Order Subscription, 31st to 38th issue
![](https://e-m-p-i-r-e.eu/revue-faire/wp-content/uploads/sites/3/2021/10/31-38.jpg)
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°26 — Production process: Print on Demand. Author: Manon Bruet
Author: Manon Bruet
20 pages, 21 × 29,7 cm, CMYK
4th November 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Author: Manon Bruet
20 pages, 21 × 29,7 cm, CMYK
4th November 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
In 2008, English Graphic Designer James Goggin ran a two-day workshop with design students at the Hochschule Darmstadt in Germany. The object which resulted gradually took on the appearance of a photo album, a typeface specimen, and a color chart. On the cover, the phrase “Dear Lulu, Please try and print these line, color, pattern, format, texture and typography tests for us” is clearly addressed to the online print platform for which this book was proposed as a test.
Ten years later, the offer has become more diverse and the success of such online platforms is undeniable—indeed the phenomenon has spread well beyond the field of publishing. While some bemoan unfair competition for printers, others, professionals and amateurs, see in it a freedom to print and distribute relatively well finished objects at low cost.
The possibilities of these systems of production, are multiple but nonetheless limited, and this obviously raises the question of a possible standardization of forms and formats. However, when it comes to Print On Demand, it seems that the issue is not so much the materiality of an object (the choice of format, paper or a particular manufacture) but rather the actual existence of this object itself, outside of usual channels of production and distribution.
n°21 — An original: The Most Beautiful Swiss books 2004–2006. Authors: James Langdon, Laurent Benner & Adrian Samson
Interview with Laurent Benner by James Langdon
Photos: Adrian Samson
20 pages, 21 × 29,7 cm, CMYK
25th March 2020
ISBN: 979-10-95991-16-8
ISSN: 2558-2062
Interview with Laurent Benner by James Langdon
Photos: Adrian Samson
20 pages, 21 × 29,7 cm, CMYK
25th March 2020
ISBN: 979-10-95991-16-8
ISSN: 2558-2062
The awards programme The Most Beautiful Swiss Books has been organised almost without interruption by the Swiss Federal Office of Culture since 1943. A book design award with such history, particularly in a book-making culture as rich as Switzerland’s, offers insightful perspectives on Graphic Design for publishing, the culture that commissions and values it, and the critical discourse that surrounds it.
Each year the awarded books are documented in a substantial catalogue, made by one of the graphic designers awarded in previous years. The inherently self-reflexive tendencies of such catalogues—books about books, Graphic Design in the context of Graphic Design—present stimulating yet rather fraught conditions for graphic designers to work in. Looking back over the catalogues produced during the last two decades, a conversation-through-practice is clearly legible. After a conceptually sophisticated catalogue or series (often designers have been commissioned for series of two or three catalogues) follows a simple visual document. After a modest, finely-crafted production comes something more lavish or experimental.
The 2004–2006 catalogues were conceived by Laurent Benner, a Swiss designer working in London, and designed with English designer Jonathan Hares. Laurent’s proposition for the 2004 catalogue was audacious. He contacted the printers of each of the 20 awarded books from that year and asked them to reprint a section of their book. These reprinted sections were then transported to a single Swiss bookbinder and bound, with some additional pages of front- and back-matter, to comprise the catalogue.
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