n°57 — Pontus Hulten. Author : Malou Messien
end of 2025
More infos to come
n°57 — Pontus Hulten. Author : Malou Messien
end of 2025
More infos to come
n°08 — A residency: Coline Sunier & Charles Mazé at Villa Medici. Author: Thierry Chancogne
Interview with Coline Sunier & Charles Mazé by Thierry Chancogne
20 pages, 21 × 29,7 cm,
+ 1 A2 poster, black and white (reserved for subscribers or on demand)
07 February 2018
ISBN : 979-10-95991-05-2
ISSN : 2558-2096
Interview with Coline Sunier & Charles Mazé by Thierry Chancogne
20 pages, 21 × 29,7 cm,
+ 1 A2 poster, black and white (reserved for subscribers or on demand)
07 February 2018
ISBN : 979-10-95991-05-2
ISSN : 2558-2096
Typo-topographic records
While still a student in the Ésad Valence, Coline Sunier, along with Grégory Ambos, created a striking front cover for the booklet associated with the Zak Kyes programme, Forms of Inquiry, using a series of jewels sampled from the more or less heraldic graphic patrimony of highly local emblems.
When she founded her studio with Charles Mazé, the duo continued the work of collection, which is at the same time one of the etymologies of reading, and one of the characteristics of the conceptual aesthetic of the list that emerged in the 1970s—first, in the re-casting of the Ésad Valence’s identity in 2012-2013; then in the work created during a residency at the Villa Médicis, Come vanno le cose?, dedicated to records of 1,512 graffiti found on the walls of Rome illustrating the portrait of a mysterious survivor, perhaps imagined, of the Red Brigades; and more recently in the identity developed for the Centre d’art contemporain in Brittany.
The collection of signs of power and the traces of resistance profoundly inscribed in the always political matter of the spaces is often accompanied by an attempt at typographic translation bringing to mind the work of typification in the personal writings of Fernand Baudin, created for the catalogue of the eponymous prize in 2012.
n°05 — An Instagram post: P/Pa/Para/Paradiso by jetset_experimental (July 1 2017). Author: Manon Bruet
Author: Manon Bruet.
20 pages, 21 × 29,7 cm, CMYK
20 December 2017
ISBN : 979-10-95991-05-2
ISSN : 2558-2062
Author: Manon Bruet.
20 pages, 21 × 29,7 cm, CMYK
20 December 2017
ISBN : 979-10-95991-05-2
ISSN : 2558-2062
On July 1st, 2017, just as I was about to begin research into the use of social networks by Graphic Designers, the Dutch studio Experimental Jetset posted a slideshow containing 7 images on Instagram. Entitled “P/Pa/Para/Paradiso” it presented, as a whole and in its details, their new posters for the Paradiso center for music and culture in Amsterdam. Apart from the obvious formal relationship with the Blow Up poster that they created in 2007 for the London Design Museum, this slideshow gives very few keys to read what seemed to be a new aspect of the center’s communication, something that Experimental Jetset had been working on since 1996.
Currently having over 1,500 likes and tens of comments, this post is where my article begins. An opportunity to investigate and review this collaboration, that over 20 years has taken various forms (flyers, programs, posters), along with the singular and radical practice of Experimental Jetset. And also the opportunity to provide a more theoretical view of the way that Graphic Design is shown and seen on different platforms, that have now become an integral part of the teaching and the evolution of the discipline.
n°22 — Special Issue: Artists posters. Authors: Thierry Chancogne, Jérôme Dupeyrat, Mathias Augustyniak
Authors: Thierry Chancogne, Jérôme Dupeyrat, Mathias Augustyniak
72 pages, 21 × 29,7 cm
CMYK + 1 PMS
27 May 2020
ISBN: 979-10-95991-21-2
Authors: Thierry Chancogne, Jérôme Dupeyrat, Mathias Augustyniak
72 pages, 21 × 29,7 cm
CMYK + 1 PMS
27 May 2020
ISBN: 979-10-95991-21-2
On the occasion of a visit to the exhibition at the MRAC Occitanie / Pyrénées-Méditerranée entitled Honey I rearranged the collection, Jérôme Dupeyrat and Thierry Chancogne continue their discussion of the controversial relationships that exist between art and Graphic Design, based on a historical collection of “artists’ posters”.
The artist’s poster or affiche is at once the traditional medium used to advertise artistic events, produced by the artists themselves, the historical medium of a certain passion for French-style painted posters and the desire of a particular artistic practice to democratize art, the symptom or symbol of potential new relationships between Graphic Design and art in an era where artists have acquired a new graphic culture and Graphic Designers a new artistic ambition.
The thematic exchanges nourished by theoretical, artistic, and graphic references taken from recent and contemporary history are punctuated by thoughts from Mathias Augustinyak, based on his experiences with designing posters for artists, artist posters, artistic posters, and the art of the poster.
Special 72 pages format!