The main objective of the project was to adapt the visual identity to different purposes and formats. During the development process, we took into account the needs of the PR department of Winzavod Center for Contemporary Art, as well as those of the project managers and producer.
The goal was to create a system that would be easy to implement and adapt across various media: digital formats — posts, newsletters, account covers, presentations; printed materials — posters, banners, booklets, and a map; and spatial applications — information stands, the cloakroom area, exhibition captions, a colophon, and wall decals.
The goal was to create a system that would be easy to implement and adapt across various media: digital formats — posts, newsletters, account covers, presentations; printed materials — posters, banners, booklets, and a map; and spatial applications — information stands, the cloakroom area, exhibition captions, a colophon, and wall decals.
NII Archive (Science, Art, Research, Archive) is a strategic direction of the Winzavod Center for Contemporary Art, combining an institutional archive with exhibition, publishing, public, and grant programs. Its goal is to systematize and research the materials and knowledge accumulated over the course of Winzavod’s work, and to integrate them into broader cultural and historical contexts of Russian contemporary art.
NII Archive — exhibition design & identity
2026
Paulina Gribova
Collaborators
Designer
Role
Identity
(2)
(1)
Area
2025
Year
About
For social media, we designed various posts, stories, several reels, highlight covers, screensavers, and TV placeholders. We also developed the design for the public programme and edited a video using partner showreels. Together with the project managers, we supervised the quality of implementation at all stages.
We worked as a team of two and completed a large scope of tasks: merchandise, souvenirs, uniforms for the exhibition mediators, wall decals with a map and visual identity elements for different areas, exhibition captions, a colophon with the curator’s text, leaflets, banners, and posters.
One of the main challenges of the project was the large number of stakeholders involved in the approval process, as well as the absence of an art director. It was important for us to consider different opinions not only from the perspective of strategy, practicality, and ease of implementation, but also in relation to specific design decisions.
The contrast between the neutral, rigorous PP Neue Montreal and the handwritten typeface created specifically for the project reflects a balance between the seriousness of the archival process and the liveliness of art.
The visual language is built around the metaphor of archiving. This is expressed through the handwritten logo, a restrained color palette, a clear and structured grid, and a strong typographic focus.
NII Archive (Science, Art, Research, Archive) is a strategic direction of the Winzavod Center for Contemporary Art, combining an institutional archive with exhibition, publishing, public, and grant programs. Its goal is to systematize and research the materials and knowledge accumulated over the course of Winzavod’s work, and to integrate them into broader cultural and historical contexts of Russian contemporary art.
NII Archive — exhibition design & identity
Paulina Gribova
Collaborators
Designer
Role
Identity
(2)
(1)
Area
2025
Year
About
The main objective of the project was to adapt the visual identity to different purposes and formats. During the development process, we took into account the needs of the PR department of Winzavod Center for Contemporary Art, as well as those of the project managers and producer.
The goal was to create a system that would be easy to implement and adapt across various media: digital formats — posts, newsletters, account covers, presentations; printed
materials — posters, banners, booklets, and a map; and spatial applications — information stands, the cloakroom area, exhibition captions, a colophon, and wall decals.
The goal was to create a system that would be easy to implement and adapt across various media: digital formats — posts, newsletters, account covers, presentations; printed
materials — posters, banners, booklets, and a map; and spatial applications — information stands, the cloakroom area, exhibition captions, a colophon, and wall decals.
For social media, we designed various posts, stories, several reels, highlight covers, screensavers, and TV placeholders. We also developed the design for the public programme and edited a video using partner showreels. Together with the project managers, we supervised the quality of implementation at all stages.
We worked as a team of two and completed a large scope of tasks: merchandise, souvenirs, uniforms for the exhibition mediators, wall decals with a map and visual identity elements for different areas, exhibition captions, a colophon with the curator’s text, leaflets, banners, and posters.
One of the main challenges of the project was the large number of stakeholders involved in the approval process, as well as the absence of an art director. It was important for us to consider different opinions not only from the perspective of strategy, practicality, and ease of implementation, but also in relation to specific design decisions.
The contrast between the neutral, rigorous PP Neue Montreal and the handwritten typeface created specifically for the project reflects a balance between the seriousness of the archival process and the liveliness of art.
The visual language is built around the metaphor of archiving. This is expressed through the handwritten logo, a restrained color palette, a clear and structured grid, and a strong typographic focus.
2026
