Folkmusik 2.0
– Swedish hiphop remixed
Art Direction・Exhibition Design・Graphic Design
FOLKMUSIK 2.0 – SWEDISH HIPHOP REMIXED, 2017
Client: Kulturhuset Stadsteatern・Art direction and graphic design: Sepidar Hosseini and Minna Sakaria・Producer: Erik Hedman・Exhibited artists: Maria Decida Wahlberg, OY (Senay Berhe, Helena Ringvold, Tim Dalrud), Oliver Martin Henriquez, Santiago Mostyn, Theresa Traore Dahlberg, Lotta Ankargård, Daniel De Viciola and Ilja Karilampi・Print production: TMG Stockholm・Photo documentation: Vidar Sörman
Client: Kulturhuset Stadsteatern・Art direction and graphic design: Sepidar Hosseini and Minna Sakaria・Producer: Erik Hedman・Exhibited artists: Maria Decida Wahlberg, OY (Senay Berhe, Helena Ringvold, Tim Dalrud), Oliver Martin Henriquez, Santiago Mostyn, Theresa Traore Dahlberg, Lotta Ankargård, Daniel De Viciola and Ilja Karilampi・Print production: TMG Stockholm・Photo documentation: Vidar Sörman
A bold, typography-driven visual identity was developed for the audio-visual group exhibition Folkmusik 2.0 — Swedish Hiphop Remixed, held at Kulturhuset Stadsteatern, Stockholm’s central arts and culture hub. The design featured large-scale supergraphics and a custom wayfinding system that spanned the entire 450-square-meter exhibition space — from floor to ceiling.
The concept sought to capture the pulse of the city, transforming the space into a loud urban landscape where echoes of iconic lines from Swedish hip hop history unfolded as typographic samplings across the façades — positioning hip hop as one of the most vital cultural forces of our time.
The concept sought to capture the pulse of the city, transforming the space into a loud urban landscape where echoes of iconic lines from Swedish hip hop history unfolded as typographic samplings across the façades — positioning hip hop as one of the most vital cultural forces of our time.
The typography was a contemporary interpretation and adaptation of the black-letter style, a visual language long associated with the genre, particularly through tattoo culture. Lighting was both rendered graphically — in the form of printed color spotlights — and enacted physically through directed lamps, evoking the feeling of “taking the stage”.
The identity extended into print and digital formats appearing on posters, brochures, postcards, merch, and across the exhibition’s digital communication.
The identity extended into print and digital formats appearing on posters, brochures, postcards, merch, and across the exhibition’s digital communication.
