Pattern we made for This is Chorus

This pattern we made for This is Chrous is inspired by skeuomorphs, which are visual information appendixes. Please see the blogpost we made a year ago investigating examples of it.
This is Chrous is a freshly debuting Fashion brand from Melbourne, Australia. They express that their agency lies in the ‘inbetween’, both that moment of contradiction when serious bursts with humour, and the instant old becomes new.
Please visit their page for more information and for further inquiries and orders please contact Cassandra Wheat.

For the ones who follow us in instagram (pinar_and_viola), as soon as we receive the garments, we’ll put self-mirror shots covered in the pattern we designed. : )

This entry was written by Pinar&Viola, posted on November 29, 2012 at 2:13 pm, filed under Craftsmanship, Ecstatic Surface Design, Fashion, Friends, Pinar&Viola, Published, Visual ecstasy. Leave a comment or view the discussion at the permalink.

P&V 4 Adidas

We recently made a Adididas post, under the category, Research where we gathered bootleg version of the trefoil logo. The research was meant for a project we were hand crafting for Adidas. When they asked us to make a pattern, we took the chance to make a Ghetto-glam-didas version of the brand. Please look closer to the ecstatic pattern.

This entry was written by Pinar&Viola, posted on November 27, 2012 at 10:10 am, filed under Craftsmanship, Decadence, Dematerialization, Digitalization, Ecstatic Surface Design, Ghetto gold, Pinar&Viola, Published, Visual ecstasy. Leave a comment or view the discussion at the permalink.

We have a new monthly Dazed Digital column

Our dear friends in Dazed invited us to be a guest contributors to their blog. From November on, we’ll have a monthly post about digital folk. As our first, we present you Turkey’s anti-evolutionist showgirls. An Islamist fringes wraps its hard anti-Darwin message in skin-tight Versace, drag-queen make-up and po-mo posing.

For November, we briefly present a female creationist ensemble from Turkey. These girls have proven that Islam, sexual objectification, passion, belief, tabloidization, manipulation, anti-Darwin and Versace can come together. Five Turkish bombshells, they are often referred as the girls, angels or kitten of Adnan Oktar, a self-taught Islamic preacher who gained respect for his fervent Creationist teachings. He presents his beliefs as a reformed and urbanized versions of Islam, where he clearly states Muslims, Christians and Jews should unite against the corrupting influence of Darwinism. He is also the author of the books Atlas of Creation Quadriology, an anti-evolution, Islamic-saga bouillabaisse. It displays a stunning ignorance of basic biology, and 6 legged humans skeleton visualizations are among the arguments that are employed to contradict Darwin.

This fabulous five consists of Gülşah Güçyetmez, Ceylan Özbudak, Ebru Altan, Damla Pamir and Aylin Kocaman. They are the bewildering accessories of the TV Show Adnan Oktar Chat Time at the religious channel A9. Every night these blazing women come together with the Islamic Creation packmaster Mr. Oktar. They hold discussions about Islam, pseudo-insta-fossils discrediting evolution and their favorite topic: Mr. Oktar.

This surreal set-up might be hard to grasp for a non-Turkish person. (One half of Pinar&Viola is Turkish). These woman contradict the terrorized image of Muslims used in the global press, while going completely against all the hardwork feminist activists have been battling over the years. While the restrictive state of Turkish journalism grows into a national shame, scandal and sensation still makes up a huge part of the Turkish media. Five voluptuous ladies with a combination of Zentai-tight, now-in-style Versace garments and make-up capable of making drag queens jealous, rubbing shoulders with religious sisterhood, and many references to history’s matriarchs.

These five women state they behave following the ethics of Kur’an, where it’s written the ones Allah guides look alike, as a reaction to questions regarding their similar looks. All of these girls have their own individual social media stardoms where they make loud manifestations adding to their media attention.

It’s not the first time that sensationalism, lies and cheap entertainment have been used to boost the ratings of a TV program, especially not in Turkey. That’s why the educated, intellectual, secular part of the Turkish population became completely immune to this first-degree propaganda. Their solution is simple, and troublesome – make fun of it.

This entry was written by Pinar&Viola, posted on November 21, 2012 at 11:05 am, filed under Decadence, Dematerialization, Fashion, Folk, Friends, Ghetto gold, Glam Chaos, Other ecstatics, P&V for Dazed Digital, Persona, Pinar&Viola, Published, Various, Visual ecstasy. Leave a comment or view the discussion at the permalink.

Dazed & Confused November issue

Our Ecstatic Surface 2013 Collection Scandal Aqua is handsomely featured in Dazed’s November art issue.

This entry was written by Pinar&Viola, posted on October 29, 2012 at 2:23 pm, filed under Ecstatic Surface Design, Pinar&Viola, Published. Leave a comment or view the discussion at the permalink.

Soft Power Ballad

The illustration we made for Bloomberg Businessweek.
The article covers Ruhan Jia, the Chinese popstar sponsored by the government to become a world-wide pop star. Very interesting article. You can read it at here.

This entry was written by Pinar&Viola, posted on October 10, 2012 at 9:17 pm, filed under Chinese sugar, Decadence, Dematerialization, Efficiency, Glam Chaos, Music, Pinar&Viola, Published, Trending, Utterly China. Leave a comment or view the discussion at the permalink.

Fabio, a.k.a Mr. Romance

Artwork we made for Bullett Magazine

Custom-tailoed artwork for Bullett Magazine’s Romance issue. The ecstatic image recursively displays Fabio Lanzoni, an Italian fashion model, spokesperson, author, actor, who appeared on the cover of hundreds of romance novels throughout the 1980s and 1990s. For their September 2012 issue, Bullett Magazine made Fabio, a.k.a Mr. Romance answer their readers’ questions about love, relationships, intimacy and romance.
Hereby an example to these questions:
Dear Fabio, what is the secret to true love forever? My friend, you have the heart of a romantic. This is a question that only you can answer for yourself. In my travels I have found that honesty, friendship, loyalty and mutual respect are essential elements. Enjoy the journey!

This entry was written by Pinar&Viola, posted on September 24, 2012 at 8:08 am, filed under Craftsmanship, Digitalization, Ecstatic Surface Design, Pinar&Viola, Published, Visual ecstasy. Leave a comment or view the discussion at the permalink.

Launch of our new collection: Scandal Aqua

Next Thursday, September 6th, our new Ecstatic Surface Collection 2013, Scandal Aqua will be launched at Pilevneli Project in Istanbul. Hereby two images from the collection and our portrait taken by the photographer of the gallery, Isik Kaya, together with our personal video invitation and the text written by the curator of Cobra Museum, Hilde de Bruijn.
We hope to see you with us at 7pm at Pilevneli Project.

Scandal Aqua
Ecstatic Surface Collection 2013
Thrill Seekers Leaked

Collection 2013 is the third Ecstatic Surface Design Collection by Amsterdam-based graphic design duo Pinar&Viola. Their collections are non-commissioned, autonomous projects based on current events in politics, culture and economy, encapsulating the beauty and horror of the contemporary. As the recurring term ‘Ecstatic Surface Design’ indicates, the collections (like Pinar&Viola’s other work) are strongly focused on the aestheticized and commercialized designed surfaces that surround us, and with their design they seek to investigate the latent violence, the power structures, behind these surfaces. In their own words, the 2011 Collection for instance staged oversized credit cards as “toxic pieces of plastic, shown as an all-encompassing metaphor for shattered dreams, disappointment, the changing notion of value and the mutating concept of ‘credit’”.
The 2012 collection consisted of images that belong to “the secret collection of the fictitious persona Scarf_whiz80. Snapshots, carefully manipulated pictures and skilful photomontages, all portraying veiled divas built a critique on societal norms of gender, race, religion and sexuality, including destructions of stereotypes and ideologies.”

The bath towels of the 2013 Collection are lavishly decorated with an overload of symbols, icons, and gadgets taken from popular and vernacular culture. Let me list some of Pinar&Viola’s main ingredients for this project:
Think pop star posters. Think Justin Bieber towels gone wrong. Think Tumblr.
Think Twitter. Think teen girls experiments with blingees.
Think webcam chats. Think Wikileaks. Think sexting.
And now we’re at it anyway: think Berlusconi, and the man whose name was mentioned so often in the press that we now, with an oddly intimate ring to it, refer to him as DSK. Two men whose sexual scandals are too well-known to be repeated here. Think the image of Democratic Congresman David Wu, dressed in a tiger suit with his hands in the air to a female aide. (Wu resigned after being accused of having an ‘unwanted sexual encounter’ with the teenage daughter of a friend.) And last but not least think of Congresman Chris Lee, who photographed himself shirtless in a bathroom mirror and sent the pictures to a woman he supposedly contacted on Craigslist.

The towels directly speak to our senses. In fact, at first, their pink-purplish backgrounds might even have a slightly nauseating effect. On top of that, the abundant amount of kittens, icons from Blackberry’s love theme, blingbling items, and other kitschy elements seem to have little to do with the frame of reference of the average grownup. And personally, I even felt a bit revolted by the idea of pressing the image of that overly self-aware looking, slick middle-aged man with fake smile who is at the heart of each towel’s composition, to my freshly showered body.

Clearly, the intended users of these towels must be the wet-haired teenage Tumblr generation girls, who’s photographs, taken with their smart phones in the private space of their bath rooms, are part of the Collection too. But then what is the relationship between the girls, each wrapped in one of the towels, and this man? There is a photograph of him in his bathroom too, at odds with the carefully controlled image he is presenting with the towels. In the photograph, he is wearing his own personal towel with a distorted pin-stripe pattern, and hashtag sign followed by the word charisma – as if to stress his popularity. Are the girls, all wearing the same necklace with hashtag medallion, admirers or maybe courtesans of this man? Well, possibly, as in the 2013 Collection “dubious moral standards ornament teenage dreams,”
as Pinar&Viola state themselves.

Yet, the pink-purplish towels keep drawing my attention, pulling me off and keeping me hypnotised at the same time. They raise my curiosity, not despite, but because they seem to present an impossible constellation of things which I would like to discuss in more detail. Instead of Justin Bieber, these towels feature our before-mentioned photo-shopped character. It would be safe now to presume that he is a fictitious politician, who upon further inspection is of course also wearing a wedding ring. He finds himself in five different, carefully designed settings, one for each towel: Domestic Affairs, Global Affairs, Sustainable Affairs, International Affairs, and Urban Affairs. In this parody realm, symbols, icons, gadgets, and decorations which would normally together make no particular sense, attain a coherent, symbolic meaning and become embedded in the suggestion of a narrative, a scandal even. Let’s get into detail with one example only, the Domestic Affairs towel:

This particular towel was highly inspired by the Anthony Weiner’s sexting scandal. U.S. Congresman Weiner not only send x-rated self-portraits via Twitter but also a picture of kittens accompanied by a suggestive message along the lines of “me playing with kittens”. On the background of Weiner’s picture, a photograph of the presidential family was visible. So upon further investigation, the combination of pictures of cute kittens, empty photo frames (an indication of the empty rhetoric of a happy family life), a webcam and a ‘home’ button in the Domestic Affairs towel suddenly makes perfect twisted sense. We could also further speculate now about the threesome of a ‘home’ button, the password icon, lock and key, and the inclusion of a PC and webcam in this towel – they seem to send a warning message, and tell us that our homes, where we fulfil our need for privacy and recuperate, are not as impenetrable as we like to think. The PC and webcam do not only provide us a window to the world, it brings the world in as well. It is probably no coincidence that in the Domestic Affairs the curtains are open, and the weather outside looks grim.

The Domestic Affairs towel is exemplary for Pinar&Viola’s love for the vernacular, and what they call contemporary digital folk art, as well as for the entire 2013 Collection which is inspired by the political sex scandals that were all over the news last year – although most towels are generally inspired by these and do not illustrate specific examples. With their ‘junk’ ingredients, Pinar&Viola managed to cook-up a nourishing haute cuisine which speaks of politics, media, and strategies of manipulation and diversion, and makes us chew on the question what it actually is that the media are offering us. Are we being occupied with sex scandals instead of the information we really need in order to build well-informed opinions and make decisions as responsible, self-empowered individuals? And if so, is this type of distraction all we really want? Or, alternatively, if politicians and other powerful figures get caught in a sex scandal, shouldn’t we be treating this as serious item generating further research into the dynamics behind power structures, gender roles and class divisions? Or, when it comes to the media involved, shouldn’t we be speaking about the role of social media in the self-image of teenagers, or about the penetration of the public sphere into the private lives of people?

Just like Pinar&Viola’s previous two collections this collection pushes the boundaries of graphic design, though not only for its autonomous character, its rich iconography, or the quite overt political message about the mediatisation and spectacularisation of politics.
At the basis of the duo’s aesthetic language lies a philosophical approach that leads to a radical working method, and to designs that are so hyper-detailed and densely pixelated that they gain an almost tactile quality. Pinar&Viola’s ecstatic surface designs in fact testify of a great digital craftsmanship, traditionally relegated to the domestic and feminine sphere of labour, and involving a time-consuming work process that goes against the standardization and democratization of design and it’s software (in which there is no room for ‘hand-crafted’ originality).

What is interesting, is how Pinar&Viola’s strategy of creating incredibly dense surfaces is a balancing act between irony and love, between their critique of populist rhetoric with acknowledgement and acceptance of our irrational desires and needs. In their practice our need for ornamentation for instance, becomes a means through which they reveal the inherent, essential qualities of a subject. It becomes impossible to distinguish form and content, surface and depth, as Pinar&Viola are well aware of, when stating that “decoration is a means by which the inherent essential qualities of a subject are revealed. Decoration is a functional and autonomous facet in our practice, existing as stylistic elements and as a subject matter at the same time.”

Pinar&Viola’s surfaces are in fact so densely ornamented that the classic art historical term ‘horror vacui’ (Latin for ‘fear of empty space’) springs to mind, which means the filling of the entire surface of a space or an artwork with detail. The classic idea is that empty or unfilled spaces are unnatural, that they go against the laws of nature and physics and that hence we feel the need to fill these spaces. Pinar&Viola take the notion of horror vacui ad absurdum; in our visually saturated environment they manage to be even louder – something I would actually not have thought possible. This is horror vacui for the affluent and well-educated consumer, Pinar&Viola’s response to the overload of information that we are surrounded with. Maybe our desire to ‘decorate’ is not caused by fear of empty space but by “a desire to adapt a vacuum, to conquer it, to mark it with one’s presence, (…),” as this is exactly what cultivators and constructors Pinar&Viola seem to do. Moreover, their rich iconography and horror vacui strategy not only conquers white, ‘unfilled’ space on a surface but also conquers empty space in a metaphorical sense: empty (political) rhetoric, superficial journalism, and information that by its sheer abundance becomes meaningless.

Hilde de Bruijn
Amsterdam, August 2012

i All Pinar&viola citations come from email and skype conversations that we had between June 2012 and August 2012
ii See note ii
iii Tumblr is a microblogging platform and social networking website. The service allows users to post multimedia and other content to a short-form blog, named a “tumblelog”. The service is most popular with the teen and college-aged user segments with half of Tumblr’s visitor base being under the age of 25.
iv Animated pictures created using the Blingee free online photo editor which provides its users with a hotchpotch of “favorite topics from celebrities to anime, emo, goth, fantasy, vintage, and more!”
v The act of sending sexually explicit messages or photographs, primarily between mobile phones
vi See note i
vii As suggested by Asger Jorn in Against Functionalism, 1. Talk at the International Congress of Industrial Design (10th Triennale of Industrial Art, Milan), 1954. The text can be found online, for instance here:

This entry was written by Pinar&Viola, posted on August 30, 2012 at 7:38 am, filed under Art, Decadence, Dematerialization, Digitalization, Ecstatic Surface Design, Exhibition, Glam Chaos, Graphic design, Pinar&Viola, Political glam, Published, Vernissage, Video, Visual ecstasy. Leave a comment or view the discussion at the permalink.

NEW WORK: Fan Art 4 Aynouk Tan

Opening MOAM, June 14th, 2012 at Gallery Fontana Fortuna Amsterdam

Details from the fan art piece

This fan art piece is custom-tailored for MOAM Fashion Exhibition, which took place in Gallery Fontana Fortuna in Amsterdam.

The exhibition gave place to twelve young contemporary talents to give their reinterpretation of a Dutch fashion historic highlight. We were invited to make a work together with fashion icon Aynouk Tan. MOAM connected Aynouk Tan to the historic fashion icon Mathilde Willink, a known society girl, model and muse from 60’s that lived a decadent short live in Amsterdam. In an interview Mathilde Willink said she lived in a fairy-tale world of illusions and extravagance; where fame was crucial for her. For this work we were lead by her citation, “If people do not notice you, you might as well not exist”.
Her quote became reality in today’s dynamics of online social networking. Aynouk Tan’s Facebook pictures, and their endless praising comments confirm this. We scanned her online presence and used the results to tailor a contemporary expression of intense worship. We created a fan art deluxe that portrays Aynouk Tan and her flamboyant craves for attention and recognition. The work is not only about the one being admired, it’s also about the tragic beauty of the one that admires.

Concept: Pinar&Viola and Aynouk Tan
Design: Pinar&Viola
Photograps used in the fan art: Mylou Oord

You can read more about the exhibition in Diane Pernet’s blog.

This entry was written by Pinar&Viola, posted on June 19, 2012 at 5:14 pm, filed under Amsterdam, Art, Decadence, Ecstatic Surface Design, Exhibition, Fashion, Glam Chaos, Graphic design, Persona, Poster, Published, Things 'n Flings, Vernissage, Visual ecstasy. Leave a comment or view the discussion at the permalink.

PV interview 4 Prestage Magazine

See the interview at Prestage magazine website

Pinar Demirdag and Viola Renate, are an independent graphic design duo which creates hyper detailed surfaces by ‘scanning’ the contemporary visual culture, and ‘printing’ ecstatic surfaces in return. Their work invites the viewer to experience a kind of visual ecstasy in front of our two-dimensional surfaces.
That’s why they started using the term ‘Ecstatic Surface Design’ to frame our graphic design practice. Ever since 2009, one year after they met at the Sandberg Institute in Amsterdam, they have been sharing this vision of what their graphic design should be about. As Pinar&Viola, they initiated a new modus operandi in the cosmos of graphic design which is an experiment on the fulfillment of surfaces. Every year, they’ll be launching an autonomous Ecstatic Surface Collection which tends to be recognized as the ‘haute couture’ of our practice.

Could you tell us someting about Pinar&Viola?
From the streets of the internet. Totalitarian and decadent. In love since 3 years. Allergic to nostalgia and to people who depict luxury with white on black.

How would you two describe your work?
The description is written by Erika Spray, commissioned by Etapes Magazine: “Pinar&Viola, formed by Pinar Demirdag and Viola Renate, is an independent graphic design duo which creates hyper detailed surfaces by ‘scanning’ the contemporary visual culture, and ‘printing’ ecstatic surfaces in return. Colossal visual gestures, hyper intricate detail and excessive embellishment fill their collaged designs to the brim. The highly artificial character of Pinar&Viola’s work testifies thе ‘flat’ media sphere made up of solely recycled material. By transposing, fusing and altering its elements, they aim to subvert conventional compositions. These notions all collapse into one single surface of visual insatiability and informational intensity.”

Can you tell us something about some of the work you have done in the past?
Every time we have a new ecstatic surface design commissioned, it’s always dramatically different. We so far made commissioned artworks for Stedelijk & Cobra Museum, made patterns for fashion designers, a cover and video for Diplo, a porn site, company video for a technological company which makes eyes for cyborgs, stained glass windows for a synagogue.. Which sometimes creates a daily oximoron in our outfit choices for meetings with clients. Few times, we had a meeting planned in the same day with a rabbi and the porn site client. Next to our commissioned practice, every year we launch an autonomous graphic design collection that are called Ecstatic Surface Collections. So far we launched The Credit card Collection 2011 and Diva Opaque: Anonymous Guardians of Intimacy 2012. We see these collection as the haute couture garments of our design practice, where we reflect on the contemporary, while imagining fictive scenarios for the future.

What is your work process like?
We both separately make a research around the theme, later on come together and start composing text files which seek for one notion / idea / image which will tingle our minds and will make us fantasize. We continue searching until we both find an idea which makes our hear beat stop for a second. We create separately for a little while, and come back together in order to start the ping-pong game. The file is transferred between our screens until it’s hand crafted a la haute couture. In that stage if we both like the result, that means that something is majorly wrong. We both need to be disturbed by the image somehow. It should be sexy yet monstrous in the same time. Sometimes, even if all the ingredients are in there, the image is still not convincing. We call the unnamed missing element the ‘the x-effect’. Our surfaces are composed of so many layers that if one thing is extra or missing, it would easily look ‘off’ or misunderstood.

Do you think your work has any drawbacks?
From hours of digital craftsmanship, we both have RSI, repetitive stress injury, also known as the mouse sickness among folk. I guess we weren’t clever when we decided to restore the dignity of ornament and decoration without the crippling weight of nostalgia.

What do you love most about your work?
Everything! From scanning the digital, contemporary, folk, cultures, to print special edition, custom-made fanatical, overloaded, sedusive yet confronting surfaces. From updating our blog where we display our fascinations and fantasies, to hours of despair when we are looking for an idea. But I guess where we have the most fun is when we have a tight deadline and we wish a day is 50 hours, not 24. There, we go to our summer house in Amsterdam, and stay there for couple of days / a week where we feed ourselves with peanut butter, chocolate and energy drink and play ping-pong with digital files. And the thing which is less heart-lifting is the opening or the launch of a new project. We are the only ones bored in the room, thinking “What is next?”.

You have a rather unique style of art that you create. Tell us about it, and how you developed it.
We consider style a nostalgic visual reference, used in a situation where the context is over imposed to its content. Beyond style, each surface of ours embrace a different message that we keen on delivering. Even though a general over-loaded, flamboyant, disorienting and ecstatic etiquette might be placed, throughout its content, elements outshining the surface differs. It was right before we started our practice, at Sandberg Instituut, that we decided to create ecstatic surfaces as a rejection of the standardization and democratization of design and it’s software, making the ‘hand-crafted’ originality vanish. More politically speaking, our surfaces are a commentary on the dominant rigid Western modernistic ‘outfit’ and suggested return to decorative traditions a statement about the relationship between Western and non-Western cultures.

What was your first contact with art?
Pinar: It was the beginning of my teenagehood, mum was holding a Pirelli Calendar. She replied “It’s Art” when I asked her why she was staring at naked women. After seeing my eyes devoid of content, she later added that it will take time for me to understand the difference between Art and naked women. As impatient as a kid on energy drink, in my path to understand Art, I did everything to fast forward the time with the pre-googleian research tools of 90s. Viola: The first art in my live was my mother’s art and her craftsmanship skills. Thanks to her multi-talents I was surrounded with sculptures, paintings, early computer drawings, embroideries and woodworkings starting from day one. Obviously my first cudly toy was made by her.

What is the driving force behind your inspiration?
Strategies, notions, ideologies, subcultures, technology, behaviors, etc which reflects the year where we live in. From creative hair etchings to self-made internet ghetto gold vedettes; from celebrities attacking paparazzis to luxurious orthodox religious accessories; from low in luxury usb pendants to high in decadence, diamonds engraved in credit cards; from electronic cigarettes to food art; from Steve Job’s monotone clothing style to Ghaddafi’s decadent dictator wardrobe, etc. Basically, we take our inspiration from contemporary conflicts, paradoxes, oxymorons, ironies, optimizations, fanatics, disorders, powers, esoterics, counter glamour and the heat of the info glut. We also prefer to be transparent about our inspiring sparks and muses. We have a blog,, where we upload our found treasures. They are all results of our online and offline (in real life) trips, while traveling with our ‘ecstatic radar’ switched on.

Has there been a particular project or client you found to be the highlight of your career so far?
Yes, it’s the fist ecstatic video we did. In beginning December, we were negotiating with Mad Decent boys, for a possible music video, based on the cover artwork we did for Diplo. The thing is, we preferred not to communicate that we haven’t put a static image in motion so far. Meanwhile, we got an assignment to make an ‘artistic’ promotion video for a spanish technology company making chips for cyborgs’ eyes. Yes, we’re kind of an glam-odd-magnet when it comes to assignments. No one believed that we could pull off a hyper filled 3min video in less than a month, not mentioning that we never made a video before, and that Pinar had RSI (repetitive stress injury) during the entire month. This assignment, Vera Focus, made us realize that we’d love to be drawn in the endless ocean wide world of video making, the next best thing in our practice.

Do you believe in a secret to success?
We don’t think it’s any secret. Be stubborn, obsessed, driven, in love with what you do, dedicate all your time, remix your privileges, not take no as an answer, take action in a moment when nobody expects, work harder than any urban-myth-hard-working-youngster story you heard, and have at least one person in the world who aggress with you.

Is there something you’d like to achieve?
As everything else, when it comes to our aims, they are also over-loaded. We aim to blur the line between art and design, to put spotlights on graphic design among its sister creative practices, to put back the dignity of ornamentation, to be able to have an intellectual discussion around the end 20th-and-beginning-21st-century forbidden-art-critic-word ‘beauty’, and to be 75 years old and still working together.

What’s next in your career? Any big projects coming up?
We are currently extending our practice to Istanbul. Now busy preparing our Ecstatic Surface Collection 2013, which will be launched in Istanbul in May 2012 in Murat Pilevneli’s new project space.

This entry was written by Pinar&Viola, posted on May 21, 2012 at 10:05 am, filed under Ecstatic Surface Design, Pinar&Viola, Published. Leave a comment or view the discussion at the permalink.

P&V Inside story: Artist impression

We decided to give away a Pinar&Viola secret, artist impressions.
We’re both freakin precise when it comes to an exhibition set-up. First we reconstruct the entire exhibition in the online digital realm, then apply it on the offline physical space. First 2 images are from our Ecstatic Surface Collection 2011, The Credit Card Collection. The 3rd and the 4th belong to our second collection, Diva Opaque, Anonymous Guardians of Intimacy and the last 2 are from Open Portraiture.

Currently we’re bust reconstructing the space at Pilevneli Project, where our Ecstatic Surface Collection 2013 will be launched in September 2012. We’ll reveal more secrets sometime soon.

This entry was written by Pinar&Viola, posted on May 20, 2012 at 4:05 pm, filed under Ecstatic Surface Design, Efficiency, Exhibition, Pinar&Viola, Published. Leave a comment or view the discussion at the permalink.

Dazed May issue!

Ay ay ayyy! We’re in the Dazed n Confused May issue. Diplo makes us blush like little cherries w/ his introduction:

These girls are super rad. I love the way they twisting internet memes into their own pallette. When most artists are just playing around with trends, mesmorized by today’s internet wasteland, they act like the old shamans that lived in these deserts for centuries. They have a definite vision of whats to come: Technocolored clarity.

This entry was written by Pinar&Viola, posted on April 25, 2012 at 9:31 am, filed under Pinar&Viola, Published. Leave a comment or view the discussion at the permalink.

MJ&PM flyleaf

Michael&Mondriaan are inserted in the newly designed Items magazine. Almanak restyled Items.

This entry was written by Pinar&Viola, posted on April 4, 2012 at 11:12 am, filed under Pinar&Viola, Published. Leave a comment or view the discussion at the permalink.

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