustainable design look great, then you win. Hooray.

7 Vol 3/2023

164–165

Sonia Barrera

AUTOMOTIVE SPECIAL

Creative Director Wunderman Thompson, Bogotá

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Car culture involves more than the relationship between manufacturers and consumers.

The transition towards the development of electric mobility has clearly been affected by the lack of infrastructure, which means engaging essential actors such as governments and energy providers. This means that it is an industry that should work hand in hand with them to build smarter cities.

On the other hand, the new generations are moved by other motivations beyond the need to mobilize. Even if they care about brands; they prioritize those that connect with their ideals and discover them organically in their daily lives, rather than through ads that can be easily skipped.

4 1 L[A] 3/2014, DDB, Barcelona 2 L[A] 1/2014, Y&R, Johannesburg 3 L[A] 3/2014, Contrapunto BBDO, Madrid 4 L[A] 2/2014, Leo Burnett, Turin

Lürzer’s Archive

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Wes Phelan Executive Creative Director Goodby Silverstein & Partners, San Francisco

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As electric vehicle development continues, the broader car culture will likely experience a series of changes.

Traditional automotive events and gatherings might incorporate EV-specific segments, showcasing new technologies, charging infrastructure, and sustainable driving practices. Customization and modification communities might emerge around EVs, focusing on tweaking performance, battery upgrades, and innovative designs.

Motorsports could also adapt, with electric racing series gaining prominence and pushing the boundaries of performance and efficiency.

In the evolving landscape of digital advertising, social media and brand participation are poised to become even more integral to the consumer-brand relationship.

Brands will increasingly shift from static advertisements to immersive, interactive experiences. Social media platforms will provide a means for brands to engage directly with consumers, utilizing features like live streaming, interactive polls, and behind-the-scenes content. This engagement will foster a deeper emotional connection between consumers and brands, leading to increased loyalty and advocacy.

Automotive branding has transcended being solely about transportation and has become intertwined with personal identity and lifestyle choices. Car brands now represent values such as luxury, adventure, eco-consciousness, and innovation. Consumers often choose vehicles that align with their self-perceptions and aspirations. As a result, automotive manufacturers will continue to craft brand narratives that resonate with these lifestyle preferences. They’ll emphasize not just the functional benefits of their vehicles but also the experiences, values, and status associated with owning a particular brand or model. This approach will continue to create a strong emotional tie between consumers and their chosen automotive brands.

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7 1 L[A] 3/2022, Jung von Matt, Hamburg, Client: BMW 2 L[A] 4/2017, Innocean Worldwide, London 3 L[A] 3/2016, One Twenty Three West, Vancouver 4 L[A] 1/2023, Serviceplan Middle East, Dubai, Client: BMW 5 L[A] 4/2017, Leo Burnett, Turin 6 L[A] 4/2015, Impact & Echo BBDO, Kuwait 7 L[A] 3/2022, Superconductor, Los Angeles, Veloz

Vol 3/2023

168–169

DEREK JOHNSON

DEREKJOHNSONVISUALS.COM

+ 1 856.313.3722

TOMEKOLSZOWSKI.COM

POSTPRODUKTION & CGI WWW.PATRICKSALONEN.CH

Gideon Amichay

AUTOMOTIVE SPECIAL

Founder & Chief Creative Officer No, No, No, No, No, Yes, Tel Aviv 1

Cars were always a fascinating culture … clubs, and fans enthusiasts. Brands. Car BRANDS. I believe passion and engagement are not old news. Passion was, is and will be the driver key forever in the car business. I can see a future of a MEGA BRAND that a car is part of, like Apple.

However, with too many NEW brands, with no heritage, no history, and no unique design, a new and a big commodity category is born.

At the end of the decade, we’ll have two extremes with almost no middle. BRANDS and commodities.

It means that we see a new phenomenon.

As so many electric cars were born with the same look and no branding (‘Electric is enough’) so many buy those cars and price is the only key.

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1 L[A] 5/2014, Leo Burnett, Istanbul 2 L[A] 1/2023, The Community, New York, Client: Netflix / General Motors 3 L[A] 5/2015, Borders Perrin Norrander, Portland, Oregon 4 L[A] 1/2015, Scholz & Friends, Hamburg

Lürzer’s Archive

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PATRIK JOHALL B & A R E P S ( E U RO P E ) B E AM PHOTO G R A PH Y ( FR AN CE ) ART D EPARTM E N T (U SA ) S U PE R STU DI O.CO M

Camilla Clerke Executive Creative Director Ogilvy, Cape Town I reckon there will be big changes – from people to brands and infrastructure. Most people think the significant change will be charging a car rather than filling up with petrol or diesel, but that’s only scratching the surface. Firstly, there will be a whole change in mindset. Right now, car culture is about ownership and the freedom to go where you want. This will become more transactional with the EV revolution, even subscription based. A bit like we subscribe to Netflix, we could subscribe to EV – we’ll no longer be driving cars, but rather a computer on wheels. It’ll become a bigger part of our digital, customized lifestyle – understanding our preferences and habits. We’ll update our cars rather than buying new.

The role of commuting will also change. Especially as we move into things like autonomous driving, getting from A to B could become a time to work or take meetings. It could influence where people live. It’ll also change our living conditions.

A friend who lives in an apartment block told me he had to string extension cords together and throw them out his window in order to charge an EV he was testing out. Where you live and the infrastructure around you will matter – to the point where it feels like auto brands that worry as much about infrastructure and lifestyle as they do their EVs, will win.

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It’s hard to believe the role could get any bigger, isn’t it? But it definitely will.

Customization and personalization will increase tenfold. At the moment, brands try to be very targeted with their communication – but it’s sometimes a bit hit and miss. One either feels bombarded by information, or the right message, just at the wrong time. The more technology and AI evolve, the better individuals will be understood – their habits, their feelings and their needs, down to the very minute they need it. All in their own language – and by that, I don’t mean dialect, I mean in the way they’re comfortable to hear it. As more digital products creep into our lives and become seamlessly integrated, the more intense it’ll get. Which brings me to EV – your vehicle will become a big piece of the endless digital landscape puzzle.

Suddenly you’ll hear from a restaurant close to an Airbnb you’re on your way to, with a special for your favorite meal and a coupon to the movie they know you want to see. Scary? Oh yes. Fun? Definitely.

Automotive branding has gone back and forth between lifestyle, and specs – feature – car porn – specs for a while now.

I believe there needs to be room for both.

As much as people are obsessed with car performance, new safety features etc, it’s critical they also build a connection with a brand – the reason they’re going to opt in, look out for, or remain loyal to that brand in the first place. Our new proposition for a key client of ours, VW, speaks to that with the expression, ‘beyond the drive’.

Safety features are important – because you’re driving your newborn home for the first time. Performance is key – because you have to get to your meeting on time. A bigger boot doesn’t just fit in more stuff – it’s the reason you don’t have to make two trips. So, emotional connections and truly understanding people and their motivations are as important. Let’s not just make it transportational.

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1 L[A] 4/2018, DDB, Berlin 2 L[A] 5/2017, TBWA\Chiat\Day, New York 3 L[A] 1/2023, Engine Creative, London, Client: Jaguar Land Rover 4 L[A] 4/2019, DDB, Buenos Aires 5 L[A] 1/2022, Publicis Conseil, Paris, Client: Renault Hybrid 6 L[A] 3/2017, FBC Inferno, London 7 L[A] 5/2018, Scholz & Friends, Berlin

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1 L[A] 4/2017, DDB, Berlin 2 L[A] 4/2014, Y&R, Prague 3 L[A] 5/2013, dieckertschmidt, Berlin

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www.florianwmueller.com IG: @florianwmueller

Giles Watson Group Creative Partner DDB, Melbourne 1

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The automotive industry’s ads have been playing in the same sandbox for a while — showcasing impressive metal and loud, gut-wrenching performance.

Throw in a bit of European luxury whilst you’re at it. However, with the introduction of EVs, genuinely new developments are shaping the topics of conversation. From an automotive standpoint, this shift means that things like the thrill of a powerful engine makes way for instant torque and quiet operation. But more intriguingly, cars are now blurring the lines with the tech industry, a transition that highlights innovation. And is bound to prompt new perspectives on advertising cars. You could approach it the same way you would the latest phone.

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AUTOMOTIVE SPECIAL

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As digital advertising continues to evolve, leading brands are also growing. They are moving away from a strictly transactional approach and instead focusing on expanding their relevance beyond their core products.

This dynamic presents an exciting opportunity for automotive brands to explore new frontiers, captivating audiences who may not necessarily ever purchase a car but are drawn to what the brand stands for. This involves crafting even more authentic experiences, hyper-real content, and engaged communities. The challenge lies in finding the right balance between traditional strategies and delivering value through innovative experiences.

I don’t believe cars have ever been solely utilitarian tools. They have always held aspirational value, symbolizing how we perceive our lives.

Whether it’s based on aesthetics alone or the lifestyle a brand represents, it’s challenging to completely separate a car as a mere “tool” from an extension of ourselves. The appearance of cars, their features, and their branding collectively contribute to the emotional connection we develop with them.

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7 1 L[A] 6/2016, Topless, Marseille 2 L[A] 4/2016, Ogilvy & Mather, Cape Town 3 L[A] 3/2022, Forsman & Bodenfors, Gothenburg, Client: Volvo 4 L[A] 6/2017, Tribal Worldwide, Istanbul 5 L[A] 2/2023, Director Fiona Jane Burgess, Client: Mercedes-Benz 6 L[A] 4/2017, DDB, Barcelona 7 L[A] 6/2013, AlmapBBDO, São Paulo

Vol 3/2023

180–181

Thomas Koch Executive Creative Director DDB, Berlin

The automotive industry has improved a lot over the last few years – and it has had to. The requirements are increasing steadily and rapidly, in 2035 the sale of combustion engines will be banned. The pressure is increasing, and every manufacturer is now trying to make the new generation of cars suitable for the masses and, above all, affordable.

This is tough competition because end customers have extremely high standards: it has to be sustainable, hardware and software should ideally be future ready and materiality should be excellent as well. While the American and European markets are increasingly focusing on e-cars, the Asian markets are continuing to research hydrogen models, which is a smart move in my opinion. I also think that brands must get out of their passivity and become innovation drivers again. Research and development are the key to success.

Being brave when others are not and don’t accept the status quo, because those who research and may fail today, will maybe win tomorrow and lead the competition. It is important to understand the goals of our customers and to combine them with the needs and wishes of their end customers. After all, they are the ones who buy the products.

On social media, the brand and agency receive direct feedback on the creation/campaign from the consumer. This feedback is mixed and mostly with a clear bias towards positive or negative. Both forms of feedback helps us to improve.

It has been a good communication medium for us as an agency. If it develops further or if we get more channels or access to them, we will gladly accept them.

The car still stands for freedom, and is part of a lifestyle and a way of expressing yourself. It’s also still a status symbol and this will not change in the near future either. But it has to be more than just that. As mentioned before it’s been about functionality and sustainability. I believe that companies like Apple and Amazon – players that are not yet in the game but are always looking for people with car experience – will change the market even more. And this won’t stop with autonomous driving. Imagine if cars became mobile energy sources themselves. A large mobile power bank, so to speak, where you may charge while driving and use the earned energy for your home or in which we can use the functionality of it, like air conditioning or entertainment systems. It would become an even more important tool in our life than just a car that drives from A to B, it would be something that is one of the most important things in life – a part of our home.

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1 L[A] 4/2014, DDB, Buenos Aires 2 L[A] 6/2013, Tapsa/Y&R, Madrid 3 L[A] 4/2013, AlmapBBDO, São Paulo 4 L[A] 1/2013, Publicis Conseil, Paris 5 L[A] 6/2013, Leo Burnett, Paris 6 L[A] 3/2013, Impact BBDO, Dubai

The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

AUTOMOTIVE SPECIAL 3

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Vol 3/2023

184–185

Jim Seath

AUTOMOTIVE SPECIAL

Creative Director White Rabbit, Budapest 1

2

Electric vehicle development will become a new car culture. We’ll witness a shift from fossil fuel worship to eco-chic reverence.

Car enthusiasts will embrace the electric wave with pride, celebrating green tech and whisper-quiet rides. Charging stations will become hangout hubs, where EV owners bond over eco-bragging rights. It’ll be like a futuristic carnival of sustainability, and gas-guzzlers will become art pieces.

Social media will unleash car brand shenanigans. Brands will be X’ing, Instagramming, gaming, and TikToking their way into our eyes and ears. Buckle up for interactive adventures – quizzes to match your dream ride persona, AR filters letting you ‘try on’ cars virtually, and influencers racing with hashtags.

Brands will be our internet road trip buddies, popping up in our feeds and keeping us connected, entertained and engaged.

Lifestyle and automotive branding will remain inseparable. Cars aren’t just metal on wheels; they’re passports to identity and adventure. Brands will flaunt their rides like fashion collections, tailored for diverse lifestyles – from rugged explorers to city cruisers. We’ll fall for car ads that spark wanderlust, make us feel daring, or simply capture the joy of driving. Cars will forever be our personalized chariots, not just soulless transport systems.

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1 L[A] 5/2021, Jung von Matt/Neckar, Stuttgart, Germany 2 L[A] 2/2014, GMP Advertising, Bucharest 3 L[A] 1/2021, Move Design, London 4 L[A] 1/2016, Blue Hive, Toronto

Lürzer’s Archive

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The issue the work originally appeared in is noted. More information and full credits at luerzersarchive.com

Ful l CGI f r om VFB

Ful l CGI f r om VFB

Ful l CGI

RAW concept GmbH Ar t i s t : Vi t al i Enes www. r awconcept . de

AUTOMOTIVE SPECIAL 1 2

1 L[A] 1/2021, Publicis Middle East, Dubai 2 L[A] 2/2013, Y&R, Paris 3 L[A] 4/2018, DMG, Beijing 4 L[A] 2/2019, The Newtons Laboratory, Athens 3

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Lürzer’s Archive

AUTOMOTIVE SPECIAL

Is this the way the world ends?

We are really grateful to our participants in the pages of this Auto23 special. They know of what they speak, and they have thought long and hard about our questions. To some degree, they have put themselves on the line: predicting the future is an easy way to look like an idiot down the line. Or a genius. It’s high risk.

When sounding off in print and in a much-viewed online archive, you can find your words come back to haunt you. Or, just possibly, you can be seen as the most prescient of all. For sure, they can’t all be right because, as you may have noted, they do not all agree.

On the one hand we have Francesco, first up, saying ‘the electric has not changed and will not change the world of cars at all’. Then, almost immediately, we have Jimm riffing on how charging stations are going to become essential social hubs. So much so that you could imagine future anthropology books devoting a chapter on the topic (ok, a little exaggeration but Jimm is heading that way, and we enjoyed his speculations). Camilla agrees with this theory somewhat but drives off-road and stirs up a cloud of dust with her notion that ‘customization and personalization will increase tenfold’. Forget another chapter, this is now a whole seminar course in social anthropology.

Later we get the more gnomic Gideon with his focus on passion. Swiftly followed by confidently brisk Wes, who strikes a different tone but ends up majoring on the emotional connection.

Gideon and Wes could be set for a bromance as they steer automotive into something quite steamy.

Ok, we are being a bit cheeky here but we love our creative experts for opening up the possibilities. Go ahead and pick’n’mix your own contrasting flavors and fancies from our panel. And they’ve given us all these provocations surrounded

LÜRZER’S ARCHIVE AUTOMOTIVE

Lürzer’s Archive Special Report

AUTO23 23 Stop here for ultra-rapid inspiration charge

Client Mini Colombia Agency MullenLowe SSP3, Bogotá Creative Direction Jaime Duque Art Direction Jaime Duque Copywriter Jaime Duque, Eduardo Vargas

by a stunning range of other automotive provocations from great creatives over recent years that have shared their opinions and predictions in the archive. Automotive has clearly still got it … but, hang on, do we really want to go in the direction where this is heading?

As fossil fuels edge towards their end life, while wars break out over the materials for EV battery materials, and the planet heats up, can the art of selling autos retain its polish?

Or is automotive advertising destined to go the way of the wonderful/deadly creative tobacco ads of the past?

Our conclusion, drawing on the words and spirit of several of our contributors, is that we will see a hell of a lot more in terms of eco-consciousness, sustainability, and general radical reinventions of what auto can be. Indeed, we will not so much see it, as experience it (yes, the media continues to shift). The creativity will tap into our deep feelings for the planet and for travel, because we will still want to have — we must have – great personal transport tools. But probably not the auto as we know it now (although there are some in our focus group who say the exact opposite).

We think, most significantly, that enough ads across the aforementioned pages strongly hint at how radical the messaging will become. Almost scary at times. Not like what we have known, not at all.

Our cover choice hints at that, too. It is both amusing and yet profound, with a surreal and ambiguous set of potential messages. This time next year we may predict an Auto24 where we find ourselves more deeply unsettled by what passes for automotive communication. This is one big creative territory that is destined for revolution, not disappearance.

Published by Lürzer International Limited 151 Wardour Street London W1F 8WE United Kingdom Printed by Print Alliance HAV Produktions GmbH Druckhausstr 1 2540 Bad Vöslau Austria printalliance.at Contents © 2023 Lürzer International Ltd. All rights reserved The contents of this magazine may not be reproduced in whole or in part without prior written permission from the publisher, Lürzer International Ltd. Lürzer’s Archive is a trademark of Lürzer International Ltd, London.

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Please submit at luerzersarchive.com The submitter must have the authority to grant Lürzer’s Archive the rights and permission to reproduce, edit, comment editorially on the submission and to use the submission in print, online and in any marketing material for Lürzer’s Archive. All work is featured free of charge.

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Backdrop [194–204] Jim Goldberg from Coming and Going (MACK, 2023).

Courtesy of the artist and MACK.

Vol 3/2023

192–193

CLASSICS Our revisit of ads from Lürzer’s Archive 1998, 25 years ago. So much that is wrong now, was right.

Lürzer’s Archive

Top: Client Purple Agency DPZ, São Paulo Art Direction Carlos Silverio Copywriter Rui Branquinho Photographer Al Hirschfeld

Bottom: Latin flavor.

Campaign for Ducados brand cigarettes.

Client Ducados Agency Publicis CPG, Barcelona Art Direction Eva Terradas, Ramon Roda Copywriter José M. Piera Photographer Maria Espeus

Top left: Client Niger Beer Agency DM9DDB, São Paulo Art Direction Tomás Lorente Copywriter Carlos Domingos Photographer Richard Kohout

Top right: Women. Men. A bit of instruction from the brewers of scotch ale.

Cheers!

Client Pyramid Ales Agency Cole & Weber United, Seattle Art Direction Gretchen Benett Copywriter Nicole Michels

Bottom left: Client Zima Agency Saatchi & Saatchi Fallon, Tokyo Art Direction Marcus Woolcott Illustrator Electric

Vol 3/2023

Bottom right: Client Miller Lite Agency Fallon, Minneapolis Art director Bobby Appleby Copywriter Joan Shealy Illustrator Craig Smith, Grand Blanc

194–195

REVIEWS

Ralph Lauren The 888 House ralphlaurenvirtualstores.com/888-house

Lürzer’s Archive

There’s something about how the fashion world mangles language that you either love or hate. Thanks to years of hard-won experience, here at L[A] we can do both. We can see the absurdity of sentences like “In the heart of the sculpture, the untamed allure of the West converges with the sophisticated silhouette of the RL 888 bag”. And yet we soon relax as we encounter: “Here, the rugged charm of vast landscapes whispers tales of a time before, intertwining seamlessly with the modernity of the RL logo.”

And we only mildly flinch at the lack of a full-stop when we skate right through and out into a void of non-punctuation “This poetic dance of tradition and innovation is a tribute that celebrates the enduring beauty of the land and ushers in the dawn” Those quotes are from the opening encounter with The 888 House, “a store concept by Ralph Lauren”, to be found in various places including the given url. When you digest the wordslaw and hit “Enter”, life gets better.

Welcome to the pleasuredome. This is the future as we say goodbye to the High Street, or Main Street, or wherever you are currently not buying your stuff from anymore. 888 is ready for us to live and shop in Matrix-like troglodyte conditions, glued to our screens while viewing the airy beauty enjoyed by a handbag we can only dream of. Or, just possibly, buy … although you will struggle to find the till at 888. It’s a bit like a game, perhaps way back from Mystera ingenuity. It’s chill out and, indeed, a bit chilly. But classy too in a bling kind of way. And rather like those fashiony quotes from the catwalk of crass that we started with, there’s somehow a mystery about the weirdness and clumsiness of it all. A strange beauty, almost. You might think from the critique here we didn’t like 888. We didn’t. We loved it! Shopping can still get better!

Ukraine Rising Contemporary Creative Culture from Ukraine Published by Gestalten 320 pages, € 39.90, $ 50

Something about the design and the text, and of course the very topicality, suggests this substantial volume was put together quickly. However, while that might have signaled a shortcoming in many other wannabe serious survey works, this is the strength of this volume, particularly in its images.

There is so much of real difference to be excited by – it’s truly a visual feast. While it celebrates and explores Ukrainian culture, prompting us to feel even more sympathy for the country’s brave and suffering community and their culture, at the same time we may also have entirely selfish reasons to see the purchase price as very reasonable. If we just take the book as an inspiration tool it pays back in cold, hard, personal terms. You can use this material. This is the kind of book that can help open up creative channels as we consider the crossovers and paths in the work shown, and find the relevance and difference to elsewhere.

It is a collaboration between the Berlin-based publisher gestalten and Ukrainian publisher Lucia Bondar and is a testament to the creative spirit and energy of Ukrainians and a promise for a better future. But the impact, relevance and usefulness of contemporary Ukrainian creative culture is what perhaps comes across best and may further strengthen support for their fight.

Above: Kalush Orchestra, Photo: Jens Sage, Courtesy of Sony Music Entertainment, @kalush.official Left: Courtesy of Olga Navrotska, @navrolya_ All images: Ukraine Rising, gestalten 2023.

Vol 3/2023

196–197

REVIEWS

Jim Goldberg Coming and Going Published by Mack Books 360 pages, € 85, £ 75, $ 85

Coming and going is life as texture. It is deeply personal and sometimes gut-punching. Goldberg’s conceptual image-making is not just the story of a life it is the story about how we make stories. This American artist unpicks the “auto” in autobiography that assumes we are not already a collection of many voices and people. Multiple entry points for the reader on each spread highlights how words and writing in conventional biographies create the illusion that life runs in an uncomplicated, simple, linear fashion. This book asserts that, while life as a whole may not make sense, it makes cruel sense, joyful sense. And creativity is the aspiration to celebrate that sense-making.

Goldberg’s use of collage creates space for so many different voices in the telling of events: his father during a long illness and treatment of cancer; of falling in love with his wife and the heartbreak of divorce; the birth of his daughter and many other significant life moments; the lives of the teenage runaways he documented in a photo-project.

As much as his life is the subject matter, the spreads visualize how a life belongs to others too. Goldberg’s creative skill is making time itself the subject matter. His images are dense with time. Collages of family photos taken at different moments and arranged to communicate the complexity of relationships and the emotions they gather over time.

It’s the writing on the photos too, sometimes by him, often by others, that complicates the idea that there is only one take on a life. Writing on photos by those portrayed in the image was a technique he worked with from very early on, in a body of work that encompasses long term documentary projects such as: Rich and Poor (1977-1985) in San Francisco and Raised by Wolves (1985-1995), a work which documented the chaotic lives of California street kids and was described by The Washington Post as “A heartbreaking novel with pictures”.

The writing on photos is a way of de-centring his eye, giving voice to others. It’s partly this ethical-creative generosity in his practice which drew recognition in the form of three National Endowment of the Arts Fellowships in Photography, the Henri Cartier-Bresson Award, and the Deutsche Börse Photography Prize among many others. In the context of this autobiographical work the writing functions as annotation by others, an act of self-assertion and self-citation. The writing also brings those codings of authenticity and voice which made Goldberg attractive to clients such as Levi’s and Vans.

John O’Reilly

All images by Jim Goldberg, from Coming and Going (MACK, 2023). Courtesy of the artist and MACK.

Lürzer’s Archive

Vol 3/2023

198–199

REVIEWS

Toiletpaper Run As Slow As You Can Nita Mukesh Ambani Cultural Center, Mumbai Until 22 October 2023

The artists Maurizio Cattelan and Pierpaolo Ferrari have, since 2010, been amusing and disturbing a knowing global audience with their occasional magazine Toiletpaper. In keeping with their own work, it is quirky, conceptual, seductively surreal or sometimes starkly direct, and often quite rude. There have been exhibitions with some of the work before but this is a first in being a truly immersive experience with full-on installations of images that decorate the spaces and impose themselves on the viewer. It is a signature show to help put Mumbai even more on the art map. In its culture though, the work is at core, very Italian. Not just because it has a lot of spaghetti imagery on the walls, or a love of a kind of retro-kitsch that seems to haunt Italian design and culture in wave after wave, It is more because there is a dayglo hyper-reality that can be found at times on the streets of Milan or Rome, in posters and shop windows, and on the TV there. It is this specific pop culture that seems to infuse the visual language. Super-sophisticated, smart commentators who are globally attuned, this is the reputation we may wrap around Cattelan and Ferrari. But they also reveal their origins in their disturbing dreams.

Above: Chapter 3, A House Is a Building That People Live In Left: Chapter 4, The Control Room All images from Toiletpaper’s Largest Immersive Exhibition in Nita Mukesh Ambani Cultural Centre.

Lürzer’s Archive

REVIEWS

Paula Scher Type Is Image Die neue Sammlung – The Design Museum Pinakothek der Moderne, Munich, Germany Exhibition until 22 September 2024

This specially commissioned site-specific installation is something to get on the itinerary, for anyone who cares about graphic design and wants to appreciate one of the leading practitioners of the last 50 years. Paula Scher has been known for her typographic inventiveness from … well, a long while back. Born in 1948, she’s a great American graphic designer who seems at her very best when she really gets to play with type. She gets it to sing and dance in ways that others can only, well, copy. So a little homage is appropriate. The exhibition features both much commissioned work from across her career as well as a range of non-commissioned work. Besides the sheer mastery and beauty of many of the pieces incorporated, it also goes through the emotional gears. It can be really serious, with big issues tackled head on, and yet also be handled with great charm. A lot of the work is also truly entertaining and fun. All of this with typography a key, if not leading, element. In how the letters leap around, it is like watching really good dancers, Fred Astaire and Ginger Rogers say, strut their stuff. Just a real pleasure.

Above: Exhibition view.

Photo: Die Neue Sammlung – The Design Museum (Anna Seibel) Right: Paula Scher, Environmental Work for the New Jersey Performing Arts Center, Detail, 2001. Foto: Peter Mauss.

Vol 3/2023

200–201

REVIEWS

The Words Issue written drawings Fukt magazine No. 17 € 20

Lürzer’s Archive

Fukt, according to the website of the same name, means “moist” or “damp” in Scandinavian languages. And Fukt is, indeed, damp with inky pages of images. Run by editor Bjørn Hegardt and designer Ariane Spanier, Fukt (feel your tongue touch the roof of your mouth) with its subtitle, Magazine for Drawing, has been published annually since 2000.

The archive of contributors on the website is an amazing trove of creatives of all kinds, who challenge understanding of what drawing can be and do in a variety of unthinkable, unlikely and unknown ways. The Unknown is the theme of the current issue but the editors are also republishing the previously sold out, and still much sought after, Fukt #17 - The Words Issue.

This features work from famous artists such as Sol LeWitt and Ed Ruscha alongside unexpected experiments with words and formats by lesser known image-makers. The latter include, tucked away at the back of the magazine, six-year-old Juni Spanier’s 2018 Post-It note protest work, I Don’t Want to Go to Swim Class. Drawing is an early schooling in protest against conformity, a practice of self-assertion and self-expression, as anyone who ever saw themselves in the scrawl of band names on their copybooks.

The Post-It note is an instant canvas to gather fugitive word-ideas in brainstorms and shopping-lists. On the other hand, Oakland-based artist Annie Vought’s paper cut-outs of words using an X-ACTO knife creates ornate tapestries, some taking thousands of hours to complete.

They are made from words gathered from found notes and letters, or social media conversations, which Vought then observes like a psychoanalyst listening for pauses, diversions, misplaced emphases. As with the analyst who works with the negative space of the unsaid, Vought creates work such as The Author Is Revealed in Spite of Himself (2017) where thoughts and feelings appear together in dreamy dimensionality – that particular work is made with paper from her late father’s sketchbook. Absences speak louder as words.

A common feature of the Words issue is that the more one stretches words out (as with Pae White’s work), sticks them on floors and walls (Shantell Martin), or makes them stand-in for things in the world (Thomas Broomé), the more estranged words become from their familiar boundaries of typeface and page, then the more they speak meanings and knowledges hidden by the restrictive word formats of routine. Fukt #17 is where words have convened to remake and show themselves as those feelings, ideas and experiences, living in the negative space of everyday life.

John O’Reilly

Vol 3/2023

202–203

REVIEWS

Hardly Working Total Refusal Film and four-channel video installation totalrefusal.com/home/hardly-working

Imagine if Werner Herzog had directed and narrated Free Guy. Instead of Ryan Reynolds’ hilarious antics as he looks handsome while trying to find meaning, love and friendship in a vibrant open world, he’s instead left tragically self-aware of his own nightmarish Sisyphean loop. He knows what he’s doing, but he can’t stop doing it; a puppet with algorithmic OCD, who’s only able to break free in fleeting moments of lucid humanity when that algorithm glitches. That’s the premise of art collective Total Refusal’s latest mini-documentary Hardly Working. It’s grim and heavy and a real downer.

And it’s awesome.

Their team followed several non-playable characters (NPCs) in the game Red Dead Redemption 2 over the course of days; treating them as they would any subject in a documentary by trying to understand their world and their purpose in it. What they discovered was that, buried in the endlessly looping patterns of these background characters’ drudgery, were touching moments of personality. When the algorithm became inconsistent, so too did the NPCs’ behavior.

A carpenter breaks free of his routine of hammering nails and stares directly at the camera as a storm approaches. A street sweeper finds a brief moment of respite and leans against a wall when her broom glitches out of existence. Humanity is found in the cracks of the game.

Hardly Working is grand in both its design and its ambition.

Yes, it’s all filmed in-game, but this isn’t some lo-fi, amateur screen record.

The cinematography is breathtaking. The narration is just over-the-top enough that it softens the fact your heart is breaking for the plight of pixels instead of people.

The result is something so bleak and so beautiful that you can’t look away. I remember the first time I heard the word ‘sonder’ and its meaning.

The realization that each random passerby is living a life as vivid and complex as your own.

In Hardly Working, Total Refusal has explored the idea of sonder in a truly brilliant way. They give NPCs’ lives meaning, but that meaning is pretty damn shitty. So if you like Cormac McCarthy, but prefer your Blood Meridian medium rare instead of bloody and raw, Hardly Working was made for you.

Jon Austin, co-founder of Supermassive, Melbourne

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