The Prelude Exhibition of The First Shanghai Graphic Design Biennale – TopoPoster: International Poster Design Exhibition, after six months (June – December, 2025) of planning and preparation, was successfully held from December 13 to December 22, 2025. As one of the larger-scale exhibitions in recent years featuring an international selection of works in China, it showcased over 300 representative poster designs from 153 influential contemporary designers and studios active in the forefront of the field across 28 countries.
Kaaitheater Poster Season Sept—Dec 2025
The new kaaitheater visual identity, created in 2023 by Chloé Delchini and Morgane Le Ferec, aims to stage emotions. Indeed, feeling emotions is probably one of the main reasons why we go to the theater or performances. Moreover, it aims to position emotions as political: they're omnipresent, they structure us, they're manipulated, and so on. The idea is also to create a « pop » visual identity, making the institution a familiar and inclusive space. In that sense, we chose two fonts for the theater: arial rounded, friendly and bouncy, and the Impact Nieuw 2020 by Jung-Lee Type Foundry that evokes the condensed fonts used in feminist socialist posters in the 60s. Moreover, the use of illustrations and concrete imagery is designed to make the posters accessible to as many people as possible. To « solve » the Belgian language issue (texts have to be translated in 3 languages on the communication supports), we made typographical compositions, combining letters common to the words « season » and « nomadic »in each language, creating a « season » and a « nomadic »logo. This process has been used for other words in the visual identity. For every season, we make a poster duo: one poster that gathers all the artist names of the season, and one poster without the program, more impactful. They are mainly hung next to each other in the city. The kaaitheater has been nomadic since 2023, and will finally come back to its fully renovated building in 2026. So, this season, we chose to play with keys and doors, as main illustrations. They evoke the promise of a new space opening soon, the hospitality shown by kaaitheater's partners over the past two years, but also, as a subtext, the issue of hospitality in the broadest sense of Belgian (cultural) policy—the Kaaitheater being criticized by the current government for its programming considered “too multicultural” and engaged.
Chloé Delchini
Morgane Le Ferec
chloedelchini.site d-e-a-l.eu
@chloedelchini @morgane_leferec