Subscribers have full access to the expanding library of the European Review of Books.
On racial metonymy and the art of misidentification. (Meanwhile: has a glass of beer ever been more crisply and deliciously depicted? Has the froth of a European pilsner ever looked so delectable?)
A logo might start as a designer’s whim. Only then does one look for meanings to fill it with. On Europas: mythic, artistic, fictional, political, psychological, satirical, and finally unfinished.
On multinational packaging systems, « inflated fictions of transparency », desire and fulfillment.
On orthodoxies & heresies of typography. To serif, or sans-serif?
What does modern mean? Technically, etymologically, it means something happening now. But in Brazil, it often meant an embrace of newness as the possibility of reinvention. In Modernity in Black and White: Art and Image, Race and Identity in Brazil, 1890-1945, Rafael Cardoso unravels the myth of 1922.
« Europe », drawn from memory or intuition. Thick and thin strokes of charcoal: a nod to the coal and steel on which the polity of modern Europe is founded. But more mystical, too. These drawings represent, says the ERB’s print designer Patrick Doan, « the conviction that simple tools can grant us the power to face the god of paper. »
There sits a donkey before an open book, held between his forehooves in such a way that we can clearly see the pages. It is a family tree of sorts, with eight rows of seventeen standing donkeys.