ISABELLE VAVERKA MAIL












THE BOOK
Today there are many possibilities to obtain literature in a non-physical
condition. I became fascinated by the division of content and form and started
to think about my personal collection of literature from a different point
of view. What is a book if it is not only a carrier of written words? What else
is attached to these objects, besides their content? For 'The Book' I created
artifacts of my own book collection, focusing on the memory connected to these
objects or their physical condition. George Orwell's '1984' turns into 'The Book
in which I've found a purple blossom', Emily Brontë's 'Wuthering Heights'
becomes 'The Book that fell in a Swimming Pool'. The bookshelf has been adapted
to underline each book's position, and to house an archive of memories.
2009







UN-SHOCKING VISION, UN-VISIBLE SHOCK
Graduation thesis; divided in three parts: about the production,
distribution and consumption of the "shocking image" within
New Media and Art; 2009







ARTEZ INSTITUTE OF ARCHITECTURE
Graduation catalogue 2008, in collaboration with
Manon den Hartog; 2009











0 / 45 / 90 / 135
This font is based on the idea to build the exact opposite form of
a letter by turning the horizontal and vertical lines 90 degrees
from their centerpoint. There are two more versions, turned 45 and
135 degrees. Screenprint; 2009



DE MYTHOLOGISERING VAN HET NU
Invitation for Straalstroom #2, an exhibition curated by
Dagmar Donners at Artists' Initiative Paraplufabriek;
printed on old history books; in collaboration with Daniel
Melse, Dimitri van Loenen and Klaas Melenhorst; 2008



ABOUT NIHILISM, SILENCE AND THE REFUSAL TO SPEAK
Invitation for Straalstroom #3, an exhibition curated by
Jasiek Mischke at Artists' Initiative Paraplufabriek; 2008









TECHNICAL POETRY
Zine; 2008



ARNHEM FASHION SHOW & PRODUCT DESIGN EXHIBITION
Poster proposals, in collaboration with Anne Sijmons; 2008



WORLDWIDE INTERNET USERS / NON-INTERNET USERS
2007



DEUTSCHLAND 2005 - 2007
In 2003, the German city of Wolfsburg decided to change its name for six weeks.
In order to celebrate the production of the new Volkswagen Golf, Wolfsburg was
temporarily renamed ‘Golfsburg’. Why did the city choose to associate itself with
their local number 1 company? In a series of proposals (two of which are shown
here) this phenomenon is extrapolated to a national scale. What happens if all
cities of a nation identify themselves with their most powerful and influential
brands? The image of a city would be interchangeable and would depend on economic
forces and market developments instead of culture, history and society. Cities
would become billboards reserved for successful multinationals. This concept is
integrated into a series of German stamps. By shifting values to an exclusive
association with the economic realm, the hollowing out of the nation state becomes
apparent; published in HTV No.72, A Democratic Brand Paradox, edited by Metahaven;
2008






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2009 ©