My Own Private Swiss Graphic Design History

What is Swiss graphic design? Which objects can or cannot be associated with it and why? And what is typically Swiss about them? As part of a graphic design history seminar at the Bern University of the Arts HKB during summer semester 2018, SGDTR-researchers Sara Zeller, Sandra Bischler and Robert Lzicar investigated the historiography of Swiss graphic design together with students of the BA Visual Communi­cation. The idea of the seminar was that Swiss graphic design history does not only con­sist of “masterpieces,” as it is often shown in design collections, exhibitions, and publications. Interesting examples can just as well be found at one’s own home, at the grandparents’ base­ment, or at the thrift store. Anonymous every­day graphic design of past decades tells relevant stories and, at the same time, allows to complement well-known historical narratives with alternative and personal approaches. In this sense, the students’ task was to find graphic design objects in their environment that are related to Switzerland. These artifacts – ranging from educational posters to sandpaper – were dis­cussed in class and selected for an exhibition scheduled for the end of the semester. The students conducted historical research on their objects and incorporat­ed their findings into short texts, which offered personal access to Swiss graphic design history and showed the stu­dents’ interest in the individual objects, their form and time, but also a fascination for every­day and amateur design. They represented an un­derstanding of graphic design beyond unique­ness, “author design” and national style. The writing process was supported by Regina Durig within her sem­inar “Creative Writing” at HKB, and the research was documented on Instagram (#myswiss­graphicdesign). Finally, the students planned, curated and designed an exhibition, intended to present alternative histories of Swiss graphic design and typography beyond the canon and established stereotypes. It was shown at “erlesen – Raum fur gedruckte Feinkost” at PROGR, Bern (9–30 June 2018) [http://www.erlesen.org] and at “umlaut¨ gallery space” in London (6–27 July 2018) [http://www.ambit.design/event19.html] supported by the Swiss Cultural Fund UK. Without claiming completeness, the exhibition offered room for diverse interpretations of Swiss graphic design. Furthermore, it contributed to the discus­sion of the mechanisms of historiography, the construction of national identity and the diverse social effects of graphic design practice.