Fair Exchange was a project initiated by No Clients and commissioned by the National Gallery of Victoria for the 2019 Melbourne Art Book Fair. Attendees of the fair were invited to bring along a book to trade in exchange for a selection of books accumulated from other participating stalls and the NGV bookstore. The project aimed to highlight the value and non-value of books and also explore the distribution of books as not only art or objects, but as forms of currency. Emile Zile, Danielle Reynolds and Erick Mitsak were invited to be the official appraisers of Fair Exchange, deciding whether to approve or reject trades while determining the varying market conditions at play and the eventual market crash that happened in the last 30 minutes of trading resulting in all the books being given away for free. Photography: Tobias Titz
Ned Shannon is a graphic designer and artist from Melbourne, Australia based in Berlin. He completed a Bachelor of Communication Design at Monash University in 2016. He has previously worked for Studio SP—GD and is also one quarter of Melbourne/Berlin based studio for design No Clients with Robert Janes, Beaziyt Worcou and Samuel Heatley. He is also 1/3 of experimental pop group Candy Chain with Gabrielle Nehyribecki and Oscar Newman. Full CV available upon request. Get in touch here.
No Clients' contribution to the 2019 Seventh Gallery Annual Fundraiser Exhibition "Systems of Value". Visitors were asked to fill out the form in response to a work of their choice.
The Call of Nature is a service that provides an opportunity to listen in on the sounds of either Forest Park, Minnewaska State Park Preserve or Rockaway Beach. Each hotline number was linked to an iPhone which had been set to auto-answer and placed in location for 24 hours. Posters were distributed throughout New York in lead up to the temporarily active hotline service. Completed at Endless Editions Copy Shop residency in New York, 2019. Poster pack available for purchase here.
Meals in Seals is an ongoing project where I share a meal with people through an international mail service.
People I have shared a meal with:
Amelia Akanni (London)
Gaelle Cordeau (Montreal)
Robert Janes (Berlin)
Grace Hurley (New York)
A (post)collaboration with the City of Yarra in homage to the music genre 'Musique Concrète'
A (post)collaboration with the owner of the property who requested 'No Posters'. Made with Sonny Witton
'Making Space' was a group exhibition at Bookshop curated by Hope Lumsden-Barry and Ryley Lawson. No Clients' contribution was a list of 101 things we had learnt and re learnt since forming the studio in 2016. The list is an ongoing project by No Clients but for the purpose of the exhibition was distilled at 101 things.
A solution for the typically awkward 3 way handshake where no one gets the upper hand.
DJ (T)Fool is a free MP3 download sample for DJs to use in their sets. DJ (T)Fool is the full recorded length of an airhorn (1 minute, 34 seconds) and can simply be played over an existing track for hype purposes or alternatively mixed in as a complete song.
Ongoing identity for Melbourne based dub techno label Local Traffic
Poster pack published by No Clients and launched at the 2017 Melbourne Art Book Fair.
Typeface specimen zine that collates and codifies instances of a particular typo-vernacular style. Including download link for two weights (38% and 20%) of a squashed version of Roger Excoffon’s typeface Antique Olive Nord. First printing sold out (profits were donated to ASRC). Second printing now available at True Belief. In collaboration with Adam Cruickshank.
What would the MPavilion flag look like? Is it an opinion? A political statement? A logo? An artwork? How does it function? What is its purpose? In this workshop No Clients invited participators to explore how design, branding and identity can influence the way we interact with the world around us and the ways a flag can encompass the ideas, values and principles of a community, corporation, institution or even a country.
Does graphic design intended for the ‘real’ world have the ability to effectively communicate when placed in an exhibition space (specifically the white cube as the modernists utopian space.)”?” Exhibited at the 2016 Mada Now Graduate Show. Thank you to Ziga Testen, Brad Haylock, Domonic Hofstede, Jon Sueda, Maki Zuzuki, Stuart Geddes, Adam Cruikshank and Sam de Grott for your kind assistance with my research. Research document available on request.
During the 1960s and 1970s Monash University was the epicentre of student politics in Australia and under the direction of the Monash Labor Club, radical activist groups produced a range of political ephemera including newsletters, posters, protest flyers and manifestos. In response to an article written by Warren Taylor titled 'Print and Demand', Robert Janes, Beaziyt Worcou, Vincent Chan and I were approached to design and print a transcript of a discussion between Ken Mansell, Emily Forde, Stewart Russell and students of Art and Design at Monash University during Forde's forum 'Disobediance: The University as a Site of Political Potential' at Monash University Museum of Art (MUMA) in 2013. Insert cover design by Emily Floyd.
A short commercial for Australian based clothing retailer Rivers, advertising a sale on their Summer Clogs.
This project explores the relationship of natural and mechanical means of production. The composition was made by manipulating 10 Field recordings in the online program Audio Sauna which was then pressed on a 7” vinyl. The cover was made using the online program Fat Paint and was then printed risograph printed. Exhibited at MADA gallery. Vinyl made by Small Run, edition 1/1. Published by Drum Luck Press
The weight of the National Gallery of Victoria’s archival exhibition ephemera from the Shaw Research Library is presented alongside some key factors that may or may not have influenced the amount of material collected for each year. The reader is encouraged to make assumptions about the reasons behind the varying weight. Presented at the Melbourne Art Book Fair 2016. The project was acquired by the Shaw Research Library in the National Gallery of Victoria and now sits in their archive.
Site last updated:
19 December 2019 21:58