From the very beginning, our goal in designing the exhibition identity was to find a visual language that felt neither distinctly European nor tied to a specific place. We were fascinated by the idea of script—by how information is recorded in cultures that don’t use the Latin alphabet. In those writing systems, we discovered a kind of visual dynamism often missing from our own environment. It was never about imitation, but about finding a respectful, interpretive approach that could capture this diversity through our own design language.

The concept is built around typography as image. We drew inspiration from calligraphy, vertical and circular writing systems, gesture, and the inner logic of different scripts. The resulting typographic visual is composed of fragments—each shape carries traces of another alphabet, another way of writing. The identity embraces variability: some applications are purely typographic, others integrate photography and symbols.

Within the exhibition space, typography played multiple roles—headlines acted as visual anchors, balanced by practical text layouts. In bilingual materials, we used two contrasting typefaces—a readable serif and a sans-serif grotesque—to create rhythm and clarity.

A connective element was a collection of small take-away artefacts designed for visitors. We created a series of printed materials (invitations, bookmarks, postcards) combining black backgrounds with photographs or graphic elements from the exhibition. Custom stamps linked to specific objects became a subtle yet memorable mark of the identity—present physically in the exhibition space and simultaneously used across the key visuals.