20 December 2016

Interview with Simon Gall
and Alexandra Stöckli:

Text: Julia Sommerfeld

The Helvetica typeface, LSD, and Hannes Meyer, who succeeded Walter Gropius as head of the Bauhaus in Dessau, have one thing in common: all three come from Basle. Indeed, the whole city together with its trinational hinterland is endowed with an exceptionally rich cultural offering of museums, like the Vitra Design Museum and major design fairs, including Design Miami and I Never Read. In form 269, three young protagonists of Basle’s design scene, Pablo Berger of Berger and Stadel and Walsh, fashion designer Jacqueline Loekito, and Matylda Krzykowski and Rebekka Kiesewetter of Depot Basel talk about their work and how they view their city. We additionally spoke to Simon Gall and Alexandra Stöckli from the publishing house Sedici-Verlag.


Year of foundation: 2015

Credo: I’m da

Source of inspiration: the Daheit                                                                                                  

Never underestimate: the Holocene

Current project: “PartiziPAPIER” exhibition at Museum der Kulturen Basel; book productions: “1000 MFAQs”, “Out of the da!”, “Postindustrial Design Melancholy”, “Who paid my art”, “Café Europa – A da Musical”

Favourite spot in Basle: Hyperwerk

Upcoming: Open House Hyperwerk and book launch on13 January 2017



What is special about Basle’s design scene in your opinion?


Basle is small, but thanks to its trinational location has the feel of a big city. The design scene is fragmented, although there is a relatively high density of designers, museums, and foundations here. This often leads to inertia as a result of financial dependency. However, Basle’s relative openness is conducive to experimental projects in the urban space. Places for disciplinary crossovers may be rare, but they do exist, for example, the Stellwerk, Depot Basel, REH4, Textilpiazza or Prints and Drinks. Many designers use Basle as a springboard – to Zurich. Nevertheless, there is plenty of culture even here: France and Germany are just a tram ride away and that makes for a lively theatre and music scene. There are few other places with such a wide offering of musical subcultures, from electronic music to metal and punk.


What part does the Sedici-Verlag play in this and how does it work in practice?


We as authors, most of us students at the Hyperwerk, Institute for Postindustrial Design at the FHNW Academy of Art and Design in Basle, have found in the Sedici-Verlag a common platform, where we can publish our work as one. It provides what we call “Daheit” [thereness], by which we mean a transnational, transcultural, constantly present informative and interactive sphere. We experiment, produce, discuss, and generate feedback loops. We engage in social mining and extract whatever is relevant to us in order to share it horizontally. As a publisher of things and possibilities, we publish pretty much everything from performances to furniture, from products to publications. We take the view that all forms of action and all forms of work are of interest and have the potential to become a publishable product for Sedici. The way this works in practice is by rapid publishing.


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