Alles in Ordnung
Year: 2011
Format: 20 × 24,5 cm
Client: Andreas Meichsner
Credits: NODE Berlin Oslo
Archive #11030
‘A silent observer, Andreas Meichsner documents in his photographs how that vacation we’ve been waiting for so long has a way of plunging us into an agonizing tug-of-war between the contradictory need for freedom on the one hand and security on the other. The reassuring words Andreas Meichsner stand for a fevered “organizing” of the yearned-for and yet also somehow menacing liberation from workaday life – with the paradoxical result that even vacation time ends up being packed full of structured activities. Meichsner explores in a subtle and humorous fashion the question of whether, in a society dominated more and more by job insecurity and – by necessity – flexibility, we might today be witnessing a burgeoning desire for boring, safe predictability.’
The book presents Meichsner’s photo series in a strict grid, the titles are set in fairly large, condensed capital letters, arranged at the margins of the page. The layout allows little flexibility in regard to the placement of elements. The cover typography is ‘all sorted’ as well.
Year: 2011
Format: 20 × 24,5 cm
Client: Andreas Meichsner
Credits: NODE Berlin Oslo
Archive #11030
‘A silent observer, Andreas Meichsner documents in his photographs how that vacation we’ve been waiting for so long has a way of plunging us into an agonizing tug-of-war between the contradictory need for freedom on the one hand and security on the other. The reassuring words Andreas Meichsner stand for a fevered “organizing” of the yearned-for and yet also somehow menacing liberation from workaday life – with the paradoxical result that even vacation time ends up being packed full of structured activities. Meichsner explores in a subtle and humorous fashion the question of whether, in a society dominated more and more by job insecurity and – by necessity – flexibility, we might today be witnessing a burgeoning desire for boring, safe predictability.’
The book presents Meichsner’s photo series in a strict grid, the titles are set in fairly large, condensed capital letters, arranged at the margins of the page. The layout allows little flexibility in regard to the placement of elements. The cover typography is ‘all sorted’ as well.