Order Subscription, 31st to 38th issue
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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°17 — An acronym: ACAB. Authors: Ariane Bosshard, Jérôme Dupeyrat, Olivier Huz and Julie Martin
Sold out — Only available with season 2 subscription
Authors: Ariane Bosshard, Jérôme Dupeyrat, Olivier Huz and Julie Martin
20 pages, 21 × 29,7 cm, CMYK
26th November 2019
ISBN: 979-10-95991-15-1
ISSN: 2558-2062
Sold out — Only available with season 2 subscription
Authors: Ariane Bosshard, Jérôme Dupeyrat, Olivier Huz and Julie Martin
20 pages, 21 × 29,7 cm, CMYK
26th November 2019
ISBN: 979-10-95991-15-1
ISSN: 2558-2062
The acronym ACAB, often seen in urban space in the form of graffiti or stickers, first appeared in the U.K. in the 1970s, linked to punk culture, and later found a certain popularity during the social movements of the 1980s. Meaning “All Cops Are Bastards”, over the last 20 years it has become widespread in public spaces internationally, in the wake of a number of political movements, from alter-globalization groups to the French gilets jaunes, or Yellow Jackets, along with black blocks and TAZs, even spawning different variations, such as “All Capitalists Are Bastards”, “All Colors Are Beautiful” and “All Cats Are Beautiful”.
Observing how ACAB (or its numerical version, 1312) is written, allows one to traverse multiple political landscapes, as well as a number of visual cultures (anarchist, punk, hip-hop, LOL) to which this acronym has spread. It is through this scriptural, graphic and visual movement that it has become both a sign of recognition and a polysemic statement.
n°03 — A monograph: Recollected Work by Mevis & van Deursen. Author: Étienne Hervy
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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°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.