Designers ‘should not have to pay to protect from copying’

Critics of Government plans to make design copying a criminal offence say the proposals do not go far enough.

Source: Paul Robertson

The Intellectual Property Bill, which is to be debated at Committee Stage in the House of Commons this week, would see deliberate copying of registered designs become a criminal offence.
However, some UK designers are pushing for more stringent legislation, which would see infringement of unregistered design rights also become a criminal offence.
Design right provides automatic protection for some aspects of designs, but registered design protection must be purchased from the Intellectual Property Office, with initial applications costing £60 each.
In a letter published in The Times today, designer Sebastian Conran says, ‘Theft is criminal whether it is designs or the goods made from them, and we should not have to register or pay to establish ownership.’
He adds, ‘Designers who have experienced blatant infringement urge the Government not to fall at the final hurdle and listen to those at grass roots and include criminal provisions for deliberate unregistered design infringement, as well as registered design infringement in line with copyright and trademarks.’
The issue of design rights was debated in Parliament during the Bill’s second reading last week.
Bob Stewart, Conservative MP for Beckenham, said, ‘I have listened carefully to the arguments about unregistered designs, and I wonder how this matter can be policed.
‘How will that be possible when no-one has actually said, “This is my design” and someone has agreed with them? That is really worrying.’
In response, Pete Wishart, SNP MP for Perth and North Perthshire, says, ‘Anti-Copying in Design has built up a database of unregistered designs, and tens of thousands of people have registered with it.
‘If that can be achieved by a small organisation such as ACID, which runs so efficiently and effectively with Dids Macdonald and her very small staff, surely the UK Government can do likewise.’

 

(Wed, 29 Jan 2014 | By Angus Montgomery)

New Tradition - the resurgence of British manufacturing

The decline of the British manufacturing industry since the 1960s was so catastrophic that it threatens even the memory of how well things were once made in Britain.

Rather than dwelling on this, Made North Gallery’s New Tradition exhibition looks to remind us of the quality of contemporary craftsmanship in the North of England - and indeed the demand for it today – by showing some off.
While cheaper manufacturing abroad continues to be a problem for some domestic industries, a long heritage in making quality and hand-crafted goods serves as a saving grace for many others.

Abbeyhorn was founded in 1749 and has been trading for four centuries, carving horn to produce functional items

Made North says, ‘in recent years there has been a growing demand for products with a Made in Britain label in global markets as a sign of quality and heritage.’
The exhibition spotlights manufacturers which have been based in the North of England for hundreds of years and in particular the work ‘demonstrates a unique combination of craft skills, materials, production values and expertise,’ according to the gallery.

Ernest Wright and Son is a family-owned company which has been making scissors and shears in Sheffield since 1902, and offers lifetime guarantees on its products

As a whole it will look at contemporary perceptions of consumer value ‘and our increased desire for authenticity quality and craftsmanship that is redefining contemporary craft and the UK’s manufacturing industry,’ says the gallery.
Manufacturers taking part in the exhibition include Royal Designer for Industry David Mellor, textile manufacturer John Smedley, Abbeyhorn, Ernest Wright Ltd, knife manufacturer Taylors Eye Witness, and Wentworth Pewter.
Made North also has plans to launch a range of New Tradition products over the next 12 months. These will champion local manufacturing and emphasise quality and craftsmanship while helping to forge relationships between emerging designers and established manufacturers.

By Ernest Wright and Son

The New Tradition exhibition runs from 5 February – 15 March, at Made North Design and Craft Gallery, Yorkshire Artspace, Persistence Works
21 Brown Street, Sheffield, S1 2BS

(Tue, 28 Jan 2014 | By Tom Banks)

Biomimicry in design

When designers, architects and engineers look to nature to solve problems, beautiful and effective solutions can be found.

Spider silk, stronger than steel

Designs by Mother Nature is a new exhibition designed by Fat Architecture which shows how products, buildings, and objects take their inspiration from nature through biomimicry.
Above all it seems like there are lots of stories to be found here, like Velcro, an idea which stuck to George de Mestral when his dog’s hair started picking up burdock thistles, which have a natural hook system.

Beauty and strength, a recurring theme in nature, are both found in the Venus Flower Basket Sponge which was also the inspiration for Norman Foster’s Gherkin, while this high speed AVE S-102 train took its aerodynamic nose from the beak shape of a mallard duck.

The mallard-shaped AVE S-102 train

Meanwhile radar developers have studied the natural echolation of bats to create new systems.
Fat has embedded the exhibition’s theme within the design of the Roca London Gallery space by using the mathematical Fibonnaci sequence as a framework. It’s often found to be a basis for biological forms.
The gallery says, ‘The formation unifies the exhibition categories with a dynamic and striking spatial experience through which visitors move.’

A nonporous Lotus leaf

The exhibition has been curated by Barcelona-based design and architecture studio Estudi Ramon Folch (ERF) which specialises in sustainability, alongside materials expert Chris Lefteri.
Design by Mother Nature – Biomimetic Products, runs from 27 February – 24 May 2014 at the Roca London Gallery, Station Court, Townmead Road, SW6 2PY

(Wed, 29 Jan 2014 | By Tom Banks)

Storm Thorgerson and Aubrey Powell: Masters of Album Cover Artwork

The term ‘master’ isn’t one to be used lightly, but in describing album artwork creators Storm Thorgerson and Aubrey Powell, it seems rather fitting.

Source: Published in 2012 by Hypergallery

10cc Deceptive Bends

The pair, who founded photo-design studio Hipgnosis, created numerous iconic sleeve design for artists including Pink Floyd, Led Zeppelin and Peter Gabriel, forming beguiling, psychedelic images that have informed the work of countless designers since.

Source: Published in 2014 by Hypergallery

Scorpions Love Drive

A one-day event in Birmingham next month will celebrate the work of Thorgerson and Powell, showcasing their famous images alongside nine previously unseen prints.

Source: Published in 2014 by Hypergallery

Strawbs DeadlinePublished in 2014 by Hypergallery

These include album covers for Scorpions, Strawbs and Wishbone Ash, created during the 1970s.

Aubrey Powell signing Wishbone Ash New England prints

In the afternoon of the event, Powell will be giving an hour-long talk, unearthing stories about the process of designing the covers, and giving insights into the start of his career.

10cc How Dare You! - photo of print

10cc fans are also in for a treat, with Powell said to be discussing how the band’s relationship with Hipgnosis first began.

10cc Bloody Tourists - photo of print

Alongside showing the prints, the gallery will feature an immersive stream of images and music from Pink Floyd, projected around the walls.

Source: Published in 2014 by Hypergallery

Be Bop Deluxe Drastic Plastic

Thorgerson and Powell were first approached by Pink Floyd to design a cover for them in 1967, creating 1968’s A Saucerful of Secrets cover, leading to more and more commissions, and resulting the formation of Hipgnosis.

Source: Published in 2014 by Hypergallery

Godley and Creme Freeze Frame

The studio was in business for the next 15 years, and was named after some graffiti the pair found on the door to their then-home.

Source: Published in 2014 by Hypergallery

Montrose Jump On It

Thorgerson said he felt the name had ‘a sense of contradiction, of an impossible co-existence, from the word Hip meaning cool and Gnostic, related to ancient learning’.
Indeed, it was a fitting title for a studio working in revolutionary ways, taking strange, photography-based mages and manipulated them into surreal collages way before the birth of photo-editing software using methods including multiple exposures, airbrush retouching, and mechanical cut-and-paste techniques.

Source: Published in 2014 by Hypergallery

Styx, Pieces of Eight

The final pieces have a cinematic quality, hinting at Thorgerson and Powell’s background as film graduates, and setting the tone for psychedelic, weird and wonderful artworks in the years that followed.
Storm Thorgerson and Aubrey Powell: Masters of Album Cover Artwork takes place on 22 February at St Pauls Gallery, 94 Northwood St, Birmingham, West Midlands B3

(Wed, 22 Jan 2014 | By Emily Gosling)

Accidental copying of design 'will not be criminalised'

The Intellectual Property Bill - which is currently passing through Parliament - will not criminalise those who copy registered designs without realising they have done so.

Source: Mike Cogh

In a Parliamentary debate this week, Minister for Universities and Science David Willets said that any action taken following the bill’s publication ‘will be measured to the high criminal standard of “proof beyond reasonable doubt”’.
Willetts’s comments came at a second reading of The intellectual Property Bill in the House of Commons, where he said the proposals will not have ‘a chilling effect on innovation or legitimate and competitive risk-taking in business’.
North Wiltshire MP James Gray - whose constituency includes the Dyson headquarters - raised concerns over the criminalisation which might be brought.
Gray said, ‘[Dyson] are concerned that [the bill] would criminalise people who might inadvertently copy someone else’s design. Will he [Willetts] not clarify that by inserting the word “intentionally”… to deal with the concern of people such as those who work at Dyson?’
Willets responded by saying, ‘The offence has been carefully drafted to ensure that innocent infringement is not caught.’
The Intellectual Property Bill, which has passed through the House of Lords and is now in the House of Commons, is a response to the Hargreaves review which identified the importance of intellectual property to the UK economy in 2011 and subsequent moves to bring about IP changes to law.
The new bill is devised to help UK businesses protect their IP rights and better understand what is protected under law, to reduce the need for costly litigation ‘and to provide greater certainty for investors in new designs and technologies’ according to Willetts.
Businesses would be supported by an international IP system under the new bill, which promises better design and patent protection.
Willets says that in particularly the bill will help ‘small and medium-sized enterprises, which raised concerns about protecting their designs in the consultation process’.
Other members of parliament, including Lewisham and West Penge MP Jim Dowd, raised the UKs ranking on the IP index – the international rnakings for Intellectual Property as a concern.
Willetts says, ‘We score well internationally on the quality of our IP protection, including being second in the world in respect of patents. The area where we underperform—down to fifth—is design. That is why this Bill specifically focuses on that area where our performance is weakest, as our legal framework on design is inadequate.’
Having received its second reading in Parliament, the Intellectual Property Bill is now set to go to the Committee stage in the Commons.

(Wed, 22 Jan 2014 | By Tom Banks)

V&A unveils plans for new Europe 1600 - 1800 galleries

The V&A has unveiled plans for its redesigned Europe 1600-1800 galleries, created by architects ZMMA.

Source: ZMMA

Rendering of the space

ZMMA is working on both architecture and exhibition design for the £12.5 million project, which forms part of the V&A’s Futureplan series of developments that started in 2000.
The Europe 1600 – 1800 Galleries are being part funded by a £4.75 million lead Heritage Lottery Fund grant, with other funding from ‘many other trusts, foundations and individuals’, says the V&A. They are due to open in December this year.

Source: Victoria and Albert Museum, London

The Triumph of the Archduchess Isabella in the Brussels Ommeganck (detail), Denys van Alsloot, 1616, Brussels

The galleries span more than 1800m2, comprising seven galleries and associated spaces in the Aston Webb frontage of the V&A along Cromwell Road and Exhibition Road. Around 1,100 objects will be on display.
ZMMA’s work will see them strip out the partitions created in the 1970s remodelling of the area, as well as adding an additional gallery to open up more than 500m2 of previously lost space for displays.
In line with the V&A’s overarching Futureplan objectives, the Grade I-listed building is being resorted, with the Aston Webb spaces ‘returned to their original form’, says ZMMA.
The architects add that its design will ‘create long vistas through the enfilade of spaces from gallery to gallery, display to display. Views are punctuated by key objects which weave a primary, seductive narrative’.

Source: Victoria and Albert Museum, London

Fan with the Triumph of Harlequin, Maria Felicita Subleyras, ca. 1750, Italy

Previously obscured windows in the space will be uncovered to give natural light, and environmental controls will be upgraded to give ‘sustainable and stable conditions for the collection’, says the V&A.
The displays, which include fashion, textiles, ceramics, paintings, metalwork and furniture, will be displayed chronologically in four large galleries (Europe and the World, 1600 – 1720, The Rise of France 1660 – 1720, City and Commerce 1720 – 1780 and Luxury, Liberty and Power 1760 – 1815), alternated with three smaller galleries that focus on specific aspects of the collection.
Three additional period rooms are designed to be immersive, interactive spaces that give visitors a sense of interiors from the 17^th and 18^th Centuries in Europe.
ZMMA says that ‘each gallery will have an individual atmosphere’ that resonates with the period and style of the collection it houses.
It adds, ‘Shifts of colour, lighting and arrangement of displays from one room to the next reinforce the experience of the transitions of architectural and decorative styles through the Baroque, Rococo and Neoclassical periods’.

Source: Victoria and Albert Museum, London

Fig.10 From The Handbook of The Jones Collection in The South Kensington Museum; Drawing Room at 95 Piccadilly, R.Clay and Sons, 1883. English

Among the objects to be displayed is a huge 18^th Century table fountain, which will be shown for the first time in 150 years following a conservation project that involved advanced 3D modelling and printing techniques.

Source: Victoria and Albert Museum, London

Steel gauntlets, ca. 1614, Spain

Martin Roth, V&A director, says, ‘These new galleries are a major development in our ambitious programme to renew the architecture of the V&A for the 21^st Century and, at the same time, re-examine and re-present our collection for visitors.
‘At a time when roles and relationships within Europe and the world are under scrutiny, it is interesting to explore the objects, makers and patrons of a period that was so influential upon the habits and lifestyle of Europe today’.

(Wed, 15 Jan 2014 | By Emily Gosling)

O Street creates graphics for Scotland's Nation of Dreams and Ideas

O Street has designed the graphics for the National Library of Scotland’s Wha’s Like Us? A Nation of Dreams and Ideas exhibition, working with Stuco, which created the exhibition design.

The Dandy

The show, which opens this week, displays pieces drawn from the library’s archive which ‘celebrate the outstanding achievements and contributions made by Scots and Scotland to the world’, says O Street.

Ewan McGregor in Trainspotting

The exhibition is displayed using an A-Z layout, and aims to demonstrate how ideas and innovations from Scotland and Scottish people have impacted the world. These include contributions to engineering and medicine, as well as more lighthearted topics such as jokes and ‘the ginger gene’.

The displays are set out in an A to Z format

Andy Graham, designer at O Street, says, ‘It’s really eclectic- you’ve got things form the 13^th Century next to The Dandy – so we wanted to make the graphics really clean and simple’.

Scottish design

O Street devised a layout based on the idea of an encyclopedia, using typography and a colour palette that aims to echo the look of a reference book.
The pieces in the show are given coloured dots that correspond to panels of text on the walls that give a further explanation of their provenance, to avoid surrounding the objects with too much text.

Pieces are on show from the depths of the library’s archive

O Street was brought in to work on the project in August last year by Stuco, which it had previously worked with on projects including exhibition graphics for the Sense of Place exhibition at the Lighthouse in Glasgow.

Exhibition graphics panel

The exhibition is part of the Scottish Government’s Homecoming Scotland 2014 initiative to celebrate the best of Scotland is this Commonwealth games year, and runs until 18 May.

(Wed, 15 Jan 2014 | By Emily Gosling)

Bulletproof helps Coke Zero launch 'Just add zero' campaign

Bulletproof has worked with Coca-Cola on the overhaul of Coke Zero’s brand and packaging which is being re-launched around a limited edition ‘just add zero’ proposition featuring a new red circular device. 

The consultancy, which is rostered by Coca-Cola, says it was approached at the beginning of 2013 and tasked with adapting the new look – which had launched in Australia – for the UK and European market.
Bulletproof says it has designed the identity, packaging and campaign identity for the UK and European markets.
‘New packaging takes on the form of the red zero disk featured in the campaign,’ says Bulletproof account manager Simon de Robillard who says it differs from the Australian brand ‘as everything is contained within the brand disk.’

It is the first time Coca-Cola Zero has been rebranded since it launched in the UK in 2006.
On Monday a TV ad and integrated marketing campaign will promote the re-launch, which will include outdoor and point of sale activity.
Coca-Cola says that the campaign, which includes a Nima Nourizadeh directed ad, has been created for ‘a new demographic of young people that has emerged out of challenging times with a positive outlook focused on living richer.’
Bríd Drohan-Stewart, Marketing Activation Director, Coca-Cola says, ‘For some people zero means nothing, but the Just Add Zero campaign shows that things get bigger, better, faster and greater when you add zero.’

(Mon, 13 Jan 2014 | By Tom Banks)

Inside Design with Fetherstonhaugh

For the first of its Inside Design shows of the year, London’s Great Western Studios has looked to graphic design brothers Fetherstonhaugh, who draw together three decades of projects for the exhibition and accompanying talk.

Finch’s Quarterly Review

Last year’s events took in designers including Pearson Lloyd, Dyson, Bill Amberg and Bethan Gray, and this will be the first time graphic designers have been the stars in the series.
Brothers and Fetherstonhaugh directors Tristram and Patrick formed their consultancy around 30 years ago, and will be showing projects they feel best represent each decade of their practice.

Patrick and Tristram Fetherstonhaugh

‘It has been fun [putting everything together’, they say. ‘We’ve grown up with [all the materials] around us so we’ve already known what’s there, but it’s nice to see it again’.
From the 1990s, Fetherstonhaugh has decided to show their work with Coutts Contemporary Art Foundation Award. The now-defunct prize was awarded each year, and the consultancy produced catalogues for artists, interviewed, photographed, wrote and commissioned articles and made a series of short films for each of the awards.

Concert cover

‘With those sort of projects you’re trying to create a neutral space for the art to come to the fore’, says Fetherstonhaugh. ‘We regard a lot of what we do as “communication”, but not in an ad sense.
‘For us, there’s a client, and then they have their clients, so we have to think about what they want to say and what their clients want to hear. You’ve got to produce something that makes everyone happy’.
Fetherstonhaugh’s aim, say the brothers, is to create designs that are timeless – ‘the right design for the right place’.
‘With us it’s best if you don’t really see that it’s been designed’, they explain. ‘It stops you from making something that could go out of fashion’.

Beyond Bespoke No1 books

Their project from the 2000s is their gorgeous work for Finch’s Quarterly Review, a glossy luxury and lifestyle newspaper-style publication covering film, media, art, music, culture and finance. The design is a beautiful, carefully anarchic style, with a traditional tabloid style layout balanced by clever use of typography and a wealth of brilliant images, including rare photographs of David Hockey.

Butterfield Asset Management spread

The final project the pair will discuss is their new Galleries Now website, an international art listings site. Unlike its peers, it’s refreshingly simple to navigate, selecting the best galleries from cities including London, New York and Berlin and allowing users to search by closing date, opening date and location.

GalleriesNow

Alongside examples of the complete projects, the show will also display the process behind creating them, with a talk on 13 February looking to outline ‘everything else’ not covered in the show.
Inside Design with Fetherstonhaugh runs from 14 – 25 February at Great Western Studios, 65 Alfred Road, London W2

Viveteria for Selfridge’s

(Mon, 13 Jan 2014 | By Emily Gosling)

Norwegian folklore-based designs for new London venue Oslo

Consultancy The House With has created the branding and interiors for new east London venue Oslo, themed around Norwegian myth and fairy-tales.

Oslo

The designs are inspired by a Scandinavian aesthetic, and draw on the ‘theatrical nostalgia of Norwegian folklore… oceans, forests and mythical creatures’, according to The House With.
Andy Lampard, creative partner at The House With, says, ‘George [Akins] the owner came up with the name as his mother’s from Olso, and he liked the word. He was interested in a Scandinavian design but not necessarily minimal – something more luxurious.
‘It’s in an area full of artists so we wanted to give it a creative twist’.

Oslo illustrations

Throughout the venue graphic panels will show illustrations by Jon Powell, inspired by Norwegian fairy-tales and traditional sea shanties. The stairwell area will show pictures focussing on a ‘dark Norwegian forest’ while the upstairs music venue will be have more of a ‘Brothers Grimm, dark night-style fairy-tale undertone’, says Lampard.
The branding draws on the restaurant’s menus, with the wheel-like logo inspired by cattle branding tools, referencing the meat; and an anchor-like second logo, used in the interiors, referencing the fish.

Bar view

The interior features include raw oak slabs, reeded glass, large velvet curtains and linen shades, aiming to create ‘ a sense of faded grandeur - true to the building’s era’, says The House With.
The consultancy says, ‘A beautiful piece of architecture, simply dressing and accentuating the space with the envisaged story was all that was needed.

‘This historical character provided us with a great starting point of the grand high ceilings, exposed original brickworks and impressive Victorian arched windows.’

Restaurant

The restaurant, bar and music venue opens this week in Hackney in a two-story building originally built by North London Railway Company as Hackney Central railway station in 1870.
It was later used as a ticket office during World War II, and is the only surviving part of the original station, which was closed in 1970s.

Olso interiors

(Mon, 13 Jan 2014 | By Emily Gosling)

Asif Khan designs ‘a Mount Rushmore of the digital age’ for Sochi Winter OIympics

Architect Asif Khan has designed a façade for the 2014 Winter Olympics Pavilion in Sochi, dubbed ‘a Mount Rushmore of the digital age’.

MegaFaces

The façade will appear as the centerpiece of the pavilion of the Russian telecom operator MegaFon at the Olympic park, and will take the form of a kinetic and interactive structure that displays the faces of visitors as changing three-dimensional portraits.
The piece, called MegaFaces, takes images captured of visitors in 3D photo booth-like devices, which will be situated at the Olympic park and at selected MegaFon branches. The booth captures five images of the visitor’s face simultaneously from slightly different angles to assemble a 3D image, which will then be displayed for 20 seconds on the façade.

Pavilion day render

Participants can watch the exact moment when their face appears on the facade via a website and they receive a personal, 20-second video.
Due to the constantly shifting nature of the images, the piece will see the faces form, disappear and morph into a new image.
Khan realized the project with design and engineering group iart, which he worked with on the Coca-Cola Beatbox Pavilion at the London 2012 Olympic Games.

MegaFaces

Valentin Spiess, iart chief executive and chief engineer of the MegaFaces façade, says, ‘In December 2012 Asif Khan called to tell me about an architectural competition for the Russian telecom operator MegaFon for the Winter Olympic Games in Sochi.
‘Asif had the idea of a facade capable of displaying human faces and asked if I would help. It sounded like an exciting challenge, so of course I agreed. Only afterwards it became clear that the facade was supposed to show faces in the third dimension, thus had to be able to change shape and to do so approximately every fifteen seconds! A real challenge.’
Khan and iart collaborated to create a bespoke system that uses a fast 3D scanning process based on a photographic scanning approach, bypassing the current technology that requires sitters to remain still for at least a minute in order to capture a 3D image.
Spiess says, ‘We have evaluated and tested four different technologies. Major challenges were for example the digitisation of hair, including beards, or the scanning of different skin types.’
‘The system that we needed was not available on the market, and so we ended up building it ourselves after all.’
The facade is built in a modular way so that it can be dismantled and set up again at a new location, meaning possible reuse after the Winter Olympic Games. The pavilion will open on7 February.

(Fri, 10 Jan 2014 | By Emily Gosling)

Heavy Weight History

Moving weightlifting away from preconceived ideas of oily, grunting men in a fetid-smelling corner of a gym and into the political sphere is Christian Jankowski’s latest project, Heavy Weight History.

Source: © Christian Jankowski; courtesy Lisson Gallery, London

Christian JankowskiHeavy Weight History, 2013Video, 25 min. colour, sound

The German artist’s new show at London’s Lisson Gallery will present a series of photographs, a 25-minute film and an installation, created in the wake of a trip to Poland, in which weightlifters were invited to try and pick up a series of huge public sculptures in Poland’s capital, Warsaw.

Source: © Christian Jankowski; courtesy Lisson Gallery, London

Christian Jankowski Heavy Weight History, 2013 Video, 25 min. colour, sound

The burly bunch are seen sporting their national colours of red and white while attempting to uproot the enormous, dense monuments.

Source: © Christian Jankowski; courtesy Lisson Gallery, London

Christian JankowskiHeavy Weight History, 2013Video, 25 min. colour, sound

Those they approached include more than one Communist-era memorial, a Ronald Reagan statue and the figure of Syrenka the Mermaid, an ‘often-vandalised’ symbol of the city, says the gallery, first erected in 1859.

Source: © Christian Jankowski; courtesy Lisson Gallery, London

Christian Jankowski Heavy Weight History, 2013 Video, 25 min. colour, sound

The efforts of the group to lift these pieces aim to suggest the notion of ‘attempting to lift the very burden of history on to their shoulders’, according to Lisson Gallery, with Jankowski ‘questioning the continued relevance and future siting of public sculpture’.

Source: © Christian Jankowski; courtesy Lisson Gallery, London

Christian Jankowski Heavy Weight History, 2013 Video, 25 min. colour, sound

The film takes a documentary feel in the style of a reality television show, with Jankowski bringing in a sports commentator well-known in his native Poland to describe the exploits of the beefy fellows.

Source: © Christian Jankowski; courtesy Lisson Gallery, London

Christian JankowskiHeavy Weight History, 2013Video, 25 min. colour, sound

Alongside the Heavy Weight History film, Lisson Gallery will also be showing  Jankowski’s 2012 film Crying for the March of Humanity, which sees the artist remake a Mexican soap opera, replacing the dialogue with the actors sobbing.
Christian Jankowski, Heavy Weight History, runs from 31 January – 8 March at Lisson Gallery, 52-54 Bell Street, London NW1www.lissongallery.com

(Fri, 10 Jan 2014 | By Emily Gosling)