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Palestine c/o Venice-Covers
Worlds apart2009The English and Arabic versions of the exhibition catalogue are designed as separate documents. -
Palestine c/o Venice-Covers close up
Back to the map2009The Arabic name is set in the style of calligraphy often found on traditional Arabic maps. -
Palestine c/o Venice-Inside pages 01
Line by line2009Following the cartographic visual language, the background of the catalogue’s inside pages was composed of cyan, magenta and yellow lines, mimicking the offset printing process to achieve the desired beige hue. -
Palestine c/o Venice-Inside pages 02
Text territories2009Captions in the exhibition catalogue arrange themselves freely alongside the images, while articles and endnotes get framed in round-corner boxes, alluding to the generally organic forms of land masses on a map. -
Palestine c/o Venice-Inside pages 03
The artist first2009The text hierarchy makes the artist name the most prominent in the catalogue. -
Palestine c/o Venice-Inside pages 04
Layout moves2009The catalogues’ inside pages vary between structure and rhythm. -
Palestine c/o Venice-Open cover
The big picture2009It’s only when the catalogue cover is fully open, flaps and all, that the whole globe appears and the (mis)location of Palestine can become apparent. -
MTG-Salon d'Automne-Catalogue 01
It's a wrap2016The jacket of the bilingual exhibition catalog features a landscape configuration of the line graph, which wraps around the Arabic and English covers. -
MTG-Salon d'Automne-Catalogue 02
Submitted/Exhibited2016 -
MTG-Salon d'Automne-Catalogue 03
Read both ways2016The catalog is read from right to left in Arabic, and the other way around in English, each with its own page numbering direction.
