Exhibition generator 3,
University Trier,

In the search for a formal and conceptual concept for the exhibition space in the former cogeneration plant of the University of Trier, one of the key questions was: How to reconcile the still unknown history of this space and its geographic context with its still unknown and open future as a place of art and light. The text material we were looking for should be representative of all potential future uses and allow the viewer to fill this new space with his own content. In typography, so–called blind text is used in such cases. Although this is intentionally incomprehensible and its content seems to make no sense, it is the clearest proof of the interplay of the optical formal appearance of a text with its content. It certainly forms the archival structure and structure of a text on the surface. Similar to the raster of a rack storage or a memory board, it formulates order and logistics of the content, forms the architecture of a library.

For the first time, a blind text, which began with the words LOREM IPSUM, was offered by Letraset as an adhesive letter set in the 1960s, in order to present the text structure of various types of fonts. Since the word lorem does not exist in the Latin as a conjugated form, it was for a long time considered as a meaningless text in pseudo latin language.
Richard McClintock, a Latin professor at the Hampden–Sydney College in Virgina, found that the used and mixed texts were part of a passage from Cicero's “finibus bonorum et malorum. In this theoretical–moral treaty, his most extensive work, written 45 BC., Cicero asks the teleological criterion for our actions. His philosophical leitmotif is the question of what is to be striven for the highest good.