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°20 — A ski resort: Pierre Faucheux and Les Arcs. From the space to the sign. Author: Catherine Guiral
Author: Catherine Guiral
20 pages, 21 × 29,7 cm, CMYK
4th March 2020
ISBN: 979-10-95991-16-8
ISSN: 2558-2062
Author: Catherine Guiral
20 pages, 21 × 29,7 cm, CMYK
4th March 2020
ISBN: 979-10-95991-16-8
ISSN: 2558-2062
Known as “the man of a hundred million covers” and for being a major actor in the history of French Graphic Design during the Trente Glorieuses, the three decades of flourishing economic and cultural activity in France following World War II, Pierre Faucheux also had a rich activity as an architect. At the end of the 1960s, Charlotte Perriand invited him to become involved in the adventure of constructing the winter sports resort called Les Arcs. “The construction of a fantasy” designed by engineer Roger Godino, Les Arcs, a different type of Savoyard resort, would find itself embodied in a particular sign, which expresses the different instincts that Faucheux had for both the space and its transformation.
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°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.