“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

“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

“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

“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

Traffic humming in my ears, as my destination nears, goes the first line of the LAX song. It is followed by a fanfare of washed out language. Sun is laughing in the sky, ocean breeze rolls softly by. While washing ashore a wave of California clichés, like rolling hills, vista views, sandy beaches and beauty queens, the song lacks to credit LA’s less scenic sanctuaries. Following the mayhem of a weekend whose many incredibilities have just gone through the international news, the majority of the city’s leading politicians openly objects Trump’s travel ban, defending the city’s ambitions to protect unauthorized immigrants.”

from BADIOU IN TRANSIT. Whitelies Magazine, 2017

“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

“Als Kind habe ich das Horten als etwas durchweg Gutes gesehen. Ich dachte, der Name der Kaufhauskette käme daher. Es waren die Achtziger Jahre, eine Hochphase von Kommerz und Konsum. Mit dem Erwachsenwerden kam der sogenannte gute Geschmack, kamen Entrümpelungsratgeber, später Wohnblogs mit minimal möblierten Weitwinkelweiten.”

from DIE DATENMESSIES. Zeit Online, 2017

“She has sliced up the faces of famous figures such as Albert Einstein, Grace Jones, Idi Amin, or Kim Novak, and then diced them back together in either Frankensteinian or kaleidoscopic formations. She has made Kate Moss morph into a monster, blended Benjamin Netanyahu with a skull, and exploded Queen Victoria’s noble visage. Made of multiple printouts of age-old black-and-white photographs found on the web, Lola Dupré’s work merges the aesthetic mindset of early twentieth century Dada with that of her own image-heavy time.”

from THE AGE OF COLLAGE 2. Gestalten Verlag, 2016

“There is something about Carhartt’s down-home, sturdy cuts that embodies in every seam a deadpan nonchalance about fashion. Ironically, it is exactly the aura of not giving a damn that turns garments into icons. Take bulky Barbours, battened fly jackets or Tacchini tracksuits. Some of the strongest styles are those that don’t seem to care; that are made for one market, and adopted by another; not tailored towards the so-called tastemakers, but taken over by them; that remain unsolicited, unruly, rich of cultural contradictions and cross-references.”

from THE CARHARTT WIP ARCHIVES. Rizzoli, 2016

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.

© 2019 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.

© 2019 by Anna Sinofzik