The official poster and overall visual design for Yokohama Triennale 2014 aim to visualize the exhibition’s key concept, “sea of oblivion,” using linocut images.
Under the direction of the graphic designer Ariyama Tatsuya, Michael Landy, one of the artists participating in the exhibition, provided the title lettering, and Yokohama-native artist Kasai Erika carved the letters using linocut.
The visual design emphasizes the stark contrast between black and white. The white image which appears to be purely white actually contains traces, at a closer look, of the huge amount of labor that was needed to carve out the letters. The other black image is an image of the actual block. It is the source of and a reply to the white image in question. This relationship between the black and white images is presented to remind us how we tend to forget the most essential things in the world.
Ariyama was born in 1966 in Saitama and graduated from the Department of Design at Tokyo University of the Arts. He established the Ariyama Design Store in 1993, after having worked as a designer at the Nakagaki Design Office for three years. He specializes in editorial and graphic design, and has worked on art direction of the magazines ku:nel (published by Magazine House) and Kumo no Ue (Above the Clouds), an information magazine issued by the City of Kitakyushu, among others. Bookbinding design by Ariyama includes publications such as 1972 (by Tsubouchi Yuzo, published by Bungeishunju) and Hyaku no Shirei (100 Orders) (by Hibino Katsuhiko, published by Asahi Press). He won the 35th Kodansha Award for Book Design of the Kodansha Publication Culture Awards.
Kasai was born in Yokohama in 1982. She began making works out of linoleum blocks in her teens, and completed a postgraduate program at Joshibi Junior College of Art and Design. She has pursued an interest in engraving and hand-printed images since the beginning of her career. In her work, she explores the distinctive shapes of letters, amasses collections of fine lines, and combines images made with thousands of blocks with minute lines and dots carved in them. She has produced covers and illustrations for books and held solo exhibitions of her work such as Linoleum Skin (2008) and Tama (2009). In 2003, she made prints for the title of the book 1972 (written by Tsubouchi Yuzo, published by Bungeishunju.)