Circlar is a graphic design studio specializing in visual identity, web and publishing. Co-founded in 2024 by Laurent Mbaah and Théo Hennequin, this creative space based in Brussels is at the intersection of theoretical and graphic research projects. Mainly active in the cultural field, we are interested in projects with social and committed dynamics.
Laurent Mbaah (Simlo) is a multidisciplinary artist, graphic and digital designer. His work is described by a maximalist research inspired by Afrofuturism and Internet cultures, combined with a precise approach of visual narration. Within Circlar he instills his curiosity of shapes and his creativity to propose singular graphic systems, while putting into practice an advanced mastery of digital tools and web development. Learn more
Théo Hennequin is a graphic designer inspired by Swiss graphic design as well as contemporary and experimental movements, experimenting with typographic compositions and layering. In doing so, he has developed a singular aesthetic and theoretical repertoire. He also works on research projects based on the world of football and supporterism, focusing on the off-field aspect and the underbelly of the sport. Learn more
Are you interested in our work for a project?
Send us a email and let’s talk about it over tea or coffee!
At the moment we are not looking to expand our team. However, when the need or subject arises, we open our space to new collaborators on specific projects.
Would you like to do an internship in our studio?
Send us a cover letter and your portfolio by email!
contact@circlar.world
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Africa Museum
Argos
La Bellone
Football Case Study
Harlem Lamine
Musique Action Chaumont
Palais de Tokyo
Sophie Senecaut
Stanley Olliver
Traumnovelle
Toestand
2025
Client: Africa Museum
Graphic design: Théo Hennequin, Laurent Mbaah
Font: Acumin (Robert Slimbach)
The Congo Panorama 1913. Colonial illusion exposed, a critical examination of colonial propaganda and the realities it concealed, is the upcoming exhibition at the AfricaMuseum.
At its heart is the Congo Panorama, a monumental painting from 1913 that presented an idealised picture of Belgian colonial ‘civilisation’.
The exhibition deconstructs this instrument of propaganda using a scale reproduction of the painting. The idyllic portrayal of the colony on canvas hid the violence, exploitation and resistance taking place behind the scenes – fake news avant la lettre.
The exhibition, like the accompanying visuals, is based on the disproportionate and megalomaniacal painting Panorama du Congo. These visuals offer a synthesis of the painting and accentuate the megalomania of its format.
The visual identity, based on the poster, is available in various printed and digital formats, as well as through texts, titles and labels within the exhibition and the accompanying catalogue.