佐藤修悦さん – Duct Tape Typographer from Tokyo’s Subways

「僕が今の仕事（駅の警備）に就いて、13～4 年経つんですよ。新宿駅に最初に行ったのが、2002年くらいかな。最初の勤務が新宿駅でね、構内が工事中で利用客をメガホンで誘導してたんですよね。ものすごい数の人が行き来してるでしょ。それを声だけで誘導するのは大変なんですよ。まあ、ほとんどの人に声が届かないじゃないですか。それで、目立つ案内表示を作ろうと思ったんです」
—— 修悦さん

‘Shinjuku Station was my first post, and it was under construction at the time, so I had to guide passengers using a megaphone. But there were so many people. Guiding them all with just my voice was impossible. Most of the people couldn’t even hear me. So I decided to make some signs to guide people that would really stand out.’
— Shuetsu Sato

WePresent | I’m taking a power gap and closing it with an information gap

In about a week’s time, the high-profile, and often controversial, survey of up-and-coming American artists known as the Whitney Biennial will open in New York. Gretchen is not a part of that show. Instead, her project, Whitney Biennial 2019…Vision Board is beginning its month-long run on the opposite side of the country, at Los Angeles Center for Digital Art. When Gretchen addresses the guests, she refers to her opening as a “celebration and manifestation” of the work. It is the IRL component of a piece that largely lives online, the culmination of months spent expressing her own desire to be part of the Whitney Biennial and subsequently tricking Google into thinking she actually is part of the esteemed exhibition.

Source: WePresent | I’m taking a power gap and closing it with an information gap