56th Venice Art Biennale
Latvian Pavilion “ARMPIT”
Visual Identity
56th Venice Art Biennale
Latvian Pavilion “ARMPIT”
Visual Identity
56th Venice Art Biennale
Latvian Pavilion “ARMPIT”
Visual Identity
56th Venice Art Biennale
Latvian Pavilion “ARMPIT”
Visual Identity
We designed the visual identity for Latvian Pavilion at the 56th Venice Biennale. The theme chosen was ARMPIT, and it consisted of multimedia art installation by artists Katrīna Neiburga and Andris Eglītis is a spatial monument to marginal everyday creativity.
It was inspired by a sample of vernacular architecture with local character – the Soviet era co-ops of private garages whose owners have adapted them for the hybrid use as workshops-cum-dachas. The closed microcosm of garage co-ops, where the socio-economic environment has blended with personal space, provides a step back in time. Men are still boys, but their tinkering is both the trade and hobby of individual entrepreneurs, since self-exploitation as leisure time activity is a time capsule where neoliberalism has enclosed the postindustrial proletariat.
To reflect this in the visual identity of the exhibition, we decided to construct the main visual element - inverted "L" from different pictures used in the exhibition, similarly to how the sheds where men undertake their projects are constructed.
We designed the visual identity for Latvian Pavillion at the 56th Venice Biennale. The theme chosen was ARMPIT, and it consisted of multimedia art installation by artists Katrīna Neiburga and Andris Eglītis is a spatial monument to marginal everyday creativity.
It was inspired by a sample of vernacular architecture with local character – the Soviet era co-ops of private garages whose owners have adapted them for the hybrid use as workshops-cum-dachas. The closed microcosm of garage co-ops, where the socio-economic environment has blended with personal space, provides a step back in time. Men are still boys, but their tinkering is both the trade and hobby of individual entrepreneurs, since self-exploitation as leisure time activity is a time capsule where neoliberalism has enclosed the postindustrial proletariat.
To reflect this in the visual identity of the exhibition, we decided to construct the main visual element - inverted "L" from different pictures used in the exhibition, similarly to how the sheds where men undertake their projects are constructed.
We designed the visual identity for Latvian Pavilion at the 56th Venice Biennale. The theme chosen was ARMPIT, and it consisted of multimedia art installation by artists Katrīna Neiburga and Andris Eglītis is a spatial monument to marginal everyday creativity.
It was inspired by a sample of vernacular architecture with local character – the Soviet era co-ops of private garages whose owners have adapted them for the hybrid use as workshops-cum-dachas. The closed microcosm of garage co-ops, where the socio-economic environment has blended with personal space, provides a step back in time. Men are still boys, but their tinkering is both the trade and hobby of individual entrepreneurs, since self-exploitation as leisure time activity is a time capsule where neoliberalism has enclosed the postindustrial proletariat.
To reflect this in the visual identity of the exhibition, we decided to construct the main visual element - inverted "L" from different pictures used in the exhibition, similarly to how the sheds where men undertake their projects are constructed.
We designed the visual identity for Latvian Pavilion at the 56th Venice Biennale. The theme chosen was ARMPIT, and it consisted of multimedia art installation by artists Katrīna Neiburga and Andris Eglītis is a spatial monument to marginal everyday creativity.
It was inspired by a sample of vernacular architecture with local character – the Soviet era co-ops of private garages whose owners have adapted them for the hybrid use as workshops-cum-dachas. The closed microcosm of garage co-ops, where the socio-economic environment has blended with personal space, provides a step back in time. Men are still boys, but their tinkering is both the trade and hobby of individual entrepreneurs, since self-exploitation as leisure time activity is a time capsule where neoliberalism has enclosed the postindustrial proletariat.
To reflect this in the visual identity of the exhibition, we decided to construct the main visual element - inverted "L" from different pictures used in the exhibition, similarly to how the sheds where men undertake their projects are constructed.
