“To Badiou, true black is radical and, as an antidote to the white flag, always a call to action – not in an ideologized sense, but in an inquiring one. That is what accounts for its brilliance. However, much like the blackness in Soulages’ paintings, his philosophy of truth feels incomplete, as if to say: “You who see me without seeing anything, go on!”

from COLOR AND TRUTH. Taupe Magazine, 2019

“Ihre Grundflächen sind kaum größer als die eines Kastenwagens, die Silhouetten schlicht und doch eigentümlich, die Innenräume puristisch. Schneeweiß und auf geometrischen Grundformen basierend wirken die Cellules des israelischen Künstlers Absalon zunächst kühl und unpersönlich, wie deformierte Iglus oder Überbleibsel einer alten Science-Fiction-Kulisse.”

from ABSALON. in Alape Journal, 2019

“The streets were steeped in soft stage light, making her wonder whether art and the real world had, for a moment, reversed their traditional roles. Pedestrians moved stiltedly through the drizzle, as if struggling to get into character; but still, everything was entrenched with reliable meaning. When a taxi pushed itself into the scene like a deus ex machina she hailed it, waving in a slightly theatrical manner. Only the cold felt real.”

from ANNIE GET YOUR COAT. Carhartt WIP Ad Campaign, 2019

“Hailing from the hotbed of punk, Linder Sterling has never shied away from tearing things apart. Thematic rupture is a core element of her collage work, which features kettles, cupcakes, and flower bouquets, as well as nude beauties, fishnet stockings, lipsticks, and sanitary napkins – all cut out from household and porn magazines and mixed up by the socio-cultural tensions of Western society.”

from THE AGE OF COLLAGE. Gestalten Verlag, 2013.

“Spotifys Mechanismus basiert auf einer symbiotischen Verbindung von Mensch und Maschine: Jeder Nutzer, der selbst Playlists erstellt, gruppiert bestimmte Lieder und vergibt durch Headlines wie Happiness, Hymnen, Hatecore oder Symphonien fürs Frühstück Etiketten, von denen das ganze System profitiert. Weil wir alle unseren Teil dazu beitragen, die Performance der Plattform zu verbessern, sind wir, in Spotifys Sprache, “part of the band.”

from VERLOREN IN MUSIK. Zeit Online, 2019

“On the face of it, a Lange watch looks streamlined and simple, but much like Cloud City from Star Wars, it encapsulates intriguing complexities in its saucer-shaped shell. Anthonie de Haas, Director of Product development at A. Lange & Söhne, explains the science of his profession through fiction: “Imagine you could beam yourself right into that multi-layered movement. You would find a perfect little universe of its own, planned with architectural precision, so that everything is exactly in place.” At a certain zoom factor, all complexity dissolves into order – or even into perceived simplicity.”

from TIMEPIECES IN SPACE. in Sleek, 2018

“The good life is elusive, yet ever-present. It’s a sales strategy. A commodity. A challenge. Many times, it’s a misunderstanding. And sometimes, an outright hoax. Coca Cola keeps telling us that life tastes good; and despite alternative nutrition facts, Dr Pepper claims to be good for life. The good life, or the lack thereof, is the stuff of movies and an all round hashtag on social media platforms, where it comes in the guise of sportscars, great danes, six-packs, and avocado-toasts.”

from LIFE IS GOOD. Favorite Nightmares Zine, 2017

“In unserer kollektiven Vorstellung ist der Wust an Leitungen, die Al Gore in den Neunzigerjahren Information Superhighway genannt hat, längst zu einer omnipräsenten Ganzheit verschwommen, die in ihrer Begrifflichkeit explizit offen bleibt für Interpretationen und große Gefühle.”

from THE NEBULOUS NOW. in Chapter, 2019

“The scenes in Wangechi Mutu’s collages work may be out of this world, but they point to its most pressing problems. Acting like paper-made protestors, their curious protagonists accompany the artist on her combat mission to examine well-established hierarchies and challenge predominant power structures. As members of Mutu’s army, they fight in the front ranks for women’s rights and stand up against social injustice.”

from THE AGE OF COLLAGE 2. Gestalten Verlag, 2016

“Routinely devastated, Cruise, Willis and Co. lean against lunar rocks, battered, bruised, contemplating. But there is hope and some sort of newfangled freedom—the promise to start afresh. Destined to blaze a trail without knowing what to expect, the post-apocalyptic hero will always be a daring explorer.”

from SPACE ODYSSEY. Space for Visual Research Vol. 2, 2017

Info

Anna Sinofzik is a freelance writer and culture editor based in Berlin. She holds an MA of Arts in Design Writing Criticism and has worked with a range of renowed publishers, publications and brands. Find a selection of recent publications below. For further info and writing samples, swipe sideways or get in touch.

  • ABSALON

    in: Alape Journal (2019), pp. 122-135.

  • VERLOREN IN MUSIK

    on: Zeit Online (2019).

  • HEAVY MENTAL

    in: Chapter (No.1, 2018), pp. 16-27.

  • CLEMENS SCHICK: DER BESSERE BAD GUY

    in: Chapter (No.1, 2018), pp. 62-73.

  • TIMEPIECES IN SPACE

    in: Sleek (No. 58, 2018), pp. 156-161.

  • LIEFER- UND ANDERE HELDEN

    on: Zeit Online (2018).

  • SPACE FOR VISUAL RESEARCH VOL. 2

    Ed. M. Weisbeck, A. Sinofzik, A. Palko. (2017) Leipzig: Spector Books

  • SPACE ODYSSEY: A BRIEF HISTORY OF NOT-KNOWING

    in: Space for Visual Research Vol. 2, pp. 205-210.
    Ed. M. Weisbeck, A. Sinofzik, A. Palko. (2017) Leipzig: Spector Books

  • BADIOU IN TRANSIT

    in: Whitelies Magazine (2017), pp. 58-63.

  • DIE DATENMESSIES

    on: Zeit Online (2017).

  • THE CARHARTT WIP ARCHIVES

    Ed. M. Lebugle, A. Sinofzik (2016). New York: Rizzoli

  • CONTINUING A LEGACY: CARHARTT WIP

    in: The New Order (Vol.15, 2016), pp. 54-59.

  • TAL R

    in: The Age of Collage 2: Collage in Contemporary Art, pp. 50-57.
    Ed. D. Busch, R. Klanten (2016), Berlin: Gestalten Verlag

  • LOLA DUPRÉ

    in: The Age of Collage 2: Collage in Contemporary Art, pp. 70-71.
    Ed. D. Busch, R. Klanten (2016), Berlin: Gestalten Verlag

  • JOHN BALDESSARI

    in: The Age of Collage 2: Collage in Contemporary Art, pp. 192-205.
    Ed. D. Busch, R. Klanten (2016), Berlin: Gestalten Verlag

  • THE STILL LIFE in Product Presentation and Editorial Design

    Ed. A. Sinofzik, R. Klanten (2015). Berlin: Gestalten Verlag

  • BURNRATE, POP SHOP

    on: Iconist (2016). Berlin: Welt24/Icon

  • SCHELTENS & ABBENES

    in: The Still Life in Product Presentation and Editorial Design, pp. 192-205.
    Ed. A. Sinofzik, R. Klanten (2015), Berlin: Gestalten Verlag

  • PETER LANGER

    in: The Still Life in Product Presentation and Editorial Design, pp. 268-281.
    Ed. A. Sinofzik, R. Klanten (2015), Berlin: Gestalten Verlag

  • METZ + RACINE

    in: The Still Life in Product Presentation and Editorial Design, pp. 126-143.
    Ed. A. Sinofzik, R. Klanten (2015), Berlin: Gestalten Verlag

  • ALBRECHT VON ALVENSLEBEN & MAX PAUEN

    on: www.freundevonfreunden.com (2015)

  • REFLEXIONEN ZUM REGAL

    in: Personalities by USM, pp. 10-13.
    Ed.: Freunde von Freunden (2015). Ostfildern: Hatje Cantz
    republished on www.freundvonfreunden.com

  • THE ART OF BEING AGAINST

    in: A Skateboarding Annual Vol.1 (2014), pp. 58-65.

  • START ME UP: New Branding for Businesses

    Ed. A. Sinofzik, R. Klanten (2015). Berlin: Gestalten Verlag

  • KNIFE AND FORK: Visual Identities for Restaurants, Food and Beverage

    Ed. A. Sinofzik, R. Klanten (2014). Berlin: Gestalten Verlag

  • THE CURIOUS CASE OF THE UNDERWATER CAMERA

    in: Acid Magazine #4 (2014), pp. 58-63.

  • CULTURE IDENTITIES: Design for Cultural Institutions

    Ed. R. Klanten, A. Sinofzik (2013), Berlin: Gestalten Verlag

  • LES GRAPHIQUANTES

    In: Culture Identities: Design for Cultural Institutions, pp. 92-99.
    Ed. R. Klanten, A. Sinofzik (2013), Berlin: Gestalten Verlag

  • JAMES GOGGIN

    In: Culture Identities: Design for Cultural Institutions, pp. 76-81.
    Ed. R. Klanten, A. Sinofzik (2013), Berlin: Gestalten Verlag

  • BUREAU MIRKO BORSCHE

    In: Culture Identities: Design for Cultural Institutions, pp. 58-65.
    Ed. R. Klanten, A. Sinofzik (2013), Berlin: Gestalten Verlag

  • ART BASEL

    In: Culture Identities: Design for Cultural Institutions, pp. 44-47.
    Ed. R. Klanten, A. Sinofzik (2013), Berlin: Gestalten Verlag

  • VAN ABBEMUSEUM

    In: Culture Identities: Design for Cultural Institutions, pp. 26-31.
    Ed. R. Klanten, A. Sinofzik (2013), Berlin: Gestalten Verlag

  • DOCUMENTA

    In: Culture Identities: Design for Cultural Institutions, pp. 10-17.
    Ed. R. Klanten, A. Sinofzik (2013), Berlin: Gestalten Verlag

  • JOHN STEZAKER

    in: The Age of Collage: Collage in Contemporary Art, pp. 26-31.
    Ed. R. Klanten, H. Hellige, D. Busch (2013), Berlin: Gestalten Verlag

  • JAMES GALLAGHER

    in: The Age of Collage: Collage in Contemporary Art, pp. 192-197.
    Ed. R. Klanten, H. Hellige, D. Busch (2013), Berlin: Gestalten Verlag

  • DASH SNOW

    in: The Age of Collage: Collage in Contemporary Art, pp. 266-273.
    Ed. R. Klanten, H. Hellige, D. Busch (2013), Berlin: Gestalten Verlag

  • LINDER STERLING

    in: The Age of Collage: Collage in Contemporary Art, pp. 44-51.
    Ed. R. Klanten, H. Hellige, D. Busch (2013), Berlin: Gestalten Verlag

  • CORALIE BICKFORD-SMITH

    in: Fully Booked: Ink on Paper, p. 18.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • VISUAL EDITIONS

    in: Fully Booked: Ink on Paper, p. 46.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • THREE STAR BOOKS

    in: Fully Booked: Ink on Paper, p. 94.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • JOOST GROOTENS

    in: Fully Booked: Ink on Paper, p. 144.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • SATOSHI HASHIMOTO

    in: A Life in Illustration: Famous Illustrators and their Work, pp. 60-67.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • JONATHAN CORUM

    in: A Life in Illustration: Famous Illustrators and their Work, pp. 126-133.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • HENNING WAGENBRETH

    in: A Life in Illustration: Famous Illustrators and their Work, pp. 210-221.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • JAN VAN DER VEKEN

    in: A Life in Illustration: Famous Illustrators and their Work, pp. 68-79.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • ANDREA VENTURA

    in: A Life in Illustration: Famous Illustrators and their Work, pp. 80-91.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • CHRISTOPH NIEMANN

    in: A Life in Illustration: Famous Illustrators and their Work, pp. 48-59.
    Ed. R. Klanten, H. Hellige (2013), Berlin: Gestalten Verlag

  • TAKEN BY SURPRISE: Cutting Edge Collaborations

    Ed. R. Klanten, S. Ehmann, A. Sinofzik (2012), Berlin: Gestalten Verlag

  • BUSINESSCARD MIT REBHUHN

    in: Form N°254 (2014), pp. 80-85.

  • THE HIGH TOUCH (Preface)

    in: High Touch: Tactile Design and Visual Explorations, pp. 4-7. 
    Ed. R. Klanten, S. Ehmann, M. Hübner (2012), Berlin: Gestalten Verlag

  • AT THE CROSSROADS: How Nicolai Howalt lets Art & Agony Collide

    In: Carhartt WIP Brand Book – No 10 (2013), pp. 48-61.

  • MATTERIAL DEVICES: Schreibstrategien zwischen Inhalt und Visualität

    In: Fontes Litterarum – Typographische Gestaltung und literarischer Ausdruck
    Ed. P. Vanscheidt, M. Polzer (2014), pp. 451-473.

  • AVANT GARDE ODER DIE (VERGESSENE) LUST AM TEXT

    In: Slanted Issue 14 (2011), pp. 20-25.

Info

Anna Sinofzik is a freelance writer and culture editor based in Berlin. Aside from editorial work, she composes copy for ad campaigns, catalogues, corporate publications, and clothing collections. Holding an MA of Arts in Design Writing Criticism from the London College of Communication, Anna has worked with international publishers, publications, and brands. She has also lectured on the Visual Communications Program at Universität der Künste, Berlin.

Writing samples and additional info upon request.

 

 

 

 

 

Legal notice

Anna Sinofzik

Gneisenaustrasse 51
10961 Berlin

hello(at)annasinofzik.com

USt-IdNr.: DE292077985
Finanzamt Friedrichshain-Kreuzberg

All rights reserved. Unless otherwise stated, all material on this pages is subject to copyright. I do not take responsibility regarding information and content displayed on external linked websites.

© 2020 by Anna Sinofzik

Legal notice

Anna Sinofzik

Gneisenaustrasse 51
10961 Berlin

hello(at)annasinofzik.com

USt-IdNr.: DE292077985
Finanzamt Friedrichshain-Kreuzberg

All rights reserved. Unless otherwise stated, all material on this pages is subject to copyright. I do not take responsibility regarding information and content displayed on external linked websites.

© 2020 by Anna Sinofzik