WORK FOR GOOD CUT - PRINT (PRESS)

The Holocaust, The Holocaust, The Holocaust - Swedish holocaust museum
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Title:	The Holocaust, The Holocaust, The Holocaust
Brand:	Swedish holocaust museum
Product/Service:	Print
Client:	Swedish holocaust museum
Agency:	BBDO Nordics
Production Company:	BBDO Nordics
Creative Director:	Rasmus Tsardakas Renhuldt
Release Date:	2025-01-21
Duration:	01:27
Individual Credits:	BBDO Nordics: Copywriter: Rasmus Tsardakas Renhuldt
Individual Credits:	BBDO Nordics: Art Director: Isaac Bonnier
Individual Credits:	BBDO Nordics: Designer: Susanne Åström
Individual Credits:	BBDO Nordics: Design Director: Andréas Silverblad
Individual Credits:	BBDO Nordics: Copywriter: Matilda Persson
Individual Credits:	BBDO Nordics: Art Director: Isa Landström
Individual Credits:	BBDO Nordics: Graphic Designer: Satany Doughouz
Notes for Judging:	"We will keep repeating ourselves so that history does not." In a world where misinformation spreads fast and the truth is constantly under threat, the Swedish Holocaust Museum launched a campaign built entirely on one simple yet profoundly powerful word: The Holocaust. To mark the 80th anniversary of the liberation of Auschwitz and International Holocaust Remembrance Day, the museum took over every single ad page in Fokus, Sweden’s leading political news magazine. Page after page, the same phrase echoed: The Holocaust. The Holocaust. The Holocaust. A relentless repetition—uninterrupted, unembellished. And finally, on the back cover, the message came into full focus: "We will keep repeating ourselves so that history does not." This was not just a print campaign. It was a printed warning. At a time when far-right ideologies resurface across Europe and the U.S.—and when Holocaust distortion, denial and forgetfulness are rising fast—this campaign used the power of print and language to cut through the noise. With repetition as both form and function, it turned a magazine into a medium of memory. Every ad was copy. Every repetition a reckoning. The campaign used no imagery, no embellishment—just words, stark against white. It invited discomfort. It broke with the conventions of print by turning consistency into confrontation, and typography into testimony. The design let the copy lead—because in this case, the words were the design. Strategically placed in the same issue covering Elon Musk’s widely discussed Nazi-style gesture and published at a culturally charged moment, the campaign became a timely intervention. It served not only as a memorial, but as a mirror—reflecting back a world where forgetting history is no longer a risk, but a reality in motion. In a single edition, repetition became activism. Print became protest. And copywriting became the frontline defense of memory.
Additional Credits:	Swedish Holocaust Museum PR and Communications Director: Anton Wigbrand