n°53 — Photobook: The New Face of Photophilia. Author: Clément Chéroux + book selection with Théophile Calot
May 2025
n°53 — Photobook: The New Face of Photophilia. Author: Clément Chéroux + book selection with Théophile Calot
May 2025
n°30 — Types of types: the typographic specimen by Lineto. Author: Olivier Lebrun
For Lineto (https://lineto.com) the Specimen plays out through forms and formats in order to promote the foundry’s typefaces: books, posters, envelopes, pamphlets, letter transfers, print ads, and video clips as well as inflatable structures and bootlegs of logotypes. When Reala published LL Biff in 2000, the specimen employed graffiti culture and its modes of distribution, along with a combination of two references: “Medium is the message”*, “Style is the message”**. For Lineto the citation is a form that allows them to distribute their typographic catalogue while promoting diverse cultural fields: “Ignorance of your own culture is not considered cool!”***
n°03 — A monograph: Recollected Work by Mevis & van Deursen. Author: Étienne Hervy
Sold out
Author: Étienne Hervy.
20 pages, 21 × 29,7 cm, CMYK
22th November 2017
ISBN: 979-10-95991-04-5
ISSN: 2558-2062
Sold out
Author: Étienne Hervy.
20 pages, 21 × 29,7 cm, CMYK
22th November 2017
ISBN: 979-10-95991-04-5
ISSN: 2558-2062
In 2006, the publisher Artimo entrusted Linda van Deursen and Armand Mevis with the editorial direction and the Graphic Design of their own monograph, Recollected Works. Joined by Paul Elliman in writing the texts, the two Graphic Designers responded with an approach similar to that which they adopt when they accompany other artists and photographers in the creation of books whose relevance has largely contributed to the studio’s reputation. Mevis and van Deursen propose to the reader to experience their work in operation, rather than simply contenting themselves with the reproduction of the work presented as artworks in themselves. Rather than the nostalgia for a more or less formalized organization of their previous projects, the two Graphic Designers look at their previous work as the material for an autonomous project from which this book will emerge.
Such a choice directly raises the question of the constitution and transmission of a culture inherent to Graphic Design, whether it isspecifically aimed at designers or else at a much wider audience. How to transmit the issues and points of quality of a discipline itself dedicated to transmission? One must above all recognize the capacity of this eminently visual field to confront appearances.
Our study of this work will obviously reference a corpus of monographs and publications made by Graphic Designers (Christophe Jacquet, Joost Grootens, M/M (Paris), Karel Martens, Experimental Jetset, Wolgang Weingart, etc.) while at the same time looking more widely at the forms currently adopted for the transmission of Graphic Design (exhibitions, conferences, etc.). Beyond the issues discussed and the questions raised by Recollected Works, it is a matter of both pulling on the thread of the work of Mevis and van Deursen (does a continuity exist between the editorial design of Why Mister, Why? for Geert van Kesteren or the Library Of The Museum Museum of Contemporary African Art for Meschac Gaba, and the identity of the Stedelijk Museum?) and questioning the pertinence of a discourse specific to Graphic Design.
n°24 — A theater identity: The Schauspielhaus Zürich by Cornel Windlin. Authors: Étienne Hervy and Thierry Chancogne
Authors: Étienne Hervy and Thierry Chancogne
36 pages, 21 × 29,7 cm, CMYK
23th September 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Authors: Étienne Hervy and Thierry Chancogne
36 pages, 21 × 29,7 cm, CMYK
23th September 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Designed by Cornel Windlin (with Gregor Huber), the communications of the Zürich Schauspielhaus for the 2009/10 and 2010/11 seasons appeared just as the collaboration between the designers and the theater ended: with the Grand Prix of the Brno Biennial in 2010, where they won first prize in the international competition, with an exhibition in Chaumont the following year at the same time as the Swiss Federal Design Award, a brief appearance in specialist magazines and on specialist sites, and then nothing at all. Once again, Cornel Windlin retreated into the shadows, leaving behind work which asserted itself through both its amplitude and completeness in the heavy silence which remained, and through the multifaceted mass of the media imagery that it reactivated. A series of seasonal posters, event posters, annual and monthly programs, booklets dedicated to each piece, invitations, flyers, graphic materials from the program for younger audiences… everything is here, set in a precisely tuned bold Unica77, digitized by the Lineto foundry with the original team of designers (along with Windlin), all coming together in that blindness inherent to times of eclipse, where the black disk chosen by Windlin as the identity of the Schauspielhaus stands out. Now, a decade later, the idea is to propose a meticulously organized reception, informed by Cornel Widlin and placed in a cavalier perspective by the analysis of Thierry Chancogne.