n°53 — Photobook: The New Face of Photophilia. Author: Clément Chéroux + book selection with Théophile Calot
April 2025
n°53 — Photobook: The New Face of Photophilia. Author: Clément Chéroux + book selection with Théophile Calot
April 2025
n°18 — A studio visit: Ines Cox. Authors: Manon Bruet and Julia Andréone
Author: Manon Bruet
Photos: Julia Andréone
20 pages, 21 × 29,7 cm, CMYK+1PMS
17 December 2019
ISBN: 979-10-95991-15-1
ISSN: 2558-2062
Author: Manon Bruet
Photos: Julia Andréone
20 pages, 21 × 29,7 cm, CMYK+1PMS
17 December 2019
ISBN: 979-10-95991-15-1
ISSN: 2558-2062
Three women walk into a bar. The first lives in a large apartment in Anvers, Belgium. The second is an independent Graphic Designer who founded her own studio. The third is an avatar—you might even know her—with a certain interest in creative processes, their interfaces, and their vocabularies. Together, they eat some pistachio nuts, order vodka, and are not at all sure about getting up the next day to teach at the Royal Academy of Fine Arts. But together, more than anything else, they form the troubling multiple personality of Ines Cox, a Belgian Graphic Designer who met Julia Andréone and Manon Bruet in her studio in June 2019. An opportunity to develop a narrative driven by three voices and to trace the outline of a path, a practice, and a figure.
n°29 — Girls, the Troopers of Dance. Aesthetization of Politics and Manipulation of Entertainment. Author: Alexandra Midal
The British origins of synchronized dancing—invented in 1880 by John Tiller in a cotton mill—were quickly forgotten in Berlin, where periodicals established themselves as the expression of standardization and American capitalism. The famous Tiller Girls had become the modern figure of the “New Woman”, performing in shows attracting more than four million spectators each year. A seduced Hitler asked for his own troupe: the Hiller Girls. Face to face, both periodicals look like strictly indistinguishable replicas, apart from their opposite messages.
Synchronized dancing revealed the democratic and fascist forms given to the political discourse of the Weimar Republic when the NSDAP seized power. Between the power of forms and forms of power, amid the destruction of cities, decrees banishing the use of Fraktur, and the destruction of degenerate art, those dance shows, undoubtedly because of their popularity, showed that National Socialism was using insidious and invisible strategies to empty forms of their content only to maintain their appearance intact, thus revealing a shadow practice that, in the end, turned out to be just as barbaric as world-wide destruction or the burning of books.
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!”***