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

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