Young designer from Bosnia and Herzegovina, LUKA MATIĆ

‘The visit was beneficial in terms of gaining a deeper understanding of institution by giving us insights into creative details that may not be accessible to everyone, which helped me a lot in expanding the possibilities of the identity itself,’ Luka Matić.

Greetings, Luka! We greatly appreciate your warm reception and granting us the opportunity to conduct this interview on a splendid, sun-kissed November day. To start with, tell our readers if the ReCulture project is the first time you have experienced working with a cultural institution.

This is not the first time I’ve been involved in work related to a cultural institution, but it is definitely the first time I’ve been working with numerous regional teams, international mentors and engaging with a complete rebranding.

How challenging was it to work within a team? After this experience, what do you think are the challenges and advantages compared to working independently with a client?

For me personally, working in this team was not overly difficult or challenging because from the beginning, activities were precisely planned and feedback from colleagues always came in the form of genuinely constructive criticism, whether positive or negative. As advantages, I would emphasize the active support from the teammates; their creative mentoring that complements your creativity and the opportunity to directly gain new experiences, ideas and techniques of creative thinking in design.

What contribution to the development of the institution’s new identity are you most proud of?

I’m most proud of creating opportunities for the new identity to be used in many different media, in many interesting ways.

How much can you express yourself creatively in the final solution when you work within a team?

It depends. It seems to me that each team allows a different amount of “artistic freedom”, if that’s what we are talking about. Then again, the charm of the team is that everyone expresses themself in their own way, and later the team finds a happy mixture of elements from everyone’s solution. Therefore, I think that every participant is the author in a sense.

Has the project enabled you to further shape your design language?

It enabled me to better recognize my own capacity and potential in my work, to see where my limits lie that I should overcome, and to learn how to explore even better. It has truly raised my awareness in many ways.

In what aspect was the visit to the institutions useful for your research process? Do you think this should be an integral part of the practice in working with clients?

The visit was beneficial in terms of gaining a deeper understanding of institution by giving us insights into creative details that may not be accessible to everyone, which helped me a lot in expanding the possibilities of the identity itself. And, of course, conversations with the staff provided a clearer picture of their ideas and expectations, as well as further feedback. Regarding the visists as part of the practice in working with clients – well, I honestly believe such procedure would be good if the client is able to accommodate it.

After your experience with this project, and other work experiences, explain the difference between working with cultural institutions and clients that promote commercial content (if you have experience with them).

The biggest difference is certainly in creative values and goals. A cultural institution bases its own identity on a slightly broader and freer artistic expression, while a commercial content seeks a shorter and more concrete visual formula that can quickly attract attention and increase sales of what it is advertising.

What of the experience gained during this project would you apply in your further independent work or work with future clients?

I will definitely use the entire experience in new similar projects involving any cultural institutions. For other projects, the research techniques acquired will be valuable in exploring everything that is necessary for a successful solution.

What makes the cultural institution you worked on in this project unique? In which way does it cater to the needs of a young audience?

Its uniqueness primarily lies in the interesting history of its inception, telling a story of a tragic event that did not prevent something new, advanced, modern and valuable to emerge from it for the city the institution is located in. This has always been reflected in its character; creative defiance and a desire for new ideas that can assure a young person that there is a place for them and their creativity. It is also obvious that this energy reaches beyond the borders of the country where the institution is located, as it has hosted many well-known names in the world of contemporary art.

Why do you think this project is important for the cultural institution you collaborated with?

It is important to be aware of its potential in the sphere of better and higher-quality visual communication with the public in contemporary times.

What is the strongest impression that the project has left on you?

Participating in various design conferences, meeting some accomplished designers who gave me useful advice on the project.

Which cultural institutions in the region, and which ones outside the region, do you consider to be examples of best practice?

In the region, I would highlight the Museum of Contemporary Art in Belgrade (MSUB) and in Zagreb (MMSU). Among institutions outside the region, I will mention the National Gallery of Canada, the Munchmuseet (Norway) and the Eames Institute of Infinite Curiosity.

Who would you suggest as a mentor for an upcoming project?

If you mean some of the current mentors, I honestly don’t want to single out anyone, because they’ve all been equally good and helpful to me. Any creative and constructive person with years of experience can be a good mentor.

Thanks again, Luka! Wish you a joyful and creative November 🙂