SASCIA REIBELis a graphic and product designer. Her focus lays on printed matter, especially books and posters, with a strong detail on typography. She engages in projects within the cultural sector, and education.
WEBSITE UNDER CONSTRUCTION
LATEST PROJECTS—NEWSPAPER FOR XAVIER ROBLES DE MEDINAS GRADUATION SHOW, COLLABORATION WITH MORITZ KAMIL SIMON
EDUCATION+INTERNSHIPS 2011–2019–Communication Design as a major,–Product Design as a minor, HfG Karlsruhe, GERDiploma Degree: 1,0 + Summa cum laude2017–2018–Graphic Design, Master Programm, CAFA Beijing, CN2016–Internship Ludovic Balland, Basel, CH2015–San Seriffe, Pieter Verbeke, Elisabeth Clement, Amsterdam, NDL
WORK2019 –founding member of design Studio 'cc99'together with Larissa Mantel, Michelle Mantel and Julian Wallis.2018 –founding member of TransitoryWhite, online platform for the connectivity of intersected discourses of local, regional, and global perspectives on art, design and activism. 2015 –ZKM, assisting in publication design2012–2015 –student assistant of the communication design department and assistant of Prof Urs Lehni13–nowfreelance work
TEACHING2019–2020–Academic Assistant and lecturer forthe Institute for interactive practices of digital design at HfG Karlsruhe, GER2019–Workshop at STF Typefestival2018–Workshop with first year students of HfG Karlsruhe 2017–Workshop with first year students of HfG Karlsruhe2016–Workshop with first year students of HfG Karlsruhe2013-2014–Workshop series (Malclub)with Larissa Mantel drawing, Analogue Visuals, window display
FEATURES2019–Slanted Magazin, 'Europa'–Its nice that, on my work, 2018–Poster Tribune, Issue 82016–Its nice that, on my work–Its nice that, Intrus Sympathiques–Slanted Magazin
EXHIBITIONS2020–MAK (Museum für angewandte Kunst), group show, November 6, 2019, March 1, 2020, Vienna, AUT–ZHdK+Museum für Gestaltung Zürich, group show, December 21, 2019, January 10, 2020, Zurich, SUI2019–In the Paper Gallery, group show, February 22–March 23, 2019, Seoul, KOR–Kulturforum am Potsdamer Platz, group show, June 14–July 7, 2019, Berlin, GER–Museum Folkwang, group show, July 19–August 11 2019, Essen, GER–Quartier GÈnÈral, group show, July19–August 11, 2019, La Chaux-de-Fonds, SUI–Schule für Gestaltung St.Gallen, group show, September 6–24, 2019, St.Gallen, SUI–Staatliche Hochschule für Gestaltung Karlsruhe, group show, October 12–20, 2019, Karlsruhe, GER–ECAL/Ecole Cantonale d'art de Lausanne, group show, October 30–November 15, 2019, Lausanne, SUI2018–Belli Gallery, Cellophane, Milan, IT2017–Ficciones Typografika, Minneapolis, US–Intrus Sympathiques, Centre Cultural de Suisse, book launch, November 17, 2017, Paris, FRA2016–International Poster Exhibition, –The Lighthouse, UK
AWARDS + SCHOLARSHIPS2019–100 Best Posters from Germany, Austria and Switzerland (PROTO MIGRAINE BUILDINGS), Berlin, GER–100 Best Posters from Germany, Austria and Switzerland (LOOPHOLE), Berlin, GER–100 Best Posters from Germany, Austria and Switzerland (FREMDKÖRPER), 2019, Berlin, GER2018–Certificate of Typographic Excellence, TDC New York, US–Certificate, ADC Germany, GER2017–Most Beautiful Swiss Books (Intrus Sympatiques), Basel, SUI –Best Book Design from all over the World, Bronze Medal(Intrus Sympatiques), Leipzig, GER–PROMOS Scholarship, for a semester at CAFA Beijing, CN2016–Bronce Nail, ADC,(Jahresbericht 14-15)
LATEST PROJECTS—JUST RELEASED: A VISUAL ESSAY ON AN IKEA BRANCH IN BEIJING, CN
Before my graduation, I wanted to expand my field of vision again and spent a semester studying at the Central Academy of Fine Arts in Beijing. There were no plates in my first accommodation, but there was an Ikea not far from the university, which is the obvious place to stock up on cheap tableware. What struck me there was that superficially everything looked like I knew it from Germany, but the use of the furniture store was quite different from what I was used to from my visits.IKEA.CN is the result of observations I made between August 2017 and January 2018 during a stay in Beijing, China.
Cars as status symbols are omnipresent––however, nowhere in the world have I ever seen more luxury cars than in Beijing. The same thing goes for designer clothes, shoes and handbags (most of which are fake, though it’s hard to tell as replicas have become virtually indistinguishable from originals). The effect of this constant exposure to luxury goods, however, is imminent indifference––yet another pair of Balenciaga sock boots here, another quilted Chanel bag there. Fake or real, who knows?
BOOK PROJECTS—GRADUATION PROJECT–ZWISCHEN FÜNF UND NEUN
BOOK PROJECTS—ANNUAL REPORT HFG KARLSRUHE, 2015–2016
Der neue Jahresbericht der HfG Karlsruhe versammelt nicht nur eine Fülle exzellenter Projekte, Diplome und Dissertationen aus Kunst, Design und Theorie, die während des Wintersemesters 2015/16 und Sommersemesters 2016 an der Hochschule entstanden sind. Im Zentrum der über 700 Seiten starken Publikation steht insbesondere der Dialog zwischen den Disziplinen: In einer Reihe von Gesprächen diskutieren ProfessorInnen und MitarbeiterInnen der verschiedenen Kunst-, Design- und Theorie-Fachgruppen Themen wie berufliche Identität, fachliche Spezialisierung, das Zusammenspiel von Theorie und Praxis, den Umgang mit Dingen und die Rolle einer Gestaltungshochschule im 21. Jahrhundert.
Im Interview mit Peter Weibel, Direktor des ZKM Karlsruhe, und Siegfried Zielinski, Rektor der HfG seit Anfang 2016, geht es um die gemeinsame Geschichte und gemeinsame Zukunft der beiden Nachbarinstitutionen. Auch das Designkonzept des Bandes lädt zur Interaktion und zum Dialog ein, sowohl mit dem Buch selbst, als auch mit anderen, die es besitzen: Anstelle eines Covermotivs wurde ein Aufkleberbogen in acht Farbvarianten mit eingeschweißt, der die wichtigsten Informationen zur Publikation enthält – zum Beispiel Titel, ISBN und Erscheinungsjahr. Mit den Aufklebern kann das Jahresbericht-Cover individuell gestaltet werden.
BOOK PROJECTS—ANNUAL REPORT HFG KARLSRUHE, 2014–2015
The year 2014-2015 marked a change in the university history of the HfG Karlsruhe: After the departure of the rector Peter Sloterdijk, an initially unfilled personnel gap opened up - the simple cover of the annual report is a symbol of this break. We wanted to turn the annual report back into an object that students would also like to own, and then decided that we wanted to make the cover unique over the course of the print run. After some design tests, and the idea to produce the cover in digital printing, in order to be able to print 1000 different covers with the edition of 1000 pieces, we decided to intervene in the printing process instead of digitally creating 1000 different covers. The cover starts in print as a full-face red front. During printing, the printer turned off the machine's inking unit, but the sheets were still printed. Since less and less color hung on the bobbin, the course of pink turned out to be almost white, so that almost every copy has a different color.
We noticed a little late that the books were then too heavy and too big for normal shipping bags. The generous font sizes convey the idea of space, and in the individual department chapters, the photo and text of individual projects are linked with each other via cross-references. We kept the typography and the layout simple, which logistically proved to be the right decision, because the whole coordination and the tasks in the background still had to be managed. In doing so, we learned a lot about print production and dealing with a high print run, managing budget, communicating with printers, and what kind of co-ordination effort is invisible behind the end result.
BOOK PROJECTS—INTRUS SYMPATHIQUE
The concept and design for Intrus Sympathiques was developed by Tatjana Stürmer, Phil Zumbruch, Simon Knebl and myself in close collaboration with Olivier Lebrun and Urs Lehni. The book was published in conjunction with the first monographic exhibition of Chadebec's work in the Écomusée Creusot Montceau at Rollo Presse Verlag. Chadebec himself has only collected his work loosely and has not built up a consistent archive. His relationship to his work does not correspond to the "classic" of a graphic designer, a neat documentation pretty much did not happen at all. The documentation was then finally done by us; we took care of the poster repro-photography and also the image processing and print preparation. The starting point for the concept of the book was that it is not possible to imitate the striking effect of a poster in its original size in a print object, but that is not really necessary anyway.
WEBSITE AND IDENTITY FOR ART PLATFORM TRANSITORY WHITE
EDITORIAL—PORTFOLIO FOR LUKAS REHM AND TILMANN RÖDIGER
EDITORIAL—PORTFOLIO FOR PHOTOGRAPHER AND GRAPHIC DESIGNER TAIS SIROLE