Order Subscription, 31st to 38th issue

Issues 31, 32, 33, 34, 35, 36, 37 & 38
8 × 20 pages and sometimes more
21 × 29,7 cm, CMYK
Design: Syndicat
2021-2022
Order Subscription, 31st to 38th issue
Issues 31, 32, 33, 34, 35, 36, 37 & 38
8 × 20 pages and sometimes more
21 × 29,7 cm, CMYK
Design: Syndicat
2021-2022
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°27 — Rhizomes of London. Archigram and mental images of the city. Author: Sonia de Puineuf
Author: Sonia de Puineuf
12 pages, 21 × 29,7 cm, black and white
+ 1 A1 poster, CMYK
2nd February 2021
ISBN: 979-10-95991-18-2
ISSN: 2558-2062
Author: Sonia de Puineuf
12 pages, 21 × 29,7 cm, black and white
+ 1 A1 poster, CMYK
2nd February 2021
ISBN: 979-10-95991-18-2
ISSN: 2558-2062
A mine of images and ideas for architectural and urban-planning practices, the journal Archigram (1961–70) has already been the subject of close reading and analysis by architects, historians, theoreticians, and architecture critics. This study approaches Archigram from a different angle, attempting to interpret it as a successful artifact of graphic design by confronting it with the achievements of its time and other inspirational eras of editorial and environmental graphic design. It aims to explain the graphical evolution of the journal through the graphical stimuli of London—the city where the Archigram architects worked on a daily basis. It is an attempt to demonstrate that the publication, at first glance confusingly heterogeneous, is akin to a comprehensive mapping of the secret whirrs and the more obvious trends of the English metropolis, where the futuristic utopia of the dynamic city took shape in such a particular way. By identifying London’s potential during the mythical Sixties, the Archigram journal stands out as a rhizomatic image, a living mirror of the urban organism.
n°25 — Exhibition views? Jonathan Monk. Author: Remi Parcollet
Author: Remi Parcollet
20 pages, 21 × 29,7 cm, CMYK
24th October 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Author: Remi Parcollet
20 pages, 21 × 29,7 cm, CMYK
24th October 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Photographs of works of art in an exhibition or studio setting, enlarged to the size of the wall, have become an essential and increasingly systematic element of contemporary museography. The institutional curator accompanied by his or her set designer, and the independent curator, both use them as much to recontextualize works as for their aesthetic qualities as documentary images that have become immersive and reflexive.
The obviously richer relationship that artists have with these unique images reveals in various ways what is currently at stake in the act of exhibiting.
To create a kind of retrospective of his work, in 2016 Johnathan Monk debuted a series of exhibitions entitled Exhibit Model*, which consisted of covering the walls of the exhibition space with archive photographs that documented his work in different contexts over the last 20 years. Marie J. Jean considers these staged exhibition views as a form of augmented reality: “This manner of considering the exhibition, in other words, of exhibiting the work along with the context of its appearance, reminds us that the work of art “is a place”, “establishes a place”, is “a has taken place**”.
However for Johnathan Monk, who often uses the work of other artists, isn’t it simply a way in which to appropriate his own work?”
Jonathan Monk, «Exhibit Model Four», 2019 Kindl, Berlin. Photographie: Jens Ziehe. A1 format poster printed in CMYK on blue back paper