Article Number: 1239
Soft Cover, German, Glue Binding, 112 Pages, 2009, Kodoji
Salome Schmuki, Idan Hayosh, Corina Künzli

Jet Master (hebr. Ausgabe)

Salome Schmuki’s collaborative publication Jetmaster is an experimental extension of her core research into dyslexia. In this book Schmuki intends to research strategies of visual asymmetry at a layout level, in a so-called Schaubuch, to find out whether Sullivan’s opinion – form follows function – is true.

She has focused on two categories of Idan Hayosh’s image collection as working material: photographs of military planes and football teams, demonstrating order and symmetry. This formal visual strategy gives a clear statement. Schmuki has edited the pictures by using different tracks, thus researching how changes in context, medium and size influence the way we see images and the messages they convey.

‘Did we not know that? Of course we did, but we would be so glad to forget it. Because we would love to avoid being involved in these dark matters. So do we? (…)

The similarity in presentation of bombers and bombs across the world and in different times, is striking. Apparently many people have been contemplating this exact way of representation. You can imagine someone taking one step back. Looking, hand shielding the eyes. Then shouting orders: third bomb from the left a bit more to the front! It has been seen and it was said that it was right this way. This is the order. The best way to promote – trust them – the proof is in the pictures.

The frightening thing is that the immanent structure has been brought into broad daylight. Well, that is the first thing that is frightening. In fact, it is scarier that this evident structure contains a hidden order. Already known to the ones involved and now known to us.’ (Mischa Andriessen, 2008)

‘When designers Corina Künzli and Salome Schmuki accessed Idan Hayosh’s previously unpublished images their strategy was to work with the photos. They set themselves the task of finding the logic that was already present in the images, but had yet to be made visible. Künzli and Schmuki had their eyes on particular features – certain practices, repetitive patterns, etc. – used in the images. Some of them are perhaps less visible to the spectator who expects a more traditional order – one based on nationality, for instance. They categorized and arranged the photos according to logics that, when traced, tells the exact position of each image.’ (Saara Hacklin, 2008)