https://marnievandyck.com Marnie van Dyck Wed, 15 Apr 2026 15:22:30 +0000 https://marnievandyck.com en https://marnievandyck.com/Writing Tue, 07 Apr 2026 10:28:01 +0000 Marnie van Dyck https://marnievandyck.com/Writing WHEN WALLS SPEAK:Reading Melbourne Through Its Posters ︎ 11.02.2026 <img width="2682" height="1738" width_o="2682" height_o="1738" data-src="https://freight.cargo.site/t/original/i/9a2d6ff25530c1dc1809d02597285a745941821cbd192a4b364a00c38a2c1311/1.jpg" data-mid="246923210" border="0" src="https://freight.cargo.site/w/1000/i/9a2d6ff25530c1dc1809d02597285a745941821cbd192a4b364a00c38a2c1311/1.jpg" /> DESIGN IN TURBULENT TIMES:Typography, responsibility and the power to connect ︎ Wim Crouwel Instituut&nbsp; 13.04.2026 <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/45bfbf357b01f78ff63e9b64494a2a23258d20ea66ea82c6be7fb8e9ecf675d9/9.-Aneesh-Bhoopathy.jpg" data-mid="247140840" border="0" src="https://freight.cargo.site/w/1000/i/45bfbf357b01f78ff63e9b64494a2a23258d20ea66ea82c6be7fb8e9ecf675d9/9.-Aneesh-Bhoopathy.jpg" /> EXHIBITION REVIEW: Revolusi! Indonesia Independent︎ 10.04.2022 <img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/942b79398edbb642e0a43c94fc6ebd44f5f100afe519b9125bf763265cfb21f2/2560x1440a.jpeg" data-mid="247241022" border="0" src="https://freight.cargo.site/w/1000/i/942b79398edbb642e0a43c94fc6ebd44f5f100afe519b9125bf763265cfb21f2/2560x1440a.jpeg" /> EXHIBITION REVIEW: The Botanical Revolution: on the necessity of art and gardening: ︎ 24.04.2022 <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/cffeeb35ef1de990a468a49fbf05db8fe773a587b93cdab9692442ecc4cdcea0/IMG_9685.png" data-mid="247242527" border="0" src="https://freight.cargo.site/w/1000/i/cffeeb35ef1de990a468a49fbf05db8fe773a587b93cdab9692442ecc4cdcea0/IMG_9685.png" /> https://marnievandyck.com/Articles-Design-in-Turbulent-Times Wed, 08 Apr 2026 15:49:12 +0000 Marnie van Dyck https://marnievandyck.com/Articles-Design-in-Turbulent-Times ︎ 10.04.2026 DESIGN IN TURBULENT TIMES:&nbsp; Typography, responsibility and the power to connectOn Tuesday, March 31, the Voices in Type Assembly brought together designers, students, educators and cultural professionals at the Chassé Theater in Breda. Organised by Graphic Matters, the event marked the closing of their Characters: Voices in Type project—a research-driven initiative exploring how typography operates as a cultural, social, and political force. Throughout the day, eleven international designers took the stage, each offering their own perspective on the role of type and design in today’s world. <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/45bfbf357b01f78ff63e9b64494a2a23258d20ea66ea82c6be7fb8e9ecf675d9/9.-Aneesh-Bhoopathy.jpg" data-mid="246973645" border="0" src="https://freight.cargo.site/w/1000/i/45bfbf357b01f78ff63e9b64494a2a23258d20ea66ea82c6be7fb8e9ecf675d9/9.-Aneesh-Bhoopathy.jpg" /> ︎︎︎Voices in Type Assembly — Aneesh Bhoopathy speaking about the inspirations behind his work. Right from the start, it was clear that this would not be a conventional conference. Before a single speaker had taken the stage, the space already felt charged: a diverse audience filled the venue, ranging from young students to established graphic designers, many of them clearly engaged with the themes at hand. That sense of urgency was amplified by the opening performance by Guido de Boer (NL). “All for one, kill silence, enough is enough, I am! Am I?” Three large rolls of paper descended from the ceiling, each covered in handwritten messages, stretching vertically across the space. Live on stage, De Boer completed the central banner with the words “Hell no.” It was a striking and confrontational start—one that from the outset framed typography not as decoration, but as protest, as voice, as action. When the banners were lifted, a new landscape of black-and-white posters bearing bold statements such as “If not us, who? If not now, when?” was revealed. The opening extended beyond a visual gesture—it framed the day conceptually. This was a space where letters carried weight, where design intersected with politics, and where urgency was not abstract but deeply felt. Can design make a difference? Throughout the day, this question kept resurfacing—sometimes directly, more often through the work itself. What role can typography play in a world shaped by conflict, inequality, and rapid change? And what responsibility do designers carry within that context? <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/cfbb3b61d0b983188b8147e56123e8f4e30169cdf46faf221d717805dd4bb354/1.-Voices-in-Type-Assembly.jpg" data-mid="246973532" border="0" src="https://freight.cargo.site/w/1000/i/cfbb3b61d0b983188b8147e56123e8f4e30169cdf46faf221d717805dd4bb354/1.-Voices-in-Type-Assembly.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/3827c091e5db3c842c807592378681949b5b6f94cc4f673576c4bd80db2efd6a/2.-Guido-de-Boer.jpg" data-mid="246973641" border="0" src="https://freight.cargo.site/w/1000/i/3827c091e5db3c842c807592378681949b5b6f94cc4f673576c4bd80db2efd6a/2.-Guido-de-Boer.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/e4439e224fad6c638538636e926edc8dc81c08cbb1cceb083cc27093c16c090d/12.-The-landscape.jpg" data-mid="246973652" border="0" src="https://freight.cargo.site/w/1000/i/e4439e224fad6c638538636e926edc8dc81c08cbb1cceb083cc27093c16c090d/12.-The-landscape.jpg" /> ︎︎︎From left to right: Dennis Elbers (Graphic Matters) opening the Assembly, Guido de Boer’s opening performance, Posters featuring bold statements forming the visual backdrop of the day. Type as a Carrier of MeaningThe first block of presentations made a compelling case for typography as a medium that holds—and communicates—far more than form alone. Michael Ellsworth (US) and Raya Leary (US/PT) of&nbsp;Civilization opened with insights into their practice, which operates at the intersection of design and advocacy. Working closely with activists and organisations, their projects demonstrate how visual identities can function as tools for political and social engagement—from campaigns surrounding abortion rights to broad cultural initiatives. In this context, design becomes a way to translate complex social issues into visual language, making them visible, accessible and actionable for a wider audience. This perspective was further expanded in the panel that followed, bringing together Ellsworth and Leary with Tré Seals (US), Mark Baker-Sanchez (US) and Kaleena Sales (US). Together, they reflected on their collaboration within the Characters: Voices in Type project, offering a layered view on how typography can carry historical, cultural and political meaning. The conversation also touched on questions of authorship, publishing and visibility within contemporary design practice. Seals, founder of Vocal Type, emphasised the importance of research as a starting point. In his practice, typefaces are rooted in specific historical contexts and narratives. Rather than designing purely aesthetic forms, he develops type that carries the weight of the stories it represents. This approach was also evident in the VTC WIJ typeface, created as part of the project—drawing inspiration from Dutch protest culture of the 1970s and 80s, and translating collective voices, including that of anti-colonial author and resistance fighter Anton de Kom, into contemporary form. The main takeaway of the discussion panel and talks was, beside their content, the level of personal investment in important world issues. A shared understanding emerged: typography is not simply a tool for communication, but a carrier of meaning, shaped by history, context and intention. <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/e77cbe4ae9c75cdb36d683321a1f4818479b319357406f5efb0ee74b06280d49/4.-Panel.jpg" data-mid="246973654" border="0" src="https://freight.cargo.site/w/1000/i/e77cbe4ae9c75cdb36d683321a1f4818479b319357406f5efb0ee74b06280d49/4.-Panel.jpg" /> ︎︎︎From left to right: Kaleena Sales, Anouk Verhoeven (Graphic Matters), Michael Ellsworth, Raya Leary, Mark Baker-Sanchez, Tré Seals Responsibility &amp; RepresentationWhere the first block established the power of type, the second block deepened the conversation by focusing on responsibility—both cultural and social. Golnar Kat Rahmani (IR/DE), from Type &amp; Politics, addressed the complex relationship between typography and perception. Drawing from her practice and research, she examined how Persian-Arabic scripts are often burdened with negative connotations, shaped by media narratives and geopolitical contexts. In Western contexts, these scripts are frequently and unconsciously associated with fear, conflict, or extremism—associations shaped not by the scripts themselves, but by the imagery and narratives circulated through the media. Her presentation felt deeply personal. Speaking as an Iranian designer in a time of ongoing political tension and conflict, her work carries an urgency that extends beyond design alone. By recontextualising these scripts—towards expressions that are playful, contemporary, and multifaceted—she actively challenges dominant narratives and opens space for new associations. In doing so, she framed typography as a cultural connector: something that can foster coexistence rather than division. <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/b74236b6eb1153785ec6f6c3bd31feb8612b19ebdef4d048514f6e8dc9d9deee/5.-Golnar-Kat-Rahmani.jpg" data-mid="246973643" border="0" src="https://freight.cargo.site/w/1000/i/b74236b6eb1153785ec6f6c3bd31feb8612b19ebdef4d048514f6e8dc9d9deee/5.-Golnar-Kat-Rahmani.jpg" /> ︎︎︎ Golnar Kat Rahmani opened her presentation with a powerful call to end ongoing global conflicts.&nbsp; Saki Mafundikwa (ZW) approached the topic from a different angle, focusing on heritage, education, and the importance of recognising and preserving diverse writing systems. As the founder of the Zimbabwe Institute of Vigital Arts (ZIVA), and author of African Alphabets: The Story of Writing in Africa, he has long advocated for the inclusion and preservation of African scripts. Rather than centring his own achievements, Mafundikwa spoke with visible pride about his students and their work, emphasising the importance of passing knowledge forward. In a room where multiple generations of designers were present, this emphasis on education and cross-generational continuity felt especially relevant. Perhaps the most immediate and emotionally charged example of design’s impact came from Beatriz Lozano (MX/US). Her presentation, Type as a Tool for Community Power, demonstrated how design can operate as a form of direct intervention. One project—centred around a man detained by ICE and the urgent effort to reunite him with his family through an online designed campaign—showed how typography and graphic design can function under pressure, prioritising clarity, speed and emotional resonance over formal perfection. As she emphasised, type can be more than communication: it can help keep communities safe, provide refuge, offer aid, and reunite families. It shows that the distance between design and reality can be remarkably small. Here, design was not about refinement, but about swift action—about making something visible, mobilising support, and contributing to tangible change. <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/b67ab855d311cb151134b6214468c1dbfc71c723f5d7524ba8039bb2ea2cfdd6/6.-Saki-Mafundikwa.jpg" data-mid="246973649" border="0" src="https://freight.cargo.site/w/1000/i/b67ab855d311cb151134b6214468c1dbfc71c723f5d7524ba8039bb2ea2cfdd6/6.-Saki-Mafundikwa.jpg" /> <img width="891" height="1333" width_o="891" height_o="1333" data-src="https://freight.cargo.site/t/original/i/a818f524ec87fcc4d13bd66c823432d652c52b99379a8f0fe97369c98d488205/8.-Beatriz-Lozano-kopie.jpg" data-mid="246974059" border="0" src="https://freight.cargo.site/w/891/i/a818f524ec87fcc4d13bd66c823432d652c52b99379a8f0fe97369c98d488205/8.-Beatriz-Lozano-kopie.jpg" /> ︎︎︎Left: Saki Mafundikwa presenting the work of his students | Right: Beatriz Lozano on Type as a Tool for Community Power. Political Conviction &amp; Design as AdvocacyThe role of design as a direct political tool became even more explicit in the afternoon sessions. Aneesh Bhoopathy (US) offered insight into his work on the campaign for Zohran Mamdani in New York City. His presentation traced the design process from initial sketches to final outputs, highlighting the importance of trust between designer and client, as well as the role of experimentation and play. Through hand lettering, typographic references, and elements drawn from local culture, Bhoopathy demonstrated how design can build not only recognition, but conviction—shaping how a campaign is perceived and experienced. How much design contributed to the campaign’s success is difficult to quantify, but a clear, engaging and human visual language was undeniably shaped. <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/678b914b35dd3a4c1f05a5bb7eb8112a7216a0e2103c3b86fc71554dc4b243c6/55183313028_a29ca2b507_k.jpg" data-mid="246974240" border="0" src="https://freight.cargo.site/w/1000/i/678b914b35dd3a4c1f05a5bb7eb8112a7216a0e2103c3b86fc71554dc4b243c6/55183313028_a29ca2b507_k.jpg" /> ︎︎︎Joining via Zoom, Aneesh Bhoopathy guided the audience through the creative process behind the Zohran for NYC campaign.&nbsp; Design Within the System As the day reached its conclusion, a different tone emerged. Ruben Pater’s (NL/ES) lecture, Design under Fascism, introduced a critical perspective—one that contrasted with the optimistic, action-driven narratives of earlier presentations. Drawing from his research, Pater argued that design does not exist outside the economic and political structures it operates within. Instead, it is often embedded in—and complicit with—systems of capitalism and power. Using familiar examples, he showed how design can shape perception and assign value: even something as simple as a bottle of water can be sold for vastly different prices through branding alone. In this sense, design does not just communicate value—it actively constructs it. This perspective complicated the message that had carried through much of the day. If design has the power to mobilise and connect, it also plays a role in maintaining the systems that shape how value, attention, and influence are distributed. At the same time, Pater did not leave the audience without direction. Alongside his critique, he pointed towards alternative approaches: designers working with open-source systems, low-tech methods, and community-driven initiatives that attempt to move beyond purely commercial logics. Placed at the end of the programme, his contribution grounded the day’s overall optimism—shifting the focus from what design can do to the conditions under which it operates. <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/5a8e2251d5f2ed7405014dbc83646972507602f7ab5b503d05b5bde3df2fd1b0/10.-Ruben-Pater.jpg" data-mid="246973646" border="0" src="https://freight.cargo.site/w/1000/i/5a8e2251d5f2ed7405014dbc83646972507602f7ab5b503d05b5bde3df2fd1b0/10.-Ruben-Pater.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/85d9a23290b8571ce870d184e3003f3aa75c627a261d2f95b44b643bac192b18/11.-Audience.jpg" data-mid="246973647" border="0" src="https://freight.cargo.site/w/1000/i/85d9a23290b8571ce870d184e3003f3aa75c627a261d2f95b44b643bac192b18/11.-Audience.jpg" />︎︎︎Ruben Pater addressing a captivated audience during his lecture Design under Fascism. Conclusion: Connection, Agency, and the Role of DesignLooking back, what remained most striking about the Voices in Type Assembly was not a single project or presentation, but the collective energy of the room. Across different perspectives, geographies, and practices, a shared belief emerged: that design—and typography in particular—can definitely play a meaningful role in shaping the world around us. This belief was not naive. It was informed by urgency, by lived experience, and by a deep awareness of the complexities at play. Yet it was also unmistakably hopeful. Throughout the day, designers demonstrated that they are not merely responding to the world, but actively engaging with it—questioning, reframing, and contributing where they can. Whether through historical research, community-driven projects, political campaigns, or educational initiatives, design becomes a way of participating in important conversations. So, can design make a difference? If anything, this day suggested that it can. Not as a singular solution, nor with a guaranteed outcome, but as a tool—one that, when used with intention, awareness and determination, has the potential to connect people, amplify voices, and create space for change. And perhaps that is where its true strength lies: not as a universal problem solver, but in its ability to make things visible, to unite people, and to keep conversations—however complex—moving forward. <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/0a49e7fd3cad04917292626e18a439dc23f719b880fb7fc0ecf08c980bbd9c95/13.-At-the-end-of-the-day--the-posters-that-had-framed-the-space-were-taken-down-and-carried-by-the-audience-in-a-collective--protest-like-walk-to-3sec.gallery--where-the-exhibition-was-officially-opened..jpg" data-mid="246973648" border="0" src="https://freight.cargo.site/w/1000/i/0a49e7fd3cad04917292626e18a439dc23f719b880fb7fc0ecf08c980bbd9c95/13.-At-the-end-of-the-day--the-posters-that-had-framed-the-space-were-taken-down-and-carried-by-the-audience-in-a-collective--protest-like-walk-to-3sec.gallery--where-the-exhibition-was-officially-opened..jpg" />︎︎︎At the end of the day, the posters that had framed the space were taken down and carried by the audience in a collective, protest-like march to the 3sec.gallery, where the exhibition was officially opened. Photos by Chantal van den Berg ︎︎︎ Read more about the Voices in Type project here. https://marnievandyck.com/Articles-Review-Revolusi-Indonesia-Independent Wed, 15 Apr 2026 14:49:35 +0000 Marnie van Dyck https://marnievandyck.com/Articles-Review-Revolusi-Indonesia-Independent ︎ 10.04.2022 EXHIBITION REVIEW:&nbsp; Revolusi! Indonesia IndependentRevolusi! Indonesia independent: Poignant personal stories in a downplayed history.&nbsp; ︎︎︎︎︎Rijksmuseum’s Revolusi! reveals the story that is not often told through&nbsp;the people who experienced the Indonesian revolution first hand.&nbsp;Through poignant multimedia artefacts, such as a friends photo album,&nbsp;handmade clothes and pamphlets, the viewer is drawn into a highly&nbsp;complicated history of anti-colonial resistance. <img width="1700" height="957" width_o="1700" height_o="957" data-src="https://freight.cargo.site/t/original/i/a7de5d056a6b9fd8c0706c7beec19688316c723c935d8a089d9655c88d5877ac/af72a7a8-89b1-11ec-b2cb-02d2fb1aa1d7.jpeg" data-mid="247240859" border="0" src="https://freight.cargo.site/w/1000/i/a7de5d056a6b9fd8c0706c7beec19688316c723c935d8a089d9655c88d5877ac/af72a7a8-89b1-11ec-b2cb-02d2fb1aa1d7.jpeg" /> ︎︎︎Figure 1 - Independence fighter Sutarso Nasrudin’s friends photo album. (photo: ANP / Remko de Waal) After a very concise introductory text about the three centuries of colonial occupation by the Netherlands, the timeline of the exposition drops you in 1945, when Indonesia proclaims itself an independent country and the four-year struggle for autonomy begins. The lack of given historical context makes it clear that the exhibition is sharply demarcated and will focus exclusively on ‘the people battling for independence’ during the Indonesian Revolution through ‘their experiences and eyewitness accounts’. The closing sentence shows how the curators want to ‘provide insight into this history, which was so important for Indonesia, the Netherlands and the world’.1 A fairly ambitious last word. The story starts with the independence speech of Indonesian nationalist leader Sakurno. Subsequently, the evident, yet not predominant exhibition design provides a red line through the crowded rooms along the historical texts, persons’ biographies and artefacts.2 Taco Dibbits, the museum’s general director points out in the eponymous book Revolusi! that ‘research and exhibitions in the Netherlands often focus on the Netherlands’ role in this period and it consequences here, but with this exhibition, we aim instead to provide an international perspective’. In particular, he adds, the ‘inclusion of personal histories, those that were previously denied proper attention’.3 His statement is indeed leading and clearly visible throughout the exposition. Personal, striking stories from journalists, fighters, soldiers, artists, diplomats, children and politicians create an overview about the struggle and consequences for Indonesia, that manifested itself on many fronts. For example, the liberation of the Japanse women’s prison camp Kampong Makassar and the scarcity of materials is told trough Jeanne van Leur-de Loos and her homemade dressing gown made of silk maps. The exhibition succeeds in placing the people and their own artefacts prominently in a larger story, resulting in a captivating journey through the museum’s various rooms (Fig. 2). However, the world-oriented, international perspective is overshadowed by the Dutch-Indonesian conflict. Underexposed aspects such as the Japanse prison camp, American army commanders and the troops from the United Kingdom raise questions about the other participating countries and their actions during the revolution. <img width="1024" height="705" width_o="1024" height_o="705" data-src="https://freight.cargo.site/t/original/i/1ca2726157ba52de45600674660fb479ca170027a71693761459472915a79e40/eb9e7f52-90b6-11ec-a15a-0217670beecd.jpeg" data-mid="247240862" border="0" src="https://freight.cargo.site/w/1000/i/1ca2726157ba52de45600674660fb479ca170027a71693761459472915a79e40/eb9e7f52-90b6-11ec-a15a-0217670beecd.jpeg" /> ︎︎︎Figure 2 - Overview of a room. On the right the gown made of silk maps. The red line guides you through the exhibition. (photo: ANP / Remko de Waal) The highlight of this exposition must be the room filled with posters, pamphlets and banners (Fig. 3). Indonesian artists ‘illegally’ designed street propaganda that allowed the message of the revolution to reach the people in towns and villages. Trying to suppress the revolution, the Dutch destroyed as many posters and pamphlets as possible. The struggle of all the people will ensure the victory&nbsp;of the revolution, reads a bold stencilled pamphlet. The accompanying image of a soldier, worker and farmer symbolises the unity of the Indonesian people, fighting together against their oppressors. Despite the chaos of the revolution, the fragile papers with their strong messages have managed to survive almost without a scratch; an impressive, and especially confronting sight. Two tiny illustrations across the same room show how Dutch soldiers are kicked off a cliff by rich pig-looking figures. Dutch soldier.. you will not die for your&nbsp;country!! But only for those fat industrialists and money-grubbers. The drawings were made for the ‘oppressors’. However, by addressing them as brothers, descendants of the Beggars, a new perspective arises; the young soldiers are being forced by Dutch capitalists.4 Like many other illustrations, these prints provide a small glimpse into a much larger history, dating back to the 17th century when the Dutch East India Company aggressively colonised many areas for economic interests.5 A history extremely relevant to the instigation of the revolution, yet not discussed at all. <img width="2560" height="1440" width_o="2560" height_o="1440" data-src="https://freight.cargo.site/t/original/i/942b79398edbb642e0a43c94fc6ebd44f5f100afe519b9125bf763265cfb21f2/2560x1440a.jpeg" data-mid="247241015" border="0" src="https://freight.cargo.site/w/1000/i/942b79398edbb642e0a43c94fc6ebd44f5f100afe519b9125bf763265cfb21f2/2560x1440a.jpeg" /> ︎︎︎Figure 3 - Posters, pamphlets and banners on display. (photo: ANP / Remko de Waal)&nbsp; The final room shows videos of ten people from both Indonesia and the Netherlands who intimately talk about the role this past plays in their current lives. Their stories reflect the perseverance, hope, grief and nostalgia that was so evident within the whole exposition. Although the exhibition powerfully conveys the history of these four stirring years through personal experiences and objects, the lack of historical background remains a missing link that potentially could have tied it all together. What were all these different countries, such as Japan and the United Kingdom doing there in the first place and what exactly instigated the revolution after being exploited by the Dutch colonists for more than three centuries? An important component that can be felt throughout the exhibition’s objects, but that remains unanswered. ︎︎︎ 1 Quoted from the Indonesia Independent introductory text. (More information: https://www.rijksmuseum.nl/en/whats-on/exhibitions/revolusi) 2 Exhibition design by Wilmotte &amp; Associés. Graphic design by Irma Boom Office. 3 Stevens, Hans, Amir Sidharta, Bonnie Triyana, Marion Anker, Revolusi! Indonesia independent, Amsterdam (Atlas Contact) 2022, p.7. 4 Beggars or Geuzen: the 16th-century Dutch rebel party who opposed Spanish rule in the Netherlands. 5 Dutch East India Company or VOC: a multinational corporation that gained a monopoly on overseas trade between the Republic and Asia. https://marnievandyck.com/Articles-Review-The-Botanical-Revolution Wed, 15 Apr 2026 15:22:30 +0000 Marnie van Dyck https://marnievandyck.com/Articles-Review-The-Botanical-Revolution ︎ 10.04.2022 EXHIBITION REVIEW:&nbsp; The Botanical Revolution: on the necessity of art and gardeningMan and nature in their most beautiful, educational and confronting appearance.&nbsp;︎︎︎︎︎Through a wide selection of works from contemporary artists in combination with designed objects and old master paintings, the Central Museum attempts to portray the ecological significance of gardening as a metaphor for ‘tending and maintaining our world’. Ambitious statements about rethinking our relationship with nature, posing critical questions about the way in which we exploit and exhaust natural resources, and challenging us to radically reshape our relationship with the natural world, promise to provide a foundation for a vigorous revolution. However, the visitor instead mainly finds the human fascination for the beauty and resilience of nature reflected in various objects. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/cffeeb35ef1de990a468a49fbf05db8fe773a587b93cdab9692442ecc4cdcea0/IMG_9685.png" data-mid="247242483" border="0" src="https://freight.cargo.site/w/1000/i/cffeeb35ef1de990a468a49fbf05db8fe773a587b93cdab9692442ecc4cdcea0/IMG_9685.png" /> ︎︎︎Figure 1 - The modular walls create new connections between various artworks. (photo by author) Before entering the exhibition, a thick reference book consisting of twenty double-sided A4 paper is placed into the hands of the visitors. While reading the aspiring introductory text about the tension between nature and culture due to the human exploitation of natural resources, it seems as if the book starts to weigh even more heavily. The first page pays a tribute to the exhibition designers who place ‘ecological issues, sustainability and thorough, critical material research’ central to their practice.1 A painful contradiction which leaves a bad taste in the mouth after the exhibition’s passionate promises. The table of contents shows that the exhibition is made up of four different rooms, or Chapters, with an additional smaller space and the extra use of the museum garden. Room number one reflects on the age-old concept and tradition of&nbsp;Paradise. The eye is immediately drawn to the colourful, highly detailed Persian carpet stemming from the early 20th century. The carpet’s perfectly geometric representation of the symbolic Persian garden shows the physical human necessity of nature in dry and sunny climates. This Persian concept of Paradise is contrasted with Western, religious paintings. Various Biblical paintings refer to the Garden of Eden and show how man has been obsessed with the concept of a botanical paradise for centuries. The old artworks depict Adam and Eve, living in harmony with each other, the world and nature, just before the moment of the Fall, where Eve is tempted by the devil to eat the forbidden fruit, causing them to be expelled form the lush garden. Placed within the context of this particular exhibition, these classical paintings might cause the visitor to reflect on the role of humans in the loss of our own natural paradise on earth due to the lack of moral control. Despite the showrooms’ nickname ‘the Stables’, referring to the widespread spaces, the museum manages to create a coherent exhibition where the rooms are divided by tactically placed modular walls, creating a cleverly thought-out interplay between the objects, resulting in new possible interpretations (Fig. 1). The peaceful exhibition design is inspired by Japanse Zen gardens and is occasionally interrupted by the addition of industrial elements — perhaps a rather too literal interpretation of the exhibition’s intention. After a slight overkill of Biblical scenes, the visitor enters room two through a narrow hallway; Front Yard/Back Yard/Allotment. The paper booklet explains that with the onset of the industrial revolution in the nineteenth century, ‘allotments were established for urban workers as the antidote to emerging urbanisation and the pollution of the Industrial Revolution’.2&nbsp;Although the text makes an appealing observation about how these allotments allowed the workers to escape the toxic fumes and tedious factory labour, the objects in this room mainly advocate the joy of gardening and the beauty of nature. An online archive consisting of a collection of plants from someone’s own neighbourhood, a nature diary kept by various gardeners, or a time-lapse-like meditative video of an artist’s backyard, are particularly difficult objects to create relevant connections with the promising text. By not juxtaposing rooms one and two, the exhibition misses an opportunity to emphasise how our relationship with the environment has changed because of the rising industrialisation, which, for instance, was so evident in the planted allotments for factory workers.The highlight of the four chapters must be the third room, which bears the same title as the exhibition. Elaborating on the general introductory text, the garden, as a mirror of society, ‘is not a neutral space, but a place where the relationship between nature and culture is expressed’.3 Science and botany are central to the way we interact with nature. This chapter builds on the eighteenth-century urge - originating from the Enlightenment - to divide and categorise the natural world, resulting in a hierarchy with humans at the top. Curious objects such as the&nbsp;Collector’s Cabinet, filled with rare and precious raw materials, or the detailed description of exotic insects’ metamorphosis in the book Metamorphosis in&nbsp;Surinamese Insects, demonstrate this European fascination with rational systems for understanding the world (Fig. 2). Reducing man and nature to hierarchical categories is a frequently recurring topic in current climate debates, as it is argued that we should have a different perspective on the complex relationships between the various forms of life. The exhibition seeks to contrast these two ways of thinking by radically placing a moss-covered stone directly opposite to the scientific cabinet (Fig. 3). Three centuries ago, the leading Swedish scientist Carl Linnaeus (1707-1778) placed moss at the very bottom of the hierarchy as the lowest species. Besides the fact that more recent studies have shown that moss plays an inherent part of the ecological system, and that people therefore can be wrong with their interpretations of the natural, this stone also evokes other significant connections between humans and nature. Normally, museums idolise the creation of the human. Whether it is a beautiful sixteenth-century painting or a cleverly designed tool to reduce plastic pollution in the ocean; it is always connected to the masterly mind of mankind. This rock, however, puts the non-human first, as the creator of something beautiful and worthy of being exhibited in a museum. It makes you rethink our relationship with nature and how we constantly derive from a human centred perspective, even if we do create ‘for’ the natural world. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/c233a99e3141902c55df1154eb571bf390b06917100d3513cd04edc5a8f4b07b/IMG_9706.png" data-mid="247242487" border="0" src="https://freight.cargo.site/w/1000/i/c233a99e3141902c55df1154eb571bf390b06917100d3513cd04edc5a8f4b07b/IMG_9706.png" /> ︎︎︎Figure 2 - Metamorphosis in Surinamese Insects, Maria Sibylla Merian, 1705. (photo by author)︎︎︎Figure 3 - Stone with Moss, Andrea Büttner, 2021. (photo by author) The final room, called Gardening in the Anthropocene, is by far the smallest exhibition space. With only four works on display, the exhibition links the 1972 manifesto Pollution-Cultivation-New Ecology by Japanse artist Tetsumi Kudo to the remaining artworks. Kudo ‘called for the creation of a new relationship between nature, man and technology’.4 His vision is reminiscent of contemporary discussions about the harmful influence of man on the natural world and the indication of the current epoch called the Anthropocene. After a fairly extensive showcase and three somewhat far-fetched works, the end of the exhibition is near. Despite being the very last work in the final room, the modest looking photographic series Rooted, manages to re-grab the visitor’s full attention one last time. Henk Wildeschut has recorded ‘the improvised gardens of people&nbsp;who have been uprooted in recent years and ended up in refugee camps’.5 The photographs show how refugees added demarcated gardens to their tents or other temporary accommodations (Fig. 4). The most striking thing is that they do not plant vegetables or other food providing botanicals, but prefer colourful flowers and ornamental plants instead. The five small but striking prints raise the poignant critical questions and issues that most of the previous works in the exhibition failed to adequately address. If even in this extremely hopeless situation, gardening and seeing plants blossom can provide comfort and a sense of home, it is impossible to place nature below humans in hierarchy. Looking back at the exhibition’s main statement about gardening being a metaphor for tending and maintaining our world, this work provides hope. Hope that even in the most desperate and severe situations we are facing today in the Anthropocene, we humans can rethink our relationship with the environment and start growing concerns and solutions for our damaged world. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/34c2430744d55456e2ead6aa16f12493d40dfe661a7c7046ed769e97b1c73a0c/IMG_9713.png" data-mid="247242491" border="0" src="https://freight.cargo.site/w/1000/i/34c2430744d55456e2ead6aa16f12493d40dfe661a7c7046ed769e97b1c73a0c/IMG_9713.png" /> ︎︎︎Figure 4 - Photographs from the series Rooted, Henk Wildschut, 2015/2018/2011. (photo by author) The exhibition finishes in the museum garden with a slightly poor attempt to ‘literally’ involve nature. Instead of creating one cohesive narrative, the four chapters feel like separate books, all conveying their own big ideas. Moving from religious associations to industrialisation and the hefty Anthropocene, the exhibition’s original perspective of portraying the ecological significance of gardening as a metaphor for rethinking our relationship with nature tends to get lost. Some specific parts nevertheless manage to raise relevant issues and pose critical questions onto the visitor. The sharp and well-formulated statements that are printed into the polluting take-home booklet, ironically ‘save’ the exposition. The&nbsp;Botanical Revolution is very verbose and uses only a limited number of relevant and powerful objects, thus leaving it up to the visitor to visualise and imagine new relations between the human and non-human. With the majority of works emphasising the beauty and joy of nature, the high ambitions remain unfulfilled and the promised revolution absent. ︎︎︎ 1 Exhibition booklet, p.2. 2 Exhibition booklet, p.9. 3 Exhibition booklet, p.15. 4 Exhibition booklet, p.22. 5 Exhibition booklet, p.25. https://marnievandyck.com/Articles-When-Walls-Speak Wed, 04 Feb 2026 07:15:59 +0000 Marnie van Dyck https://marnievandyck.com/Articles-When-Walls-Speak ︎ 11.02.2026 WHEN WALLS SPEAK:&nbsp; Reading Melbourne Through Its PostersEvery time I walk through Melbourne, I keep stopping. Not because of traffic, my phone, or an urgent destination, but because of the walls. Layers of posters — some freshly pasted, others sun-bleached and half torn — announce events I do not yet know, bands I have never heard of, exhibitions already passed and protests still to come. The neighbourhoods of the inner city constantly suggest possibilities. More than once, those suggestions have turned into action. I have attended markets, visited exhibitions and discovered music simply because a poster caught my attention. Having lived most of my life in the Netherlands, this relationship with the street still feels unfamiliar — and increasingly meaningful. <img width="2682" height="1738" width_o="2682" height_o="1738" data-src="https://freight.cargo.site/t/original/i/9a2d6ff25530c1dc1809d02597285a745941821cbd192a4b364a00c38a2c1311/1.jpg" data-mid="244672193" border="0" src="https://freight.cargo.site/w/1000/i/9a2d6ff25530c1dc1809d02597285a745941821cbd192a4b364a00c38a2c1311/1.jpg" /> ︎︎︎Layers of posters intertwine with graffiti, forming a shared visual language across Melbourne’s streets. What might appear chaotic reveals a vibrant and constantly evolving urban canvas. A Different Relationship With Public SpaceIn many Dutch cities, flyposting — known locally as wildplakken — once played a more visible role in public communication. Throughout the late twentieth century, posters were deeply embedded in political activism, cultural programming and subcultural movements. The Dutch design collective Wild Plakken, founded in 1977, even built its identity around illegal poster pasting, using graphic design as an instrument for social and political engagement.1 Over time, however, postering in the Netherlands became increasingly regulated through municipal visual management policies. Today, posters are typically confined to designated columns or official noticeboards, often limited in number and primarily reserved for non-commercial expressions of opinion.2 Municipal advertising policies frequently justify these restrictions by arguing that excessive or visually diverse advertising risks reducing the perceived quality of public space.3,4 The result is a communication system that is organised, monitored and temporary by design. Posters still exist, but largely as regulated information carriers rather than layered cultural surfaces. Melbourne operates differently. Here, posters spill across walls, hoardings, poles and laneways. While flyposting is technically illegal under local regulations, Melbourne simultaneously cultivates an international reputation built on street art and public visual culture. The city’s management policies attempt to balance removal and prevention strategies with recognition of street art and visuals as distinctive cultural assets.5 The result is not a fully permissive environment, but a negotiated one. Rather than eliminating visual density, Melbourne appears to coexist with it — a coexistence between enforcement and everyday practice. This density does not feel disruptive. It feels communicative. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/3a6fd1db3d45bcd95a7876b3d442f839dd14b5276c929b0fc60685d53ab8afa0/7.jpg" data-mid="244672869" border="0" src="https://freight.cargo.site/w/1000/i/3a6fd1db3d45bcd95a7876b3d442f839dd14b5276c929b0fc60685d53ab8afa0/7.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/eb57d3fb0df8d2a6723b4a0a1c3dcf99076f99cf513a0881c108f05530d8b23a/8.jpg" data-mid="244672870" border="0" src="https://freight.cargo.site/w/1000/i/eb57d3fb0df8d2a6723b4a0a1c3dcf99076f99cf513a0881c108f05530d8b23a/8.jpg" /> ︎︎︎As posters accumulate and deteriorate, the walls expose their own archive — fragments of cultural moments gradually resurfacing through decay. The City as a Public NoticeboardWhat stands out most in Melbourne is the breadth of what posters represent. They promote blockbuster exhibitions, major festivals and institutional programming, but they also advertise underground music nights, community gatherings, activist campaigns and small independent initiatives. Posters here are rarely removed as soon as they age. New layers are pasted over older ones, producing surfaces that read almost like archaeological timelines of cultural activity. The walls do not simply display information; they record it. In this sense, Melbourne functions as a giant, decentralised noticeboard — imperfect, shared and constantly rewritten by the people who live and create within it. These layered walls do more than circulate information; they reveal how visual communication shapes who gets seen, heard and remembered in the city. Posters and Visual PowerImages in public space rarely exist neutrally. Urban scholars increasingly describe cities as environments governed through visual systems. Branding campaigns, graffiti removal programs, mural commissions and heritage preservation strategies all shape how cities are visually interpreted and culturally understood.6 At the same time, individual acts such as flyposting, stickering, placing political placards in street-facing windows or writing graffiti contribute to a collective visual discourse. While their creators’ values may differ, their ambition often overlaps: to claim a stake in shaping the image and cultural meaning of the city. In this context, poster culture does more than advertise events. It contributes to an ongoing negotiation over identity, visibility and belonging in public space. Posters may promote music nights or exhibitions, but they simultaneously assert that cultural life is not solely curated by institutions or corporate branding strategies. Instead, it emerges through ongoing, collective participation in shaping the urban image. <img width="2392" height="3201" width_o="2392" height_o="3201" data-src="https://freight.cargo.site/t/original/i/f3fc5de7bf02ad22c49dea0dd0ceec3ac7f6d157c3a4801a71e780dad84b2490/5.jpg" data-mid="244672616" border="0" src="https://freight.cargo.site/w/1000/i/f3fc5de7bf02ad22c49dea0dd0ceec3ac7f6d157c3a4801a71e780dad84b2490/5.jpg" /> <img width="2610" height="3479" width_o="2610" height_o="3479" data-src="https://freight.cargo.site/t/original/i/30c59e7a2f9adc0d83d75b2762e38c1d2abdab12a5cf3304965d92a6a28e9e66/4.jpg" data-mid="244672562" border="0" src="https://freight.cargo.site/w/1000/i/30c59e7a2f9adc0d83d75b2762e38c1d2abdab12a5cf3304965d92a6a28e9e66/4.jpg" /> <img width="1879" height="2505" width_o="1879" height_o="2505" data-src="https://freight.cargo.site/t/original/i/c8bedd0c95d942e9d5fd8a53d4be57a275130d61ff0ccb2220001adf3b45d146/17.jpg" data-mid="244673469" border="0" src="https://freight.cargo.site/w/1000/i/c8bedd0c95d942e9d5fd8a53d4be57a275130d61ff0ccb2220001adf3b45d146/17.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/a3a35159f42c61a31c5a1e0e83af7dc4f9b8241eb419339e7cda789212f37039/3.jpg" data-mid="244672561" border="0" src="https://freight.cargo.site/w/1000/i/a3a35159f42c61a31c5a1e0e83af7dc4f9b8241eb419339e7cda789212f37039/3.jpg" /> ︎︎︎Posters have long functioned as tools for public expression. Protest messaging continues to occupy Melbourne’s streets, using paper as a direct and accessible platform for political voice. Grassroots Culture Melbourne’s density of printed material reflects the city’s strong grassroots cultural infrastructure. Grassroots culture7 emerges from the bottom up — initiated, produced and circulated by individuals, collectives and local communities rather than solely by institutions or corporate marketing structures. Posters remain one of the most accessible tools for these initiatives. They are affordable to produce, easy to distribute, inherently local and physically tangible. Unlike digital promotion, they do not rely on algorithmic visibility, audience tracking or advertising budgets. Instead, they allow ideas to enter shared public space without requiring mediation by digital gatekeeping systems. They simply require an idea, a design and the willingness to occupy space. Melbourne’s internationally recognised live music and arts scenes have historically relied on this visibility. The city’s dense network of independent venues, collectives and temporary events continues to operate through a hybrid communication infrastructure in which posters remain central. In a city where graffiti and street art are deeply embedded in the visual identity — and actively promoted through cultural tourism strategies — posters feel less like intrusion and more like continuation. They participate in an established language of public expression. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/4cedd7e6715f3155a3a8b9b6c8e7540ef58c3d8c198c989769d60cb5ecdad126/13.jpg" data-mid="244672977" border="0" src="https://freight.cargo.site/w/1000/i/4cedd7e6715f3155a3a8b9b6c8e7540ef58c3d8c198c989769d60cb5ecdad126/13.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/b8e6ec575d9836d95b751f898ee948affdb05aa8f4ecc12c53628867ff4c9e33/12.jpg" data-mid="244672976" border="0" src="https://freight.cargo.site/w/1000/i/b8e6ec575d9836d95b751f898ee948affdb05aa8f4ecc12c53628867ff4c9e33/12.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/0168c03c5bd5bea384e21a3f9855387287368a0ad0c44736f300bcfb194d27a4/9.jpg" data-mid="244673133" border="0" src="https://freight.cargo.site/w/1000/i/0168c03c5bd5bea384e21a3f9855387287368a0ad0c44736f300bcfb194d27a4/9.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/dd69df9e35aaac12ffb36063a37f8abed72e8d711823786459704810757dbaa9/14.jpg" data-mid="244672978" border="0" src="https://freight.cargo.site/w/1000/i/dd69df9e35aaac12ffb36063a37f8abed72e8d711823786459704810757dbaa9/14.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/891c6fdd53fa9c65b676e4ebc160b258188f9bab8b17a1d8d838e5b8f75e1bac/11.jpg" data-mid="244672975" border="0" src="https://freight.cargo.site/w/1000/i/891c6fdd53fa9c65b676e4ebc160b258188f9bab8b17a1d8d838e5b8f75e1bac/11.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/014f7330d65b0759ca5bab04225a4fb5ec61b031ce810cc4e3fca11830c8ab12/10.jpg" data-mid="244673134" border="0" src="https://freight.cargo.site/w/1000/i/014f7330d65b0759ca5bab04225a4fb5ec61b031ce810cc4e3fca11830c8ab12/10.jpg" /> ︎︎︎From local pizzerias and flower shops to major cultural organisations, Melbourne’s poster landscape reflects a broad ecosystem of community and institutional voices.&nbsp; Outside the AlgorithmUnlike digital advertising, posters are not personalised. Everyone encounters the same message regardless of whether they are considered part of a target demographic. That lack of optimisation becomes their strength. Digital platforms increasingly shape cultural consumption through predictive systems that filter content according to user behaviour. Posters operate in opposition to this logic. They introduce friction. They interrupt routines and invite accidental discovery outside curated online environments. Because public images reflect competing social values, encountering them in shared space can also challenge individual preferences and biases.8 Posters may expose viewers to events, communities or political viewpoints they would never encounter within personalised digital feeds. In this sense, the street functions as a counter-algorithm — one based on chance, proximity and coexistence rather than behavioural prediction. Design Under PressureMelbourne’s poster culture also influences visual design itself. I would argue that the city’s abundance of visuals actively elevates design quality. When hundreds of posters coexist on the same surfaces, each one must actively compete for attention. This competition often results in bold typography, experimental layouts an highly distinctive visual identities. These posters are designed to survive layered environments, weather conditions and visual overload. They must communicate quickly while remaining memorable. Compared to more regulated poster environments — where reduced competition can lead to safer and more standardised design — Melbourne’s visual density encourages stronger and more expressive communication. Posters here are not nostalgic artefacts from a pre-digital era. They operate as contemporary communication tools, evolving alongside digital media rather than being replaced by it. <img width="2831" height="2097" width_o="2831" height_o="2097" data-src="https://freight.cargo.site/t/original/i/e4a1ccc81a17d0595554a6e0b8da10e19293d9110424240bd0af3094f8177c0c/2.jpg" data-mid="244672257" border="0" src="https://freight.cargo.site/w/1000/i/e4a1ccc81a17d0595554a6e0b8da10e19293d9110424240bd0af3094f8177c0c/2.jpg" />︎︎︎In Melbourne’s dense poster environment, visual competition often drives bold typography, experimental layouts and distinctive graphic identities. When Walls Speak Melbourne does not simply allow posters to exist — it reveals what happens when public space remains visually negotiable. Although flyposting operates in legal grey zones, its persistence demonstrates that public imagery is not solely shaped by policy or commercial branding. It is also shaped by individuals who choose to participate in the visual construction of their city. Cities that prioritise visual uniformity often achieve clarity and order. Melbourne suggests an alternative model, where layered imagery reflects cultural diversity, public dialogue and grassroots participation. Claims that print is obsolete overlook how media evolve rather than disappear. In Melbourne, print has not been replaced by digital communication; it operates alongside it as a shared, public and unpredictable form of cultural exchange. Paper and paste add texture, colour and human presence to the urban environment. Posters make the city readable. They reveal what is happening, what communities care about, who is organising and who is speaking. Melbourne feels alive because its walls remain open to being rewritten — one sheet of paper at a time. <img width="2169" height="1993" width_o="2169" height_o="1993" data-src="https://freight.cargo.site/t/original/i/311bfc3adbf982460b1aa71fcf5df116cafce55734d0a85441a10668e965139d/6.jpg" data-mid="244672715" border="0" src="https://freight.cargo.site/w/1000/i/311bfc3adbf982460b1aa71fcf5df116cafce55734d0a85441a10668e965139d/6.jpg" />︎︎︎Only in this city of ours.. ︎︎︎ 1 Meggs, Philip B, Alston W. Purvis, Meggs’ History of Graphic Design, New Jersey (John Wiley &amp; Sons, Inc.) 2016. 2(City of Amsterdam, ‘Am I allowed to put up posters?’)&nbsp;Gemeente Amsterdam, ‘Mag ik posters plakken?’, &lt;https://www.amsterdam.nl/leefomgeving/mag-posters-plakken/&gt; [10.02.2026]. 3 (’Only one municipality provides sufficient public posting spaces‘)&nbsp;Biesenbeek, René, ‘Slechts één gemeente biedt voldoende openbare plakplaatsen’, in: Agora, April 1997, p.17. 4(Municipality of Papendrecht, ‘Outdoor Advertising Guidelines’)&nbsp;Gemeente Papendrecht, ‘Richtlijnen Buitenreclame’, &lt;https://lokaleregelgeving.overheid.nl/CVDR434984&gt; [10.02.2026]. 5&nbsp;City of Melbourne, ‘Street art’, &lt;https://www.melbourne.vic.gov.au/street-art&gt; [10.02.2026]. 6 Andron, S, Chris Parkinson, ‘Power, Paper, and Profit: Street Posters and the Making of Visual Culture’, Space and Culture, 29 (2025) 1, pp.4-22. 7 Grassroots culture refers to cultural initiatives that originate from local communities, collectives or individuals rather than institutions, governments or large commercial organisations. 8 The Conversation, Sabina Andron, ‘Images shape cities — but who decides which ones survive?’, January 29, 2024, &lt;https://theconversation.com/images-shape-cities-but-who-decides-which-ones-survive-its-a-matter-of-visual-justice-216003&gt; [10.02.2026]. https://marnievandyck.com/Information Mon, 04 Nov 2019 10:14:14 +0000 Marnie van Dyck https://marnievandyck.com/Information Info Melbourne, Australia marnievandyck@gmail.com +61472985396 EducationVrije Universiteit Amsterdam — MA Design Cultures 2020-2022 University of the Arts Utrecht — BA with honours of graphic design&nbsp;2015-2019 University of the Arts Utrecht — Introductory year of arts and design 2014-2015 Fontys University of Applied Sciences — Propedeuse of communication 2014-2015 InternshipTotal Design&nbsp;—&nbsp; Amsteradam, The Netherlands 2020 OrtnerSchinko —&nbsp; Linz, Austria 2018 Experience Freelance graphic designer 2019- Program Developer at Graphic Matters 2022-2024 Graphic designer at Studio MKKR&nbsp;2018-2019 Exhibitor and designer ‘Long Story Short’ — HKU Media, NL 2019 Exhibitor and curator ‘For Future Reference’ — &nbsp;AG, NL 2018 Curator ‘Rumoer’ —&nbsp; AG, NL&nbsp;2017Exhibitor ‘Spoken Word’ — EKKO, NL 2017Exhibitor ‘Reading the Future’ — Frankfurter Buchmesse, DE 2016 https://marnievandyck.com/Design-Homepage Mon, 04 Nov 2019 10:14:09 +0000 Marnie van Dyck https://marnievandyck.com/Design-Homepage I’m a Melbourne-based graphic designer specialising in branding and visual identities. My designs live in both print and digital spaces, always aiming to convey a clear message. Let’s collaborate, exchange ideas, or just grab a coffee! <img width="1850" height="1233" width_o="1850" height_o="1233" data-src="https://freight.cargo.site/t/original/i/220572de811180a5aa9dc4cf5313d236caf103f7c2930dd494b5984555ea869a/Long-Story-Short-Detail-3.png" data-mid="54228926" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/220572de811180a5aa9dc4cf5313d236caf103f7c2930dd494b5984555ea869a/Long-Story-Short-Detail-3.png" />Long Story Short: Graduation Festival <img width="7016" height="4672" width_o="7016" height_o="4672" data-src="https://freight.cargo.site/t/original/i/22dc676916523f60511e8b91cbc040820fca85a6d7fd07d395888dd1b02f9f95/good-wave.jpg" data-mid="229185466" border="0" src="https://freight.cargo.site/w/1000/i/22dc676916523f60511e8b91cbc040820fca85a6d7fd07d395888dd1b02f9f95/good-wave.jpg" />good wave <img width="7016" height="4664" width_o="7016" height_o="4664" data-src="https://freight.cargo.site/t/original/i/2b1eb2c7f09512acfcd93512a2b3cf595db241304ac532e75015b33e78a8ab21/Tiebosch.jpg" data-mid="229185470" border="0" src="https://freight.cargo.site/w/1000/i/2b1eb2c7f09512acfcd93512a2b3cf595db241304ac532e75015b33e78a8ab21/Tiebosch.jpg" />Tiebosch <img width="2923" height="1948" width_o="2923" height_o="1948" data-src="https://freight.cargo.site/t/original/i/8acadae6677bde9d01e25f0056793ad5379eaf8096366a53eaa32bd4d5ede001/Lacknowledge.jpg" data-mid="54650530" border="0" src="https://freight.cargo.site/w/1000/i/8acadae6677bde9d01e25f0056793ad5379eaf8096366a53eaa32bd4d5ede001/Lacknowledge.jpg" />Lacknowledge <img width="7924" height="5284" width_o="7924" height_o="5284" data-src="https://freight.cargo.site/t/original/i/353af071efb05f2bf63b458fd58c16399675b1c84cb418aa11a23beb70c9c14a/When-The-Alligators-Are-Sleeping.jpg" data-mid="54646024" border="0" src="https://freight.cargo.site/w/1000/i/353af071efb05f2bf63b458fd58c16399675b1c84cb418aa11a23beb70c9c14a/When-The-Alligators-Are-Sleeping.jpg" />When The Alligators Are Sleeping <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/376a5a18027875368ccdd7ca838d49b377130e6f031a035be6f9b04e2b153caf/OWN-Handout-2.jpg" data-mid="54070266" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/376a5a18027875368ccdd7ca838d49b377130e6f031a035be6f9b04e2b153caf/OWN-Handout-2.jpg" />OWN&nbsp; <img width="3644" height="2430" width_o="3644" height_o="2430" data-src="https://freight.cargo.site/t/original/i/d088950c3d1bd3acb1ea0b57f051fbad0ca85c66c823f645507423c27cb65275/Graduation-Catalogue.jpg" data-mid="54109448" border="0" data-scale="100" data-no-zoom src="https://freight.cargo.site/w/1000/i/d088950c3d1bd3acb1ea0b57f051fbad0ca85c66c823f645507423c27cb65275/Graduation-Catalogue.jpg" />HKU Graduation Catalogue <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/10dece67325dec02d8f01ed93d9c87e18193b2ab10635f8d6bd7cea367055502/Rumoer-Exhibition-1.jpg" data-mid="54633304" border="0" src="https://freight.cargo.site/w/1000/i/10dece67325dec02d8f01ed93d9c87e18193b2ab10635f8d6bd7cea367055502/Rumoer-Exhibition-1.jpg" />Rumoer Exhibition <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e72b0b577dabba78ecab3f3692fcf01f593468f1354c28347915afd22f576f9c/De-Hoge-Weide-Folder-2.jpg" data-mid="54648900" border="0" src="https://freight.cargo.site/w/1000/i/e72b0b577dabba78ecab3f3692fcf01f593468f1354c28347915afd22f576f9c/De-Hoge-Weide-Folder-2.jpg" />De Hoge Weide <img width="5284" height="3523" width_o="5284" height_o="3523" data-src="https://freight.cargo.site/t/original/i/3eff6cb1d37b62c4f69114fbe98f9b7b8fa776e71d4c0e04f64bc742fd2101e9/O.S.-Invitation-1.jpg" data-mid="54088636" border="0" data-no-zoom src="https://freight.cargo.site/w/1000/i/3eff6cb1d37b62c4f69114fbe98f9b7b8fa776e71d4c0e04f64bc742fd2101e9/O.S.-Invitation-1.jpg" /> O.S. Invitation https://marnievandyck.com/Long-Story-Short Mon, 04 Nov 2019 13:35:11 +0000 Marnie van Dyck https://marnievandyck.com/Long-Story-Short Long Story Short:Visual identity for The University of the Arts UtrechtFor the annual Graduation Festival a new form of exhibiting was created based on five overarching themes: Redefined Objects, Translating Tomorrow, New Obligations, Distorted Reality and Tracing Nature. These themes, each visualized by a symbol, focused on the students’ stories. This visual identity allowed for new perspectives and insights to be added to the graduation projects. ‘Long Story Short’ summarizes the students’ projects and their time at the art school. Created with Studio MKKR &nbsp; <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/46eadd4ac2bb62d99c09ab01dd07fa000260b5c99cbcc6783631414ced44a9b4/Long-Story-Short-Entrance.jpg" data-mid="54057957" border="0" src="https://freight.cargo.site/w/1000/i/46eadd4ac2bb62d99c09ab01dd07fa000260b5c99cbcc6783631414ced44a9b4/Long-Story-Short-Entrance.jpg" /> <img width="3250" height="4875" width_o="3250" height_o="4875" data-src="https://freight.cargo.site/t/original/i/421ea106669fda5a5c528a9ce89028668cac5a1997c05643902f9709f72656c5/Long-Story-Short-Entrance-text.jpg" data-mid="54057955" border="0" src="https://freight.cargo.site/w/1000/i/421ea106669fda5a5c528a9ce89028668cac5a1997c05643902f9709f72656c5/Long-Story-Short-Entrance-text.jpg" /><img width="3383" height="5074" width_o="3383" height_o="5074" data-src="https://freight.cargo.site/t/original/i/ace8dbb051ec7525f8383f898f0078d893fa8e61ba9f51a408a1901c073c03e8/Long-Story-Short-Map---handout.jpg" data-mid="54057960" border="0" src="https://freight.cargo.site/w/1000/i/ace8dbb051ec7525f8383f898f0078d893fa8e61ba9f51a408a1901c073c03e8/Long-Story-Short-Map---handout.jpg" /> <img width="5143" height="3625" width_o="5143" height_o="3625" data-src="https://freight.cargo.site/t/original/i/55c6cebe29a797b03fdd065b6c60cf7eea998c04d9a2a12f142b9e9a3d14db5f/Long-Story-Short-Window.jpg" data-mid="54057964" border="0" src="https://freight.cargo.site/w/1000/i/55c6cebe29a797b03fdd065b6c60cf7eea998c04d9a2a12f142b9e9a3d14db5f/Long-Story-Short-Window.jpg" /><img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/d6c112a60664d2a23787f47b46dadf405d388b026f683e602e26f4c7f307fa15/Long-Story-Short-Texts.jpg" data-mid="54105782" border="0" src="https://freight.cargo.site/w/1000/i/d6c112a60664d2a23787f47b46dadf405d388b026f683e602e26f4c7f307fa15/Long-Story-Short-Texts.jpg" /><img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/7ed54a0a8d8e7b7af023931eb567fea1c3104176075ce5964e33b6b09f6f7f78/Long-Story-Short-Handout-2.jpg" data-mid="54057959" border="0" src="https://freight.cargo.site/w/1000/i/7ed54a0a8d8e7b7af023931eb567fea1c3104176075ce5964e33b6b09f6f7f78/Long-Story-Short-Handout-2.jpg" /><img width="5816" height="3878" width_o="5816" height_o="3878" data-src="https://freight.cargo.site/t/original/i/8b44e4964b91e4f2fa0ebf4d541e9ac2af24735be01b63d1441a75608027cb26/Long-Story-Short-Handout-1.jpg" data-mid="54057958" border="0" src="https://freight.cargo.site/w/1000/i/8b44e4964b91e4f2fa0ebf4d541e9ac2af24735be01b63d1441a75608027cb26/Long-Story-Short-Handout-1.jpg" /><img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/2897c66c03ee56f170b918b86edc00e4f8d22bed2dd6e3479fb0967acc5236fe/Long-Story-Short-Totebags.jpg" data-mid="54057963" border="0" src="https://freight.cargo.site/w/1000/i/2897c66c03ee56f170b918b86edc00e4f8d22bed2dd6e3479fb0967acc5236fe/Long-Story-Short-Totebags.jpg" /> <img width="2667" height="4001" width_o="2667" height_o="4001" data-src="https://freight.cargo.site/t/original/i/40ac8cc1a3b076e5b44cd5e7ed5ccb208d032766f8efb3e729569c6019c2211f/Long-Story-Short-Keycord.jpg" data-mid="54059308" border="0" src="https://freight.cargo.site/w/1000/i/40ac8cc1a3b076e5b44cd5e7ed5ccb208d032766f8efb3e729569c6019c2211f/Long-Story-Short-Keycord.jpg" /><img width="3902" height="5853" width_o="3902" height_o="5853" data-src="https://freight.cargo.site/t/original/i/366abb799e4575210f5254f73ff0d82087c72a92e079a3b8e9f90fd939e22796/Long-Story-Short-Posters-1.jpg" data-mid="54059345" border="0" src="https://freight.cargo.site/w/1000/i/366abb799e4575210f5254f73ff0d82087c72a92e079a3b8e9f90fd939e22796/Long-Story-Short-Posters-1.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/466a727c7a52201dff7003d3a722e537ddf2166cbea7e3b9b688a50edc7e3db2/Long-Story-Short-Totebag.jpg" data-mid="54057962" border="0" src="https://freight.cargo.site/w/1000/i/466a727c7a52201dff7003d3a722e537ddf2166cbea7e3b9b688a50edc7e3db2/Long-Story-Short-Totebag.jpg" /><img width="1620" height="2430" width_o="1620" height_o="2430" data-src="https://freight.cargo.site/t/original/i/d11621bb6d8bd01d89639c4b02d56387da568139c03b61bbed19400827592dec/Long-Story-Short-Posters_GIF.gif" data-mid="54160980" border="0" src="https://freight.cargo.site/w/1000/i/d11621bb6d8bd01d89639c4b02d56387da568139c03b61bbed19400827592dec/Long-Story-Short-Posters_GIF.gif" /> <img width="1828" height="1356" width_o="1828" height_o="1356" data-src="https://freight.cargo.site/t/original/i/a446c53d87cf58a76bd819c81c690416834fea650c2b520470c1519393202c99/Long-Story-Short-Posters-2.jpg" data-mid="54057961" border="0" src="https://freight.cargo.site/w/1000/i/a446c53d87cf58a76bd819c81c690416834fea650c2b520470c1519393202c99/Long-Story-Short-Posters-2.jpg" /> Index Next ︎ https://marnievandyck.com/OWN-HKU-Media-identity Mon, 04 Nov 2019 10:14:11 +0000 Marnie van Dyck https://marnievandyck.com/OWN-HKU-Media-identity OWN Campaign for The University of the Arts UtrechtFor the open day at the University of the Arts Utrecht a new identity was created focussing on appropriation and individuality of future and current students. Created with Studio MKKR <img width="5005" height="3337" width_o="5005" height_o="3337" data-src="https://freight.cargo.site/t/original/i/a4c946d2e0bcf8769b89a01a2eb2f1cd3c347a6979e1107595353ec7c770a1be/OWN-Entrance-poster-1.jpg" data-mid="54061237" border="0" src="https://freight.cargo.site/w/1000/i/a4c946d2e0bcf8769b89a01a2eb2f1cd3c347a6979e1107595353ec7c770a1be/OWN-Entrance-poster-1.jpg" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d81660e1af8049ef51990731409e1416839c0466ed9510167f67a13a42376ce6/OWN-Entrance-poster-2.jpg" data-mid="54064982" border="0" src="https://freight.cargo.site/w/1000/i/d81660e1af8049ef51990731409e1416839c0466ed9510167f67a13a42376ce6/OWN-Entrance-poster-2.jpg" /> <img width="2688" height="4032" width_o="2688" height_o="4032" data-src="https://freight.cargo.site/t/original/i/895e2d846e2269c785c87cae93f9dfb015dfa5a643c437762b8b98af71557329/OWN-Window.jpg" data-mid="54061289" border="0" src="https://freight.cargo.site/w/1000/i/895e2d846e2269c785c87cae93f9dfb015dfa5a643c437762b8b98af71557329/OWN-Window.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/4c421254b1a4dcd2f0114193d35516c79e9702fd7b4298a976d7b5e7be068b30/OWN-Entrance-crown.jpg" data-mid="54063507" border="0" src="https://freight.cargo.site/w/1000/i/4c421254b1a4dcd2f0114193d35516c79e9702fd7b4298a976d7b5e7be068b30/OWN-Entrance-crown.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/473671bf9fbbeea954b113fbbcb1419f82898f2d801d6a84b2bd249484d20932/OWN-Flags.jpg" data-mid="54063508" border="0" src="https://freight.cargo.site/w/1000/i/473671bf9fbbeea954b113fbbcb1419f82898f2d801d6a84b2bd249484d20932/OWN-Flags.jpg" /> <img width="2688" height="4032" width_o="2688" height_o="4032" data-src="https://freight.cargo.site/t/original/i/33a584f495ca13b46c7983e89d2b6c585fc0b493fa1465744de91d5ffbc991d8/OWN-Sticker-1.jpg" data-mid="54061284" border="0" src="https://freight.cargo.site/w/1000/i/33a584f495ca13b46c7983e89d2b6c585fc0b493fa1465744de91d5ffbc991d8/OWN-Sticker-1.jpg" /> <img width="3407" height="2557" width_o="3407" height_o="2557" data-src="https://freight.cargo.site/t/original/i/818ea6a0d36f0c526c3a42c92fe115ef8515e280cbe772a41646b89f476fd4b0/OWN-Sticker-2.jpg" data-mid="54061285" border="0" src="https://freight.cargo.site/w/1000/i/818ea6a0d36f0c526c3a42c92fe115ef8515e280cbe772a41646b89f476fd4b0/OWN-Sticker-2.jpg" /> <img width="3370" height="2529" width_o="3370" height_o="2529" data-src="https://freight.cargo.site/t/original/i/77260c561be56caffb2a79eb2e1e129224bb919059cf57efdb832f2a6783fd31/OWN-Sticker-3.jpg" data-mid="54113281" border="0" src="https://freight.cargo.site/w/1000/i/77260c561be56caffb2a79eb2e1e129224bb919059cf57efdb832f2a6783fd31/OWN-Sticker-3.jpg" /> <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b7fec2945c864d1d0d6d404109b1d641d281779707cd945d312aca6cb8a75ac3/OWN-Handout-1.jpg" data-mid="54658358" border="0" src="https://freight.cargo.site/w/1000/i/b7fec2945c864d1d0d6d404109b1d641d281779707cd945d312aca6cb8a75ac3/OWN-Handout-1.jpg" /><img width="5536" height="3776" width_o="5536" height_o="3776" data-src="https://freight.cargo.site/t/original/i/b7329fd2a687ab550b172ebcbdaaf304437fd5dc9a304537a5190e562cf50aed/OWN-Handout-3.jpg" data-mid="54069965" border="0" src="https://freight.cargo.site/w/1000/i/b7329fd2a687ab550b172ebcbdaaf304437fd5dc9a304537a5190e562cf50aed/OWN-Handout-3.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/cf64f231b80d7e51ce1963af706bfb53ca7019c71c0ab52bb39eba01c703ca93/OWN-Handout-2.jpg" data-mid="54069963" border="0" src="https://freight.cargo.site/w/1000/i/cf64f231b80d7e51ce1963af706bfb53ca7019c71c0ab52bb39eba01c703ca93/OWN-Handout-2.jpg" /> <img width="5626" height="3751" width_o="5626" height_o="3751" data-src="https://freight.cargo.site/t/original/i/5f539e07d1139ac8ce9838a40846b3d96418841072d4a1c0359c1f04a818c8a9/OWN-Handout-4.jpg" data-mid="54069967" border="0" src="https://freight.cargo.site/w/1000/i/5f539e07d1139ac8ce9838a40846b3d96418841072d4a1c0359c1f04a818c8a9/OWN-Handout-4.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/4cd5f90b04daf6fa76b3e47097374698702a0bd2e4a9c12f03f3b8662e2430bf/OWN-Mesh-2.jpg" data-mid="54063511" border="0" src="https://freight.cargo.site/w/1000/i/4cd5f90b04daf6fa76b3e47097374698702a0bd2e4a9c12f03f3b8662e2430bf/OWN-Mesh-2.jpg" /> <img width="3947" height="5920" width_o="3947" height_o="5920" data-src="https://freight.cargo.site/t/original/i/a0153cd9ee9d240e46afc5d9b121b1206f2f818e351f55946a85fea5dd884a08/OWN-Mesh-1.jpg" data-mid="54063510" border="0" src="https://freight.cargo.site/w/1000/i/a0153cd9ee9d240e46afc5d9b121b1206f2f818e351f55946a85fea5dd884a08/OWN-Mesh-1.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/bd56e9a9361d9e47f8e82210e29a4159ec8f3203ff60c1c082f946594f21a719/OWN-Shirt.jpg" data-mid="54061251" border="0" src="https://freight.cargo.site/w/1000/i/bd56e9a9361d9e47f8e82210e29a4159ec8f3203ff60c1c082f946594f21a719/OWN-Shirt.jpg" /> Index Next ︎ https://marnievandyck.com/good-wave Wed, 02 Apr 2025 08:24:51 +0000 Marnie van Dyck https://marnievandyck.com/good-wave good waveIdentity Design / Art Direction / BrandingA bold and energetic identity for Good Wave, a red light therapy lamp designed for home use. Inspired by the product’s array of circular lights, the visual identity captures its dynamic energy and modern appeal. Targeting young, active individuals who prioritise both performance and appearance, the brand taps into the growing red light therapy trend with a look that feels fresh, fun, and engaging. The project also included art direction for photography and a social media campaign, ensuring a vibrant and aspirational wellness aesthetic across all touchpoints. <img width="7016" height="4961" width_o="7016" height_o="4961" data-src="https://freight.cargo.site/t/original/i/a4638a21adfa585ef2eab2025b3ba3f785877550d5ac3012c78ad348ca02ef21/GW4.jpg" data-mid="229184270" border="0" src="https://freight.cargo.site/w/1000/i/a4638a21adfa585ef2eab2025b3ba3f785877550d5ac3012c78ad348ca02ef21/GW4.jpg" /> <img width="4961" height="7016" width_o="4961" height_o="7016" data-src="https://freight.cargo.site/t/original/i/fadb0482b425d197aca70e52ca133f939914cd05f5ff948f9683063101f33f87/GW2.jpg" data-mid="229184302" border="0" src="https://freight.cargo.site/w/1000/i/fadb0482b425d197aca70e52ca133f939914cd05f5ff948f9683063101f33f87/GW2.jpg" /><img width="4961" height="7016" width_o="4961" height_o="7016" data-src="https://freight.cargo.site/t/original/i/8bfc4e66aa8a98aeb9fb23441d911974aa2166207e134f50c8420bad90ded7ce/GW7.jpg" data-mid="229184287" border="0" src="https://freight.cargo.site/w/1000/i/8bfc4e66aa8a98aeb9fb23441d911974aa2166207e134f50c8420bad90ded7ce/GW7.jpg" /> <img width="4954" height="1614" width_o="4954" height_o="1614" data-src="https://freight.cargo.site/t/original/i/d78d5dd6fa86a49825f2b74ca42fae8fadaabf95ccc905cbbd7f70a93440a498/GW5.jpg" data-mid="229184308" border="0" src="https://freight.cargo.site/w/1000/i/d78d5dd6fa86a49825f2b74ca42fae8fadaabf95ccc905cbbd7f70a93440a498/GW5.jpg" /> <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/0550da792b83ad7eba93b9a40f8b413c81c760bf64290b32398e5ec83bdedd09/4Y9A5207-Edit.jpg" data-mid="229184257" border="0" src="https://freight.cargo.site/w/1000/i/0550da792b83ad7eba93b9a40f8b413c81c760bf64290b32398e5ec83bdedd09/4Y9A5207-Edit.jpg" /><img width="4501" height="3947" width_o="4501" height_o="3947" data-src="https://freight.cargo.site/t/original/i/27b21b12d4a47cd389d05cffdcced9bebbe5e8b0cd6b296d5f396a8dec11e486/GW1.jpg" data-mid="229184930" border="0" src="https://freight.cargo.site/w/1000/i/27b21b12d4a47cd389d05cffdcced9bebbe5e8b0cd6b296d5f396a8dec11e486/GW1.jpg" /><img width="2780" height="1924" width_o="2780" height_o="1924" data-src="https://freight.cargo.site/t/original/i/aa177ae1e2d8ebce40559285e3c6e4ff3e0e53494f8e2233a770fd22fdec0f7e/Schermafbeelding-2025-04-02-om-19.36.03.png" data-mid="229184261" border="0" src="https://freight.cargo.site/w/1000/i/aa177ae1e2d8ebce40559285e3c6e4ff3e0e53494f8e2233a770fd22fdec0f7e/Schermafbeelding-2025-04-02-om-19.36.03.png" /><img width="4954" height="1862" width_o="4954" height_o="1862" data-src="https://freight.cargo.site/t/original/i/b6ed17dad6c6d6e669947a17c96ccef8c043184ef7334626857911d623ac6f76/GW6.jpg" data-mid="229184329" border="0" src="https://freight.cargo.site/w/1000/i/b6ed17dad6c6d6e669947a17c96ccef8c043184ef7334626857911d623ac6f76/GW6.jpg" /> <img width="4930" height="5829" width_o="4930" height_o="5829" data-src="https://freight.cargo.site/t/original/i/1bc262be19b095512eb2af82338d399a906ceb7a6189cf7d5df66e248fab07d0/GW8.jpg" data-mid="229184810" border="0" src="https://freight.cargo.site/w/1000/i/1bc262be19b095512eb2af82338d399a906ceb7a6189cf7d5df66e248fab07d0/GW8.jpg" /> <img width="4931" height="5835" width_o="4931" height_o="5835" data-src="https://freight.cargo.site/t/original/i/bcd460e9265eec11ce6d7d8f20e646f43e595799045a62feb464311259c2b13c/GW10.jpg" data-mid="229184817" border="0" src="https://freight.cargo.site/w/1000/i/bcd460e9265eec11ce6d7d8f20e646f43e595799045a62feb464311259c2b13c/GW10.jpg" /> <img width="4496" height="3956" width_o="4496" height_o="3956" data-src="https://freight.cargo.site/t/original/i/62ff50d4c4f6ef21958c5b45575e8624d94a1f710b63859d1cd216044fcb571a/GW9.jpg" data-mid="229184921" border="0" src="https://freight.cargo.site/w/1000/i/62ff50d4c4f6ef21958c5b45575e8624d94a1f710b63859d1cd216044fcb571a/GW9.jpg" /> Index Next ︎