Björn Giesecke

Minimum World, P. Staff, published by Bonner Kunstverein and Bierke. Designed with Sean Yendrys

Proofs of Let’s Not Get Used to This Place, Meg Stuart/Damaged Goods. Designed with Sean Yendrys

Proofs of Let’s Not Get Used to This Place, Meg Stuart/Damaged Goods.
Designed with Sean Yendrys. Photography by Cora Schröer.

Let’s Not Get Used to This Place, Meg Stuart/Damaged Goods,
edited by Julie De Meester, Astrid Kaminski, Jeroen Versteele.
Designed with Sean Yendrys. Photography by Julie De Meester.

Earth’s Widening Girth (And Other Bereavements), Cora Wöllenstein.
Designed with Janis Gildein

126 individual die-cut bookmarks for [imagine: a bookshop]

A Brief History of Bubble Letters for Source Type

Vanity Initials in Iʼm Serious, Iʼm Funny. Designed with Otso Peräsaari

Interjection, 128 pages, 96 × 148 mm, 2022

Interjection at Index Art Book Fair, MX

The Moving Couch Cinema #3: Whatʼs Opera Doc?

Coronafuga, Ewa Majewska, designed with Sean Yendrys

Movement Research Performance Journal #58/59, designed with Sean Yendrys

Protocol 10

Title graphics for Tomasz Robak

Title graphics for Tomasz Robakʼs Shakespeare Ultras

DRAMA. The Retrospective Reader, edited by Björn Giesecke

Diploma Supplement, for the graduating year 2023 MA in Graphic Design
at the Estonian Academy of Arts, Tallinn

Diploma Supplement, for the graduating year 2023 MA in Graphic Design
at the Estonian Academy of Arts, Tallinn

Poster series for Visiting Abriss by Urban Fragment Observatory

Title graphics for Visiting Abriss by Urban Fragment Observatory.
Photography by Sebastian Díaz de León

Website for Possible Scenarios

Hi everyone, I was thinking …. Handwriting with kefir on ONN, Tallinn window front, 2020.

EKA GD MA Library Stamp 20–22, designed with Otso Peräsaari

Double-sided shelf for the library of EKA GD MA, built with Otso Peräsaari

Last Edit Was Seconds Ago

questioning reproduction
Paul Outerbridge, Jr. Men’s Scarves, 1924

[imagine: a bookshop], temporary bookshop in our studio. Furniture by Manuel Raeder and Photography by Kristin Krause.

[imagine: a bookshop], hosting events and discussions in the studio backyard

Artwork for Wardrobe’s single New Malaise

Artwork for Wardrobe’s single Common Touch

Björn Giesecke is a Berlin-based designer collaborating with artists, architects, curators, institutions, printers, and friends on books, websites, identities, typefaces, posters, exhibitions, and other works. He founded Rara Publications in 2025. In 2023, he ran the temporary bookshop [imagine: a bookshop] from his Berlin studio, focusing on publications which are hard to get, without circulation or representation through a bookshop or gallery, i.e. small print run, no isbns, artist books. Further appearances: MissRead, Die Epilog, Silent Green. He initiated and ran the space DRAMA in the hallway of the Estonian Academy of Arts, Tallinn from 2021–22.

Fred Lonidier’s Casual Photography, edited by Nilo Goldfarb. Nauener Platz
Who’s That Talking in the Library?, edited by Björn Giesecke and Otso Peräsaari. Rara
Do Everything with Love, Do Nothing by Force or High Noon, Sofia Defino Leiby. Kunstverein Nürnberg, Institut für moderne Kunst
Visual Report for Possible Scenarios first built house
Drama, an interpretation of Rogers (Boston)

2025 Rara Publications, Berlin
2025 EKA GD MA Graduation Jury, Tallinn
2024 BOM DIA Books Editorial Board, Berlin
2023 [imagine: a bookshop], Berlin
2023 Info on Books, Berlin
2019 DZA Druckerei zu Altenburg
2018–2019 NODE Berlin Oslo

2025 Minimum World, P. Staff. Bonner Kunstverein, Bierke
2024 Let’s Not Get Used to This Place, Meg Stuart/Damaged Goods, edited by Julie De Meester, Astrid Kaminski, Jeroen Versteele. les presses du réel
2024 Earth’s Widening Girth (And Other Bereavements), Cora Wöllenstein
2023 Movement Research Performance Journal #58/59, edited by Joshua Lubin-Levy, John Arthur Peetz. Movement Research
2023 Coronafuga, Ewa Majewska, edited by Eva Birkenstock, Nikola Dietrich, Viktor Neumann. Distanz
2022 Last Edit Was Seconds Ago, edited by Marge Monko. EKA
2022 Interjection, edited by Björn Giesecke. self-published (printedmatter.org)
2022 DRAMA. The Retrospective Reader
2021 Neue Kunst in Hamburg, Reisestipendien 2021: Karimah Ashadu, CONNY, Nina Kuttler, Fion Pellacini, Nina Zeljković. Textem
2020 In Pursuit of Venus, Lisa Reihana. MARKK Hamburg (with NLF-Team)
2018 Protocol Magazine 10

2024 Will L Ever Read This?, in: Publishing Anecdotes, edited by Roman Karrer. Air Berlin Alexanderplatz
2024 A Brief History of Bubble Letters, edited by Meg Miller, Ben Schwartz. Source Type
2022 Default. No Frills, in: Graphic Design Is (…) Not Innocent, edited by Ingo Offermanns. Valiz
2022 Read / Write / Edit History, in: Going Somewhere, edited by Lieven Lahaye. EKA GD MA

EKA GD MA Tallinn, MA
Hochschule für bildende Künste Hamburg
Universität der Künste Berlin, BA
Universität Rostock, BA

2024 Estonian Academy of Arts, Berlin DE
2023 Gerrit Rietveld Academie, Amsterdam NL
2022 Estonian Academy of Arts, Tallinn EE

Björn Giesecke Studio

Gerichtstraße 45, Hof links
13347 Berlin

+49 (0)176 613 49 222
bjoerngiesecke@gmail.com
@bjoerngiesecke

Bauhaus Museum Dessau
Bierke
Bonner Kunstverein
BOM DIA Books
Cora Wöllenstein
Deutsches Literaturarchiv Marbach
Distanz
Freie Universität Berlin
Haus der Kulturen der Welt
James Simon Galerie
JMMP Julian Mader Max Prediger
les presses du réel
MARKK Hamburg
Meg Stuart/Damaged Goods
Movement Research New York
Nauener Platz
P. Staff
Possible Scenarios
Regina Holzkamp
Sean Yendrys
Sofia Defino Leiby
Source Type
Tell A Vision
Textem
Tomasz Robak
Universität der Künste Berlin
Urban Fragment Observatory
Wardrobe
Xiaopei He/anorak

INTERJECTION by Björn Giesecke
Tallinn/Berlin, 2022, 128 pages, 9.6 x 14.8 cm, 97 copies, English
€20
Order (EU)
Available at Printed Matter (US)

Interjection is a collection of various sorts of texts, observations, ideas, quotes, lyrics revolving around and trying to define a practice. Written, designed and printed by Björn Giesecke. Each dust jacket shows changing silver foil embossings from the archive of the bookbinding workshop at the Estonian Academy of Arts in Tallinn.

“I chose this word headlining the following texts as I thought about the form of an insert, an errata, an injection point—interjection sounds familiarly close. A word picked up while browsing the library of the master’s program in Graphic Design at the Estonian Academy of Arts, Tallinn. In the midst of improvised structures is a publication in small dimensions turned on its head, I’m pulling out to read …”