Rozbeh Asmani, Kinder Droplet, 2015
, C-Print on Clearfilm, 133.5 x 100 cm, Edition 3 + 1 E.A.
Kollitsch Collection

Rozbeh Asmani, Shirin, 2009
, Chocolate, 4C print on aluminium, in box, 17 x 9 x 3.6cm, Edition 200
Kollitsch Collection

Rozbeh Asmani, Colourmarks - Kraft Foods Switzerland Holding #2 (L), 2013
, C-Print on alu-dibond, 49 x 49cm, Edition 3 + 2 e.a.
Kollitsch Collection

Companies have been able to copyright colours with the German Patent Office since 1995, as part of their trademarks. Use of those colours by anyone else is a punishable offence. This interaction between aesthetics and capitalism has been highlighted by Rozbeh Asmani in his long-term project Colourmarks. The uncomfortable connection between colours and commercial interests is expressed in exhibition titles such as Besetzte Farben (Occupied Colours, gkg Bonn, 2016) and Wem gehört die Farbe? (Who Owns the Colours?, Museum Pfalzgalerie Kaiserslautern, 2018). In addition to his publication 72 Colourmarks, part of this project, major attention was attracted by his poster campaigns on 60 advertising pillars in Cologne (2017) and on 150 advertising pillars in Düsseldorf (2019).

— Felix Kucher

Rozbeh Asmani, Colourmarks - Renova - Fábrica de Papel do Almonda, SA, 2015
, C-Print on alu-dibond, 49 x 49 cm, Edition 3 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Colourmarks - The Financial Times Limited, 2013
, C-Print on alu-dibond, 49 x 49 cm, Edition 3 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Colourmarks - Deutscher Sparkassen- und Giroverband e.V., 2013
, C-Print on alu-dibond, 49 x 49 cm, Edition 3 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Colourmarks - Deutsche Telekom AG, 2013
, C-Print on alu-dibond, 49 x 49 cm, Edition 3 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Colourmarks - OMV Aktiengesellschaft, 2015
, C-Print on alu-dibond, 49 x 49 cm, Edition 3 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Aral Clouds, 2015
, Screen printing, 57 x 80 cm, Edition 7 + 2 E.A.
Kollitsch Collection

Rozbeh Asmani, Mon Chéri Chrom, 2015
, Screen printing, 32.5 x 46.5 cm, Edition 12 + 2 e.a.
Kollitsch Collection

Moving within the field of tension between aesthetics and power, Rozbeh Asmani looks not only at patented colours, but also at the connection between shape, colour and commercialisation. In Mon Chéri, the patented elements are not only the combined word/image trademark, but also the shape of the chocolate and the folding of the wrapper. When we look at this item, everything seems correct at first: the shape of the chocolate, the colour and the folding of the paper. Yet one thing is missing: the trademark, the element that turns it into a uniquely identifiable product and gives it its identity. At the same time we are presented with a challenge: To what extent is our perception irreversibly dominated by commercial patterns before we even look at an item?

— Felix Kucher

Rozbeh Asmani, Milka Cow, 2015
, Screen printing, 57 x 83 cm, Edition 7 + 2 e.a.
Kollitsch Collection

Rozbeh Asmani, Crisps Bag, 2016
, Nickel silver, 25.5 x 18.5 x 13.5 cm, Edition 5 + 2 E.A.
Kollitsch Collection

Trademarked logos, packaging designs and corporate colours are contemporary icons that have left indelible marks on our collective memories. Many people do not realise that companies place not only logos and colours under copyright, but also the appearance of a product (e.g. the shape of a chocolate bar or the folding of the wrapper). In his work Chips Tüte (Bag of Crisps, 2016), Rozbeh Asmani highlights this parasitical relationship between business and shape (the appropriating of colours and shapes by industry) in two ways: The elements that are patented in a bag of crisps include the size and type of packaging as well as precisely defined full and empty capacities. Without its colourful packet, the bag might be perceived as an anonymous container for any random content, and it is our general commercial background that prompts us to associate the packaging with a certain product or brand.

— Felix Kucher