n°41 — The Image of Fashion: Forget (fashion) photography? Author: Aude Fellay

Author: Aude Fellay
20 pages, 21 × 29,7 cm, CMYK + 1 PMS
19th October 2022
ISBN: 979-10-95991-41-0
ISSN: 2558-2062

7,00€

—

Fashion photography has to fight for our attention. Memes, selfies, stories, reels: the competition is fierce—and happening at a time when it is seems increasingly diffi cult to speak of photography at all. Should we grapple with photography anew from the perspective of its afterlife, as some have argued in the field of photographic theory? What would it mean to “forget” fashion photography (Dewdney, 2021)? By drawing on recent debates about the condition of photography, this essay examines images of fashion and a number of contemporary phenomena that speak to the need to think the fashion image anew.

Related products

n°02 — A technical platform: Colorlibrary.ch by Maximage. Author: Manon Bruet

Sold Out
Author: Manon Bruet
12 pages, 21 × 29,7 cm, black and cyan + 1 A2 poster, 3 PMS
+ 1 A2 poster, CMYK (reserved for subscribers) (sold out)
8th November 2017
ISBN: 979-10-95991-04-5
ISSN: 2558-2062

The Workflow research project, run by Tatiana Rhis, Guy Meldem, and Julien Tavelli and David Keshavjee (Maximage) at the Écal, is interested in current technologies of the printed object. It consists of a series of experiences that attempt to circumvent currently available production technologies, provoking coincidences and accidents with the goal of obtaining new outcomes.

More than simply questioning the possible circumvention of tools, Workflow explores technicality, modes of functioning, and flaws. In this way, the programme pursues the field of experimentation opened up by the Swiss studio Maximage since 2008. In the context of their degree project at the Écal, Julien Tavelli and David Keshavjee already combined manual and digital techniques so as to develop their own production tools, and notably their own printing methods. From their experiments have emerged, among other things, the Programme typeface, and the Les impressions magiques publication, that appears today as a manifest object of their approach.

One of the first results of the Workflow programme has been the creation of a series of colorimetric profiles that allows the conversion of digital images for printing with one, two, three, four, or five accompanying colors, whether they are basic (CMYK), pastels, fluorescent, or metallic.

The work on these profiles has two aims. It serves to increase the awareness of students at the Écal with regard to the management and theory of color, but it also allows, for the first time, the automation of operations and settings that have until now been done on a case-by-case basis through the manual use of image-editing software and CAD.

Advocating an “innovative” and “professional” solution for the treatment of color, the Écal and the Workflow programme launched the website colorlibrary.ch in 2016 and offered the profiles for sale. The platform appears as an online library that presents a large variety of profiles with different colorful combinations. The different profiles are displayed on screen, applied to images by Iranian photographer Shirana Shahbazi; they seem to replay the codes of Photoshop type images–from the butterfly to the eye, the still life to the waterfall.

Beginning with an analysis of the structure of this platform, the aesthetic and terminological languages that it summons, and their limits, we will open a number of fields of investigation, more widely linked to the question of the tools and modes of production of images.

n°25 — Exhibition views? Jonathan Monk. Author: Remi Parcollet

7,00€

—

Author: Remi Parcollet

20 pages, 21 × 29,7 cm, CMYK
24th October 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062

Photographs of works of art in an exhibition or studio setting, enlarged to the size of the wall, have become an essential and increasingly systematic element of contemporary museography. The institutional curator accompanied by his or her set designer, and the independent curator, both use them as much to recontextualize works as for their aesthetic qualities as documentary images that have become immersive and reflexive.

The obviously richer relationship that artists have with these unique images reveals in various ways what is currently at stake in the act of exhibiting.

To create a kind of retrospective of his work, in 2016 Johnathan Monk debuted a series of exhibitions entitled Exhibit Model*, which consisted of covering the walls of the exhibition space with archive photographs that documented his work in different contexts over the last 20 years. Marie J. Jean considers these staged exhibition views as a form of augmented reality: “This manner of considering the exhibition, in other words, of exhibiting the work along with the context of its appearance, reminds us that the work of art “is a place”, “establishes a place”, is “a has taken place**”.

However for Johnathan Monk, who often uses the work of other artists, isn’t it simply a way in which to appropriate his own work?”

 

* — Kunsthaus Baselland and Galerie Nicolai Wallner in Copenhagen in 2016, VOX, centre de l’image contemporaine, Montreal in 2017, KINDL, Center for Contemporary Art, Berlin in 2019.
** — Marie J. Jean. Autour de Jonathan Monk. Les vues d’expositions comme réalité augmentée. Ciel variable, issue 109, Spring 2018, p. 56–65

 


Jonathan Monk, «Exhibit Model Four», 2019 Kindl, Berlin. Photographie: Jens Ziehe. A1 format poster printed in CMYK on blue back paper

10,00€ —

unlimited edition

30,00€ —

25 copies signed by the artist

n°28 — The conference: a format. Authors: Manon Bruet, Area of Work

7,00€

—

Author: Manon Bruet
3D: Area Of Work
28 pages, 21 × 29,7 cm, CMYK
13th January 2021
ISBN: 979-10-95991-18-2
ISSN: 2558-2062

There are an increasing number of spaces in the field of Graphic Design where work can be promoted. Intermediary platforms between practitioners and the public can come in the form of specific tools (Instagram, for example) or even events that are organized for that purpose (festivals and exhibitions). The conference is one of these platforms. A true ephemeral editorial object, it is highly suited to the explanation and extension of the practices and methodologies of designers. It is, for certain designers, the opportunity to take stock of an approach, an inventory of finished forms, and for others, on the contrary, a pretext for the production of new, sometimes more performative, even experimental forms.

Loading...
0
Your cart is emptyReturn to Shop