n°53 — Julia Born
April 2025
More infos to come
n°53 — Julia Born
April 2025
More infos to come
n°01 — A collection: Rouge-gorge, Éditions Cent pages by SpMillot. Author: Thierry Chancogne
Author: Thierry Chancogne.
20 pages, 21 × 29,7 cm, CMYK
25th Octobre 2017
ISBN: 979-10-95991-04-5
ISSN: 2558-2062
Author: Thierry Chancogne.
20 pages, 21 × 29,7 cm, CMYK
25th Octobre 2017
ISBN: 979-10-95991-04-5
ISSN: 2558-2062
Available only with the Season 1 subscription
n°07 — A book: Parallel Encyclopedia, Batia Suter. Author: Jérôme Dupeyrat
Sold out
Author: Jérôme Dupeyrat.
20 pages, 21 × 29,7 cm, CMYK
24 January 2018
ISBN: 979-10-95991-05-2
ISSN: 2558-2062
Sold out
Author: Jérôme Dupeyrat.
20 pages, 21 × 29,7 cm, CMYK
24 January 2018
ISBN: 979-10-95991-05-2
ISSN: 2558-2062
Since the end of the 1990s, Batia Suter has been collecting books—second hand for the most part—that she acquires for their iconography, in such a way as to build up an image database that sits on the shelves of her personal library. All of this has become the basic material for an artwork that consists of presenting the images according to a logic of visual editing, providing them with new modalities of appearance and thus new possibilities of interpretation.
Parallel Encyclopedia is, at the time of writing, the artist’s most significant work. Ongoing since 2004, it has taken the form of a number of installations and two imposing publications from Roma Publications published in 2007 and 2016. Each version of the project is characterized by the association of hundreds of heteroclite images (historical, artistic, scientific, and technical), grouped according to typological and formal links. From one system to another, the conditions of presentation of these images taken from books are renewed: the sequencing and seriality of bound pages; constellations or, on the contrary, linear sequences of images reproduced and exhibited on wall panels; constellations or linear sequences of book pages opened and placed on flat mounts. Though the exhibited images are the same, these various exhibition possibilities determine differential readings.
Beyond the fascination that such a project can generate, this text will attempt to seize all of its complexity. To do this, Batia Suter’s work will be re-situated within the context of a history of iconographic practices that run through different fields of activities and knowledge. We will also focus on the trajectory of the images gathered in Parallel Encyclopedia and the effects of the process of remediation to which they are subjected. Ultimately, it will be a question of drawing a figure of the artist as an “editor” and of studying both the function of Graphic Design in the artist’s work and the place that we can attribute to the artist in the field of Graphic Design, a field to which Batia Suter doesn’t directly belong, but one that runs through her productions, and to which she was confronted in a concrete fashion in the context of her collaboration with the Graphic Designer Roger Willems in the design of the two volumes of the encyclopedia that, in fact, is today a reference for many artists, as much as it is for a large number of Graphic Designers.
n°26 — Production process: Print on Demand. Author: Manon Bruet
Author: Manon Bruet
20 pages, 21 × 29,7 cm, CMYK
4th November 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Author: Manon Bruet
20 pages, 21 × 29,7 cm, CMYK
4th November 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
In 2008, English Graphic Designer James Goggin ran a two-day workshop with design students at the Hochschule Darmstadt in Germany. The object which resulted gradually took on the appearance of a photo album, a typeface specimen, and a color chart. On the cover, the phrase “Dear Lulu, Please try and print these line, color, pattern, format, texture and typography tests for us” is clearly addressed to the online print platform for which this book was proposed as a test.
Ten years later, the offer has become more diverse and the success of such online platforms is undeniable—indeed the phenomenon has spread well beyond the field of publishing. While some bemoan unfair competition for printers, others, professionals and amateurs, see in it a freedom to print and distribute relatively well finished objects at low cost.
The possibilities of these systems of production, are multiple but nonetheless limited, and this obviously raises the question of a possible standardization of forms and formats. However, when it comes to Print On Demand, it seems that the issue is not so much the materiality of an object (the choice of format, paper or a particular manufacture) but rather the actual existence of this object itself, outside of usual channels of production and distribution.