The Irregular Times is our in-house publication at the Irregulars Alliance, an opportunity to provide new perspectives at the intersection of art, media, activism, politics and contemporary culture. In our second issue called ‘Landmarks and Landmines', we explore future utopias.
Over the years of 2020 and 2021, we collectively entered, and remained in a state of continuum. As our society and the world at large went through multiple crises, we saw countries collapse at a whim of superpowers; our own people gasping for air, while those who governed continued to deny it. Our forests and islands were ablaze, threatening endangered animals and livelihoods. The heightened spectre of policing and state control existed alongside the Tiktok and Reels boom, with dudes and babes putting their lives on display. And all of this as we sat isolated in our own worlds, within the world.
In Issue 02, we imagine and create a futurism that is rooted in a world we really want to envision for ourselves and our people. It stems from a place of hope—of living in harmony with our environment, and learning from those who know how to; of leading with our hearts and not our egos; of consumption not for greed but for sustenance, and one that respects the knowledge and traditions of its people and the land.
From the get go, the expectation was set. We wanted to create something that looked very different from Issue 01 of TIRT. The design language had to be loose, colours, type and treatment to be drastically different moving from section to section, steering clear of any parallels being drawn with a typical editorial magazine.
We ditched the traditional grid and gave the entire newspaper a handmade character forging an intimacy between the reader and each feature.
While collecting content itself, we came across imagery that was nostalgic and utopian. As we went through these, we realised an overarching postmodernist theme dominating these with loud contrasts, unusual imagery and types and layouts that were unapologetically free in their visual character. Many of these were collected from different parts of the world amounting to a diverse mix of aesthetic, type and composition.
Before we knew it, we were collecting an overall sentimental value of ‘back to the future’, and we decided to construct each page with that handmade feel, defying modernist perfectionism.