‘Catalogue of Resistance, Intimacy and Pause’ explores time through the lens of crip theory — a framework in the intersection of disability and queer studies that questions cultural ideals of independence, productivity and normalcy. The project takes the form of a human-sized, three-dimensional book that visitors can physically explore. Each translucent page layers the designer’s research, including Riso-printed posters and traces of collective experiments. Enclosed in a cover featuring reflective typography and personal videos, the book also acts as a sculptural environment offering spaces to rest, a refuge from the constant demand for performance.The project both documents and creates an environment in which refusal and opacity are radical, political acts. By rethinking value, time and presence through the lived experience of disability and chronic illness, it gestures toward the futures we are already making in the cracks of the present.
If you want a copy, send an email to hello@ise-y.de
Marie-Luise Charlotte Weier
uses the pronouns: she/her
and goes by “ise”
hello@ise-y.de
@allesisey
KVK: 99460793
VAT: NL005388501B72
uses the pronouns: she/her
and goes by “ise”
hello@ise-y.de
@allesisey
KVK: 99460793
VAT: NL005388501B72
With a background in Contextual Design, she understands design and artistic practice as tools for making sense of the world and for cultural critique. Through objects, images, and situations, she approaches authorship as a form of responsibility, using narrative and imagination to create spaces for collective reflection.
She is an external lecturer in book design at MdRV (Cooperative State University Baden-Württemberg, Ravensburg) and a mentor and coach in filmmaking at the intersectional feminist project GIRLS GO MOVIE in Mannheim, Germany.
She works as a “Riso Chef”, giving and hosting Riso printing workshops and producing books, zines, flyers, posters and more at
Scholarship
Walz Scholarship by Verein der Schwarzen Kunst e.V.
– including residencies at:
Manufaktur für Bleisatz und Buchdruck Willi Beck, Dachau (DE)
Druckladen at Gutenberg-Museum, Mainz (DE)
Slowtype, Ludwigshafen (DE)
Papiermühle, Homburg (DE) – kindly supported by plener stiftung
Teaching & Workshops
A two-day course exploring book design as a combination of content, typography, image, navigation, materiality, and production, with a focus on how books evolve in response to changing cultural, technological, and market conditions. Through lectures, examples, and practical group exercises, participants develop and present their own book concepts.Media Design Program – with Prof. Dipl.-Des. Andrea Hennig
Baden-Württemberg Cooperative State University, Ravensburg (DE)
since 2023
– 2026-07: “An experimental book about El Niño 2026“
– 2026-04: Book design: “The narrative cookbook”
– 2025-07: Book design: “History – but cool!”
– 2025-04: Book design: “History – but cool!”
– 2023-07: Book Design: “Water. From the source to the mouth”
– 2023-04: Book Design: “Water. From the source to the mouth”
Mentoring and Media Literacy
Film education and creative media projects for girls* and young women*, including one-week film production camps for participants with and without disabilities, as well as school and youth workshops. Combining hands-on filmmaking with media literacy and critical engagement with gender, representation, hate speech, and disinformation, participants develop and produce short films from idea and script through filming and editing.Various school & holiday workshops
GIRLS* GO MOVIE, Mannheim (DE)
since 2023
– 2026-08: “FOR ALL” Inclusive Filmworkshop, Mannheim
– 2026-07: School Workshop, Mannheim
– 2026-06: School Workshop, Mannheim
– 2026-06: “Hate-less” Media Literacy and Filmworkshop, Mannheim
– 2025-08: “FOR ALL” Inclusive Filmworkshop, Mannheim
– 2025-07: School Workshop, Mannheim
– 2024-08: “FOR ALL” Inclusive Filmworkshop, Mannheim
– 2023-07: School Workshop, Mannheim
– 2023-04: Individual Mentoring
Risoprinting
Introduction workshops in risoprinting at PrintRoom, guiding participants through the process of creating posters, postcards, zines, and art prints using drawings, photographs, collages, texts, or digital files. The workshops are designed for beginners, with hands-on guidance throughout.
In parallel, ise curates the workshop programme at PrintRoom, developing and coordinating a diverse programme of accessible, hands-on sessions around risograph printing and related practices.Riso Lab
PrintRoom, Rotterdam (NL)
since 2026
Education
M.A. Contextual Design, Cum Laude
2023-2025
Duale Hochschule Baden-Württemberg in Ravensburg (DE)
B.A. Media Design, Ravensburger Designpreis
2019-2022
Lapin Yliopisto | University of Lapland in Rovaniemi (FI)
Erasmus exchange semester
2022
IHK Würzburg-Schweinfurt, Franz-Oberthür-Berufsschule (DE)
Apprenticeship Mediengestalterin Digital/Print
2016-2019
Solo Show
“Special presentation: The fascinating world of the Arctic Circle captured in a book made of ice“
Red Dot Designmuseum, Essen (DE)
PYRY
Group Shows
„Design for Democracy – Atmospheres for a better life“
WDC-Campus, Museum für angewandte Kunst, Frankfurt am Main (DE)
PYRY
2026
“Inframezzo” at Milan Design Week 2026
Baggio Military Hospital Complex Via Giovanni Labus, Milano (IT)
“Against Enforced Legibility…”
2025
“I am so going to do this tomorrow!“
KunstRUIM Amsterdam (NL)
Catalogue of Resistance, Intimacy and Pause
2025
Design Academy Graduation Show
Mircostad, Dutch Design Week, Eindhoven (NL)
Catalogue of Resistance, Intimacy and Pause
2025
Crip Realities: Against the Clock, Into the Future
Hans C, Dortmund (DE)
Catalogue of Resistance, Intimacy and Pause
2024
“The Other Field”
Microstad, Dutch Design Week, Eindhoven (NL)
MuPu-Stool
2024
DDW24
De Fabriek, Dutch Design Week, Eindhoven (NL)
DONT MOVE THE FOUNTAIN
2024
“Up and Coming: Förderpreis für junge Buchgestaltung 2024“
Einbuch.Haus, Berlin (DE)
AUTO-biografie
2024
Fair of Stiftung Buchkunst “Förderpreis für junge Buchgestaltung“
Frankfurter Buchmesse 2024, Frankfurt (DE)
AUTO-biografie
2024
Headquarter Vienna
Vienna Design Week , Vienna (AT)
DONT MOVE THE FOUNTAIN
2023
Sonderausstellung “Best Brands & Communication Design – Red Dot Winners Selection 2023”
Museum für Kommunikation Berlin (DE)
PYRY
2023
“Friedrichsplatz 05 – Guter Grund”
Alter Müller, Rottweil (DE)
PYRY
2022
Intervention in the exhibition “MUSTERUNG. POP UND POLITIK IN DER ZEITGENÖSSISCHEN TEXTILKUNST” as part of the UN:SEEN Werkschau
Kunstmuseum Ravensburg (DE)
PYRY
2022,
“PROGRESS/PROCESS”
Kellari Galleria, Rovaniemi (FI)
about time and space.
2022
“Spring in Lapland”
Lapin Yliopisto, Rovaniemi (FI)
Always Spring never Fall…
Awards
“Against Enforced Legibility…”
2025
Förderpreis für junge Buchgestaltung, Shortlist
AUTO-biografie
2024
Red Dot: Junior Prize, 10.000 €
PYRY
2023
iF Design Student Award
PYRY
2023
Ravensburger Designpreis, 1.000 €
PYRY
2023
ADC Talent Award Auszeichnung
PYRY
2023
Mentions
Catalogue of Resistance, Intimacy and Pause
GS2025 Catalogue of Design Academy Eindhoven
“Against Enforced Legibility…”
Exhibition and Workshop documented by STROBO - Magazin für die junge Kultur im Ruhrgebiet
Catalogue of Resistance, Intimacy and Pause
Command E magazine, 4th edition »Chaos und Kontrolle« 2024, media design DHBW Ravensburg
PYRY
SYMPLIFY Magazine of
PYRY
Slanted Magazine #42—Books
PYRY
International Yearbook Brands & Communication Design 2023/2024
PYRY
Red Dot Gala at the Berlin Konzerthaus
PYRY
iF Design Student Award Ceremony 2023 at the ARTER in Istanbul
PYRY
SEHNSUCHTSREISEN
Master Thesis
Text, Design, Print and Binding by ise
Riso printed in Medium Blue and Fluo Orange
297x160mm closed
2025
Master Project
210x135cm closed
2025
edition 0.1
cosed A3, riso-printed (aqua, steel and red) pictures in ice divided by transparent pages of text
2022
car parts, screen-printed text on former footmats
DAE, Eindhoven, NL
2023
for ADEZIV Diplomas “Designer by Default”
DIN A4, riso-printed with 2 Masters
2026
125x210mm
2026
for Design Academy Eindhoven
DIN A6, Risoprinted in Green with 1 Master
2025
Model: Phoebe Zoe Ho
DAE, Eindhoven, NL
2024
for DHBW Mediendesign Ravensburg
Ravensburg, Germany
2025
as part of “Unlearning Gendered Toilets”
Ravensburg, Germany
2024
as part of “Unlearning Gendered Toilets”
Bad Neustadt, Germany
2024
for Design Academy Eindhoven Lecture Series
DIN A3, riso-printed with 6 Masters
2024
for Design Academy Eindhoven Lecture Series
DIN A3, riso-printed in Fluo-Orange and Black
2025
for Design Academy Eindhoven Lecture Series
DIN A3, riso-printed in Yellow and Black
2024
DON’T MOVE THE FOUNTAIN – with Contextual Design students
for Vienna Design Week, PM: Christoph Wimmer-Ruelland
2024
Winter Art and Design
ice carved from one piece, with matt finish
Rovaniemi, FI
2022
Winter Art and Design
ice carved and glued, with gloss finish
Rovaniemi, FI
2022
About time and space
exposure: 2.979 hours
2022
About time and space
DIN A5
2022
About time and space
209,7x61cm
2022
About time and space
61x89,7cm
2022
Arduino Hackathon
glasses that hide eyes with hands when photographed with flash
2023
Frame-by-Frame Animation mit PyTTI-Tools Collab Notebook
RGB, Mute, 4 sec Loop
2022
Polen – Deutschland – Syrien
Text from interviews with Ahmad Luay and Peter Ivar.
DHBW, Ravensburg, DE
2020
– in plain language
Ise analyses the (hu)man-wheelchair-icon.
She says the icon discriminates against people with disabilities.
This discrimination is called ableism.
Ise imagines a future without ableism.
She refers to this future as “crip.”
This word originally came from “cripple” and was a slur.
Now, disabled activists and scholars use “crip” as a form of pride.
The word “crip” challenges negative stereotypes about disability.
Ise uses two concepts to imagine Crip Futures: refusal and opacity.
To imagine Crip Futures, ise deconstructs the (hu)man-wheelchair-icon.
The icon merges a human and a wheelchair.
Some people use a wheelchair for mobility.
Some people don’t.
But the icon shows only one form of disability: the wheelchair.
Yet disability has many forms, both visible and invisible.
Visible and invisible forms of disabilities are:
- physical disabilities (beyond mobility impairment),
- visual or hearing impairments,
- intellectual, developmental or sensory disabilities,
- psychiatric or neurological conditions or neurodivergence
- chronic illnesses.
They don’t feel represented by the wheelchair.
This icon focuses on the wheelchair, not the human.
Some disabled people are even called “the wheelchair.”
But a wheelchair is a mobility aid, not a person.
You can find the icon in many public spaces.
It marks accessible toilets.
Toilets divide people into man, woman, and disabled.
The men’s toilet has an icon of a human.
The human is the standard.
The icon of the women’s toilet shows a human with a dress.
The dress is, like the wheelchair, added to the human body.
So, are women and disabled people less human?
No.
But the icons and the toilets are made, designed and built by men for men.
Usually, the human in the wheelchair icon is like the male toilet icon.
When the human has a dress, the accessible toilet is divided into men and women.
But: Disabled people are men, women, intersex, non-binary, transgender and agender.
They are not all represented.
Disabled people are individuals.
They have different lives, needs, wishes and dreams.
Disability is a term that summarises them.
However, the meaning of the word 'disability' depends on who you ask.
To describe the different meanings, ise refers to the different “models of disability.”
The oldest models are called the “moral model” and “medical model.”
In both models, disability is seen as a defect.
In the moral model:
Disability is either bad, caused by evil or sin.
This brings shame to the person with the disability.
Or the disability is good, as a test of faith.
The person with the disability becomes an inspiration.
In the medical model:
Medical staff are experts.
They offer “cures” or improvements.
In 1975, US-American disabled people demonstrated to get equal rights.
They suggested: Disability is a social construct.
Society and environment are the problem.
They fail to accommodate people with disabilities.
But this “social model” often reduces ableism to physical barriers.
It ignores the bigger problem of how disabled people are treated in society.
Finally, the “human rights and cultural” models of disability say:
Each disabled person should be able to decide how they identify.
For example:
“There are people with disabilities.”
or
“There are disabled people.”
Language highlights different aspects:
the person or the identity is “disabled.”
For Crip Futures, ise uses two theories:
refusal and opacity.
Refusal is a concept by Fred Moten and Stefano Harney.
Fred Moten and Stefano Harney are Black American scholars who wrote the book ‘The Undercommons.’
In their universities, they don't feel accepted or recognised.
So, they say, they stop looking for approval by systems.
Systems that denied their value in the first place.
Ise says, why should disabled people try to be accepted?
If society does not notice them or expects them to fit in.
Inclusion feels then more like compliance. Not like liberation.
Refusal is a strategy of imagination.
Based on the idea that the current systems are bad for everyone.
It is not a strategy of avoidance or isolation.
It is a method to look at each other as people.
To imagine community.
Opacity is a concept by Édouard Glissant.
Édouard Glissant is a French-speaking writer from the Caribbean who wrote the book ‘Poetics of Relation.’
There he demands the right to opacity.
To remain incomprehensible to dominant systems.
Systems that enforce transparency and understanding.
Currently, people need to prove their disabilities.
To get assistance, tools or access you need a disability certificate.
Medical staff and civil servants value and compare disabilities.
They are often able-bodied.
They decide what to grant a person with disability.
So, disabled people must explain, justify or “prove” their identities, bodies and experiences.
Opacity means to not be transparent.
To see value in what you can’t see, understand or know.
Ise uses Refusal and Opacity to imagine a Crip Future.
Crip Future uses crip time.
Crip time is a concept by Alison Kafer.
She says we experience time in different ways.
Not just in places like schools and jobs, but in all parts of life.
And against the normative — able-bodied — expectation:
Time is flexible and non-linear.
People with disability or chronic illness need more time.
Pain, fatigue and overstimulation take time.
It is okay to be late or change plans.
It is okay to use/ need/ want extra time.
Crip time demands the right to slow down.
People with disability do not need to hurry.
Crip time challenges ideals like progress, productivity and individual autonomy.
Sickness is seen as a temporary problem.
The aim is to treat the problem, manage it and overcome it.
So that the person can go back to work.
Crip time says no one should be expected to be always on time.
To always produce work at regular intervals.
Access should change the system, not the other way around.
This wish is a positive vision.
Crip futures need collective care.
Ise ends the thesis with a pause.
She has no easy solution.
But small changes today shape a better tomorrow.
Come find ise — we can think, speak, feel, write, draw or dance about it together.
e-mail: hello@ise-y.de