Fri, Nov. 13, 2026
Boy Vereecken
For Position Only – FPO
The Afterlife, A gradual loss of Identity.
Including: One-No-One-And-One-Hundred-Thousand, A no-make-up-make-up-look, a burned-out-mascot, Marcus Aurelius, Muffins-with-equal-amount-of-blue-berries, Emmanuele Bardone’s-masquerade-as-General-della-Rovere, A pizza-man-called-Sateri, Time-person-of-the-year, and an Uh-den-duh!
The Rodina (Tereza Ruller)
Detooling and Retooling
What happens when the tools we use to design begin to determine what we are able to imagine? In a culture increasingly shaped by technological platforms, automated systems, and predesigned templates, it becomes necessary to question our tools and the ways of thinking they produce.
Through examples from her practice at The Rodina, Tereza Ruller explores how play, performance, and critical research can unsettle familiar methods. Detooling becomes a way of making space for other possibilities. Retooling is then an invitation to create conditions for imagining and being together differently.
Through examples from her practice at The Rodina, Tereza Ruller explores how play, performance, and critical research can unsettle familiar methods. Detooling becomes a way of making space for other possibilities. Retooling is then an invitation to create conditions for imagining and being together differently.
Gruppo Due (Moritz Appich & Bruno Jacoby)
Character of Characters
In Aspects of the Novel, E. M. Forster distinguishes between two basic types of characters: flat and round. Flat characters are two-dimensional and relatively uncomplicated. Round characters, by contrast, are complex figures with many different characteristics, sometimes sufficiently enough to surprise the reader.
With a typeface, the starting point is a seemingly lifeless set of flat characters, each with its own distinctive shape. But for a typeface to be displayed, it needs to come to life: it has to form words, be typed, be read. In other words, it has to be animated.
This idea of animation and character design — not only as movement, but also as the act of giving something a soul, a voice, or a sense of agency — becomes the starting point for a journey through our collaborative and individual practices. From the creation of our stone mascot to the introduction of various props, characters, and (round) letters, we’ll explore how this approach can expand beyond the design of flat and predictable systems. And maybe even how flat characters are sometimes less flat as they seem? Additionally, we’ll also introduce our first book, Ciao Do You Do, a publication dedicated to a literary exploration of type and speaking.
With a typeface, the starting point is a seemingly lifeless set of flat characters, each with its own distinctive shape. But for a typeface to be displayed, it needs to come to life: it has to form words, be typed, be read. In other words, it has to be animated.
This idea of animation and character design — not only as movement, but also as the act of giving something a soul, a voice, or a sense of agency — becomes the starting point for a journey through our collaborative and individual practices. From the creation of our stone mascot to the introduction of various props, characters, and (round) letters, we’ll explore how this approach can expand beyond the design of flat and predictable systems. And maybe even how flat characters are sometimes less flat as they seem? Additionally, we’ll also introduce our first book, Ciao Do You Do, a publication dedicated to a literary exploration of type and speaking.
Rosen Eveleigh
Title tbd.
Description tbd.
Supporting Program
Exhibition in the foyer
Title tbd.
We have asked students of HBK to present some of their works on the occasion of the conference.
Works by: Tbd.
Curated by: Lorraine BAuer, Anastasia Panzi, Jocelyn Biehl
Full Day
Exhibition