Lürzer’s Archive Issue 222 1/2023
22
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252747 162586
USD 21, CAD 26 ISSN 0893-0260 LuerzersArchive.com
Lürzer’s Archive
© Demian Tejeda-Benitez
INTERVIEW
Rob Reilly’s epic challenge
The global creative head of WPP has cracked big objectives time and again to be where he is today. But now he has the most humongous brief yet. He sat down with us to share the challenge and the thrill of working to build the world’s leading creative company.
Vol 1/2023
10-11
FOOD
THE KRAFT HEINZ COMPANY Campaign Noodle-shaped hugs on offer to Philadelphia Eagles fans after the team’s Super Bowl loss to the Kansas City Chiefs.
Lürzer’s Archive
Agency Johannes Leonardo, New York Creative Direction Hunter Hampton, Grace Martin Art Direction Katyana O’Neill Copywriter Zoe Myers
FRISA Campaign Top: It can be a 3-fingered picanha, coarse salt topping or even that small sausage that comes around. The important thing is to cheer. Below: “You’ll have to put up with me” only works when the barbecue is not Frisa. Strapline: Cheering on your team with Frisa is tastier.
See more of the campaign at luerzersarchive.com
Agency Fire Marketing e Comunicação, Vitória, Brazil Creative Direction Rodrigo Pegoretti Art Direction Daniel Galvao
Vol 1/2023
Copywriter Daniel Galvao, Rodrigo Pegoretti Illustrator Daniel Galvao Typographer Daniel Galvao
46–47
PHOTO
AMERICAN SOCIETY OF MEDIA PHOTOGRAPHERS Campaign
Lürzer’s Archive
See more of the campaign at luerzersarchive.com
Agency Ogilvy Health, New York Creative Direction Erik Vervroegen, Adam Hessel Art Direction Alec Vianu
Copywriter Tom Callan Photographer Alec Vianu Typographer Alec Vianu Digital Artist Carioca
HAHNEMÜHLE Campaign
See more of the campaign at luerzersarchive.com
Agency Paul Belford Ltd, London Art Direction Paul Belford Copywriter Dean Webb
Vol 1/2023
64–65
PUBLIC EVENTS
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IMAGINE FANTASTIC FILM FESTIVAL Campaign
Agency KesselsKramer, Amsterdam Creative Direction Rens de Jonge Art Direction Tristan Roques Copywriter Matthijs Van Rumpt Typographer Mārcis Lapiņš
SUPER XP 2023 Campaign for the biggest pop culture event in the state of Santa Catarina, Brazil.
Agency Supernova, Joinville, Brazil Creative Direction Matheus Rossi Art Direction Victor Barbosa Illustrator Felipe Polati, Italo Cesar
Vol 1/2023
70–71
Lürzer’s Archive
INTERVIEW
Natalie Lam describes herself as “a hopeless romantic who still believes in universal beauty and human truth”. She explains to L[A] how she has brought this, and much else, into her role as CCO Publicis Group Asia Pacific, Middle East and Africa.
Linking the local and the universal L[A] Please tell us how you manage a leadership responsibility that sits across much of what you describe as ‘the nonWestern world’. NL I’ve always liked plunging into roles that have a big unknown piece involved. When there’s no precedent, there is a lot of freedom. It sounds complicated with all the different regions and cultures but it is also simple in that we all share something magical. The uniting factor here is that our people are passionate to do great work. This connects everybody. As soon as I took on this role, I began pushing for creative excellence, world-class craft, modern thinking and creatively-led digital work – that’s been my mantra from day one. I’m also passionate about showcasing work that celebrates local culture in a more playful, progressive, optimistic light because there is so much happening in a lot of the markets here that never gets conveyed to the rest of the world. L[A] How do you implement your approach to leadership? NL I assembled a very small team based on three areas: people, story, and work. People are of course already there within our creative community, but we have created a close-knit community of 3,000+ creatives who are now connected across borders and agency brands. This has had a galvanizing effect, giving everyone a sense of collective belonging and the support they need to think bigger and aim higher. Story is about the importance of PR, ensuring our best stories show up in the world. Whether it’s internally or externally, we are now celebrating great work, celebrating our people, and building strong momentum with great work for our clients. Work is the third element. We are constantly asking: ‘Are we doing work that is modern, relevant and progressive with great craft?’ These three fundamental layers are so important, and they’re working – we had a very strong year creatively in 2022. One of our challenges, which I think a lot of agency networks face, is that solutions are often quite traditional, so I brought in Laurent Thevenet as our Head of Creative Technology to push for more creative-led digital work. Laurent has assembled a creative tech collective of around 25 specialists who now act as an APAC & MEAwide creative resource. Last August, Jason Williams came in as Vol 1/2023
134–135 10-11
INTERVIEW
Where information meets inspiration
Lürzer’s Archive
‘Creative use of data’ can seem a mysterious and yet dull world of arcane process. But from the first shoots at FCB/SIX in Toronto, now fully flowering at Performance Art, CCO Ian Mackenzie and his colleagues have grown a hybrid data and creativitydriven approach for multiaward winning, original and effective work. We asked him to reveal his roots.
Vol 1/2023
152-153
REVIEWS
Rick Rubin The Creative Act A way of being Published by Canongate 432 pages, £25
Refik Anadol Unsupervised MoMA New York Installation until 15 April (and elsewhere)
Rubin sets out his stall modestly at first, commenting in his prefatory prose poem of an intro: “Some ideas may resonate, others may not.” But by the end of these few lines he claims his words may be “Opening possibilities for a new way of being.” We can’t complain as the sub-head did advise that big swirly thoughts were on the way. We should expect no less of this multiawarded record producer, co-founder of Def Jam records, collaborator and transformer of a whole host of legendary talents. Now he has condensed his decades of learning about the creative process into 79 short, wideranging, highly readable chapters. No images, zero eye candy, unless you are fortunate to get a signed copy and have Rick’s generous signature, as shown. If you persevere with the text, floating through topics such as The Unseen, Nature As Teacher, Greatness, and Surrounding The Lightning Bolt, you will have a good sense of how Rick Rubin sees the world. But if you think creative enlightenment will come your way, you may be disappointed. Like many a spiritual guide, what seems like easy clear messages turn out to be extremely hard to get any grip on and put into practice. Rick’s a shaman who seems to vanish into the space within his own signature. This is not to be critical though, just preparatory. Enjoy the book for endless dipping, as it is full of gnomic wisdom that just might get you thinking afresh, perhaps even doing the creative act a little differently. Nothing to lose but your chains. Or a bit of time, now and then.
If you walked towards the back of the lobby at MoMA in recent months, past the turnstiles you would find the space busy with people standing and sitting around while staring at a seething, squirming double-height wall, supported by accompanying sound. What they were experiencing was a beguiling sitespecific work of AI-assisted abstraction, Unsupervised, a “machine dream” was constantly drawing data from images within the vast collection of the museum and mixing this with other data inputs from the location (such as light, movement, acoustics, the weather outside, etc.). All this was processed in real-time to create a continuously changing artwork. In a way, the ‘machine’ behind Unsupervised was meditating on the potential past and present of all the art. But as we know, AI machines still don’t quite have autonomy in their thoughts. It is notable that Anadol’s installations, whether at MoMA or at various other locations, tend to look somewhat similar. There is a distinct aesthetic to the output, whatever the endlessly changing source may be. As with visual AI platforms such as DALLE or Midjourney, the machines have their own visual bias, or style, call it what you will. For that, we must credit Anadol and his studio as the knowledge and tools he employs are ultimately in his creative grasp, even if they are a unique blend of algorithms and other newfangledness rather than oil paints or video, and so on, as in art past. The vision is always his, really, even if the machine dreams it. The work is entrancing, to judge by the time people sit watching it when they have paid to be upstairs with all the billions of dollars of old art to see. Anadol and his assistants, physical or digital, are onto something new but can they reinvent themselves again? It will be worth tracking.
The constantly metamorphosing imagery of Unsupervised draws from MoMA’s collection and the live data around it. Lürzer’s Archive
Vol 1/2023
208–209