Johanna Gratzer (she/her) (Austria; lives and works in the Netherlands) is an information and web designer.

Her work is based on theory, data and resumption of history in relation to technology.
She approaches streams of information with a strong emphasis on the (im)material embodiment of the anthropocene, post-human and feminist narratives.
She looks into digital and analog archival processes, exploring the potential of design in channeling, mediating and disseminating information, subsequently questioning traditional means of communication.

Recently, she graduated from the BA program in the Communication Department at the Design Academy Eindhoven, NL (2022).
Further, she participated in an exchange program at the Visual Communication Department at the Zürcher Hochschule der Künste, CH (2021).

In the past she worked with Metahaven, Onomatopee, Design Academy Eindhoven, Cambridge University Botanical Garden.


She is a freelance designer, working in webdesign and various media, mostly digital.
For inquiries and messages contact her via johanna.gratzer(at)outlook.com
    Instagram
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WORK INDEX
SOIL IN FLUX, FILM, 2022
Soil in Flux focusses on the transformative state of postindustrial landscapes, using the lignite mining industry in Germany as a case study.
It resulted in a video installation that observes the humanist view on nature, questioning the future of landscape and territory.
It is a video essay dedicated to the complex issue of terraforming and approaches it from multi perspectives.

For the past decades, Germany has pumped water, lowered groundwater levels, and excavated layers of sediment, for the purpose of mining lignite, commonly referred to as brown coal.
As part of energy transition plans, the country announced in 2020 the phasing out of its brown coal production within the next 15 years.
Mining operators are obliged to restore destroyed land through technological and biological measures, which in turn can lead to perpetual costs.
Through this process, these landscapes transform into artificial territories, in which nature can no longer reach a state of equilibrium but instead is heavily reliant on human efforts.
The project consists of a multi-channel video installation that looks at the transformative state of these post mining landscapes and the associated longterm geological consequences.


Concept, research and design: Johanna Gratzer
Displayed: 2022 Graduation Show, Dutch Design Week, Eindhoven, Netherlands
2022 Bachelor Communication from Design Academy Eindhoven, NL


EX SITU (A SANCTUARY FOR THE EXTANT), INSTALLATION, 2022
Ex Situ: A Sanctuary for the Extant is a research project that looks into archival processes of botanical garden and their herbaria.
Ex Situ conservation sites are maintaining living collections, these collections are crucial for research but pose different challenges than the archival of images and documents.
How can we archive living matter and the transformative states of plant growth? 

An increasing number of plant species are being lost, affecting whole ecosystems, primarily as a result of the degradation of natural habitats, and in some cases through exploitative trading.
Many species can no longer thrive in the wild but only survive through horticultural maintenance, like orphan plants in a foster habitat.
The project is set in a near future scenario that conceives the end of the natural habitat, wilderness, and autonomous ecosystems.
The process of horticultural care is being amplified, one that we will rely upon more frequently in the future.
It expands into a digital ecosystem that comprises specimens of extinct plant species, simulating the lost wild habitat.


Concept, research and design: Johanna Gratzer 
Displayed: 2022 Graduation Show, Dutch Design Week, Eindhoven, Netherlands 
Contribution: Cambridge University Botanic Garden, Patitak 
Digital Ecosystem: Henry Hobbs
2022 Bachelor of Communication from Design Academy Eindhoven, NL


EX SITU (A SANCTUARY FOR THE EXTANT), DIGITAL, 2022
Ex Situ: A Sanctuary for the Extant is a research project that looks into archival processes of botanical garden and their herbaria.
Ex Situ conservation sites are maintaining living collections, these collections are crucial for research but pose different challenges than the archival of images and documents.
How can we archive living matter and the transformative states of plant growth?

An increasing number of plant species are being lost, affecting whole ecosystems, primarily as a result of the degradation of natural habitats, and in some cases through exploitative trading.
Many species can no longer thrive in the wild but only survive through horticultural maintenance, like orphan plants in a foster habitat.
The project is set in a near future scenario that conceives the end of the natural habitat, wilderness, and autonomous ecosystems.
The process of horticultural care is being amplified, one that we will rely upon more frequently in the future.
It expands into a digital ecosystem that comprises specimens of extinct plant species, simulating the lost wild habitat.

 
Concept, research and design: Johanna Gratzer 
Displayed: 2022 Graduation Show, Dutch Design Week, Eindhoven, Netherlands 
Contribution: Cambridge University Botanic Garden, Patitak 
Digital Ecosystem: Henry Hobbs
2022 Bachelor of Communication from Design Academy Eindhoven, NL


GROWING REALITIES, WEBSITE, 2021
A website that contains a corpus of theoretical and self written texts.
It offers an eclectic view on research, theory and contemplation of mere fascinations.
Growing Realities is a collaborative project that explores human interactions in relation to technological advancements, touching upon principles such as Techno-Determinism, Cybernetics and AI.

Concept, research and design: Johanna Gratzer, Andrea Horvathova, Marie Hugny, Thibaud Henique
2022 Bachelor Communication from Design Academy Eindhoven, NL


DONNA HARAWAY, A CYBORG MANIFESTO, RE-EDIT, PUBLICATION, 2021
The Cyborg Manifesto is often being referenced in the context of feminist art practice.
VNS Matrix took the opportunity to form an immediate translation of the Cyborg Manifesto and turned it into their own artistic / political interpretation:
The Cyberfeminist Manifesto for the 21st Century. With this publication, book or binding, I intend to overbring gratitude and appreciation for the writings of Haraway.

Concept, research and design: Johanna Gratzer
2021 Bachelor Visual Communication, Zürcher Hochschule der Künste, Zürich, CH


VIRGINIA WOOLF, A ROOM OF ONES OWN, RE-EDIT, PUBLICATION, 2021
Virginia Woolfs “Ein Zimmer für sich allein”, originally published in 1929, achieved to maintain it’s political notion in forming a literary “Urgestein” (german noun to desribe manifested, pre-historic, groundbreaking character), in terms of feminist writings.
With this re-edit, I intend to pay tribute to Virgina Woolf, which her writings keep inspirational value, forming eternal merit.

Concept, research and design: Johanna Gratzer; 2021
Bachelor Visual Communication Zürcher Hochschule der Künste, Zürich, CH


ONYX, TYPEFACE, 2019
The process of forming a typeface transcends into an unknown rhythm, in which letters no longer serve the lingual purpose but result in an ambiguous state.
The etymology behind sedimentation serves as an inspiration for the sculpting process of the letters.
Each letter is assigned a different mineral, referring to the available texture library in Cinema4d.
Onyx describes itself as the concretion of material that forms in an organ or duct of a body.

Concept, research and design: Johanna Gratzer; 2021
2022 Bachelor Communication from Design Academy Eindhoven, NL


VANITAS: REPRESENTATION OF INANIMATE OBEJCTS, PUBLICATION, 2021
Research into the history of Vanitas still lifes, etymology and terminology of the term “Vanitas” and it’s historical implementation.
Over time, the understanding of the term “Vanitas” has taken different shapes and means for society.
We now understand, that Vanitas received their hermeneutic purpose only along the late 15th century, becoming an important motive in literature and fine arts.
Vanitas served as a political, clerical reference point for society up till the 19th century,  and ultimately formed society in its philosophical understanding of beliefs and systems.
The project resulted in an analysis, translated in the format of a publication.

Concept, research and design: Johanna Gratzer; Mentoring: Alex Hanimann, Annamaria Vasvaria
2021 Bachelor Visual Communication, Zürcher Hochschule der Künste, Zürich, CH


CYBERSLUTS AND ANARCHO-CYBERTERRORISTS, ESSAY, 2021
Essay on impulses behind Techno-Feminist Art Practice in the 90s.
Exemplified on the Example All We Got, VNS Matrix, 1992.
Cybertheorists and Techno-Scientists optimistically believed the internet would change the world for the better, and Cyberfeminists had techno-utopian aspirations for radical feminism in the 90s.
As theoretical inspiration served theorist Donna Haraway who wrote the The Cyborg Manifesto that rejects the rigid boundaries that separates binaries like human/animal, man/woman and natural/artificial.
The work of VNS Matrix, an Australian based art collective / representatives of early feminist cyberart, was inspired by Haraway’s writings.
Their work talks about female identity and stereotyped thinking about gender and technology during that time.
The essay focuses on some of these examples from the perspective of modern feminist art practice, questioning the patriarch infrastructure in art.
The project resulted in a written essay, translated in the format of a publication.

Concept, research and design: Johanna Gratzer; Mentoring: Tania Messel
2021 Bachelor Visual Communication, Zürcher Hochschule der Künste, Zürich, CH








This website was last updated on November 17, 2022.
Design and Coding by me, Johanna Gratzer.
Content licensed under the Creative Commons Attribution-Noncommercial 3.0 License.
Please reach out prior the usage of text and images, and give credit.