Like the Turner Prize, the Citibank has managed to avoid the insularity of nationalism by inviting submissions from those who have ‘exhibited or published a substantial body of photographic-based work in the UK’ for a certain period. This means that artists from other countries, such as the American Roni Horn, can show their photo-pieces here. Horn’s images are close-ups of the surface of the River Thames: neutral enough, large-format, and reminiscent of the unfriendly quality of its dark waters. But beneath them are footnotes that lend the images a Grand Guignol tendency to the river – her own musings, combined with a London Gothic sensibility that feeds from writers such as Ian Sinclair and Peter Ackroyd and which engenders the strange ambivalence of the urban river as drain, suicide spot and cleansing stream. For her, the Thames is not just the social divide of London folklore but a pestilent ditch of rats, sewage and bodies. Their humour and energy will reward those who take the time to read Horn’s footnotes – although their small type and user-unfriendliness will disappoint graphic designers.
For years those living with dyslexia have faced the stigma attached to their condition, but research from Cambridge University suggests the learning disorder can make creative-led professions like design more
The database aims to be the world’s biggest resource of climate crisis posters.
Much of the work at this year’s event is underpinned by sustainability, with designs from the likes of Mexico, the UAE and Scandinavia all being featured for their eco-friendly credentials.
MarinaTex, an organic and biodegradable alternative to traditional plastic, was developed by University of Sussex student Lucy Hughes.