BOOKS, POSTERS, MULTIPLES / OBJECTS / AUDIO WORK / SOUVENIRS, CARDS BY LAWRENCE WEINER & STATEMENTS ON TYPE. LAWRENCE WEINER INTERVIEWED BY HENDRIKE NAGEL & TINO GRASS. NEW YORK CITY 2011

salescatalog on the occasion of / verkaufskatalog anlässlich der: art cologne 2014. stefan schuelke fine books, köln. photo: dennys hill, köln.

STATEMENTS ON TYPE

LAWRENCE WEINER INTERVIEWED BY HENDRIKE NAGEL & TINO GRASS, NEW YORK CITY 2011

What impact and sense does type has for the society? In everyday life most of the time type only carries information, does it have a different function in your approach of work?

WHAT IF A TYPEFONT IS JUST IN FACT THE CLOTHING ONE SHOWS TO PUT ON IN ORDER TO STAND UP WITHIN THE SOCIETY & PRESENT WHATSOEVER IT IS ONE HAS TO SAY

In visual communication there are applications, specific typefaces. You put different demands on a type which has to work as an orientation system, than the one which you use for the book or website. Do you have a specific or a specifically developed typeface for your work and what kind of requirements does it have to satisfy? Some works like the one in Münster are working with a very different type than most of your other works. From what does that depend on?

THERE ARE TIMES WHEN THE MEANS (POSSIBILITIES) OF A CERTAIN MATERIAL DEMAND AN ADAPTATION OF AN ESSENTIAL SENSE OF TYPEFONT

MÜNSTER WAS ONE OF THOSE TIMES WHEN THE WATER OR LASER CUTTING & WHERE IT WOULD BE PLACED WITHIN THE CITY DETERMINED THE TYPEFONT

ONE TRIES THEN TO FIND AN ADAPTATION THAT DOES NOT GO AGAINST A SENSE OF FORM

In your work you predominantly operate with capital letters, is this a visual decision or do you use it as an additional linguistic aspect?

IN ENGLISH THE USE OF CAPITAL LETTERS IS A VISUAL DECISION BUT AS THE WORK IS DESIGNED TO BE TRANSLATED FROM ONE LANGUAGE TO ANOTHER THE USE OF CAPITALS REMOVES THE HIERARCHY WITHIN A LINGUISTIC STRUCTURE BETWEEN NOUNS & VERBS

THESE LANGUAGES WERE DEVELOPED BEFORE THERE WAS AN AWARENESS THAT AN ACTION IS MOST LIKELY AN OBJECT

IT IS ALSO EASIER TO READ

How important is it for you that your work is easily readable? I think readability effects on what the viewer perceives at first, the message / information or the visual composition. Do you have any views on expectations or preferences for this behavior?

OBVIOUSLY IT IS IMPORTANT TO BE LEGIBLE

In the context of your work to which extent do you deal with regulations of typography?

NOT BEING A DESIGNER & BEING AN ARTIST THAT HAS TO USE THESE MATERIALS IN ORDER TO PRESENT THEIR WORK BY THE TIME I REALIZED I MIGHT BE BREAKING RULES OF TYPOGRAPHY WHAT I HAD DONE HAD ALREADY ENTERED INTO THE CONVERSATION

IT IS THE CONTENT OF MY WORK WITH WHICH I HOPE TO BREAK PRECONCEIVED PATTERNS OF RELATIONSHIPS OF HUMAN BEINGS TO OBJECTS & OBJECTS TO OBJECTS IN RELATION TO HUMAN BEINGS

There are language works which you have presented in different ways at different locations. How far does your work depend on time and space? The change of context can have a strong effect on the perception of message. 

ALL CONTEXTS ARE DIFFERENT FROM ALL OTHERS

IF THE SHOE FITS WEAR IT

Experiences and associations people can influence the way of the perception of language. To what extent does the cultural aspect of language affect on you and your work? 

IT IS THE SAME AS THE PREVIOUS QUESTION & ANSWER

THE WORK CARRIES WITH IT NO METAPHOR

THE PUBLIC BRINGS THEIR NEEDS & DESIRES TO CREATE A METAPHOR & I HAVE NO DETERMINATION OF WHAT THEIR PAST EXPERIENCE IS NOR DO I HAVE A DETERMINATION OF WHAT THEIR FUTURE EXPERIENCE SHALL BE OTHER THAN THAT IT INCORPORATES A SENSE OF DIGNITY FOR THE MATERIALS REFERRED TO

How does the creative process of your work looks like? Do you start with an idea or do you find the visual compositions of your text and the materials you use to exhibit in the environment?

THE SO CALLED PRESENTATION OF THE WORK HAS VERY LITTLE TO DO WITH THE SCULPTURAL FORMULATION OF THE WORK ITSELF

LETS LEAVE IT AT THE WORK ENTERS INTO THE STREAM OF LIFE & THAT STREAM IS NEVER THE SAME AT ANY POINT

What do you think is the future of type?

OTHER THAN THE ACADEMIC DILEMMA OF WHAT TO CALL WHAT ONE IS TRYING TO TEACH THREE DOTS A STROPHE A LETTER OR ANY OTHER MARKING IN FACT REQUIRES A FORM OF TYPE TO BE REPRESENTED

THE CONTENT OF WHAT IS PRESENTED DOES NOT CHANGE WHEN IT ADAPTS TO DIGITAL GRAFFITI  ETC.

THE FUTURE OF TYPE WILL MOST LIKELY INCORPORATE SOME FORM OF READABILITY