Season 1, 1st to 15th issue
Issues 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 & 15
15 × 20 pages and sometimes more
21 × 29,7 cm, CMYK and sometimes more, Saddle stitched binding
Design: Syndicat
2017-2018
Sold out — available on demand
Season 1, 1st to 15th issue
Issues 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14 & 15
15 × 20 pages and sometimes more
21 × 29,7 cm, CMYK and sometimes more, Saddle stitched binding
Design: Syndicat
2017-2018
Sold out — available on demand
n°19 — A history: graphic designer-publishers. Author: Thierry Chancogne
Sold out — Only available with season 2 subscription
Author: Thierry Chancogne
20 pages, 21 × 29,7 cm, CMYK
5th February 2020
ISBN: 979-10-95991-16-8
ISSN: 2558-2062
Sold out — Only available with season 2 subscription
Author: Thierry Chancogne
20 pages, 21 × 29,7 cm, CMYK
5th February 2020
ISBN: 979-10-95991-16-8
ISSN: 2558-2062
In 1275, the kingdom of France ruled on the rights of stationarii (copyists) and librarii (librairies, the French for “bookshop”), newly emancipated from the yoke of the Church (Friedrich Karl von Savigny (author and publisher), Histoire du droit romain au moyen âge, Tome III, Charles Hingray, Paris, 1839 (1815), p. 415). The main question was and has always been, even before the invention of printing, the regulation of the circulation of writing, and the designation of those responsible for their inscription and distribution.
Robin Kinross identified the emergence of the modern figure of the typographer in the 17th century, with The doctrine of handy-works: applied to the art of printing by Joseph Moxon (Robin Kinross, Modern typography: An Essay in Critical History, Hyphen Press, London, 2004 (1992) pp. 15-16). But long before this, graphic artists, copyists, and typographers such as Geoffroy Tory and Henri Estienne the elder were both booksellers and publishers who gave much thought to their practice and the contents that they released into the public space.
It would seem that the time has come to reassess this ancient tradition, with more and more graphic artists and designers choosing to establish their own publishing houses in order to defend their editorial approach in both senses of the word—that of “editing” and the choice and organization of graphic material, but also in the sense of “publishing”, applying a certain ethic to the distribution and advertising of the contents.
n°06 — A series of gestures: Invisible Touch, from Farocki to l’Architecture Aujourd’hui, some notes on the handling of things. Author: Catherine Guiral
Author: Catherine Guiral
2 × 16 pages, 21 × 29,7 cm, Black
10 January 2018
ISBN : 979-10-95991-05-2
ISSN : 2558-2062
Author: Catherine Guiral
2 × 16 pages, 21 × 29,7 cm, Black
10 January 2018
ISBN : 979-10-95991-05-2
ISSN : 2558-2062
n°24 — A theater identity: The Schauspielhaus Zürich by Cornel Windlin. Authors: Étienne Hervy and Thierry Chancogne
Authors: Étienne Hervy and Thierry Chancogne
36 pages, 21 × 29,7 cm, CMYK
23th September 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Authors: Étienne Hervy and Thierry Chancogne
36 pages, 21 × 29,7 cm, CMYK
23th September 2020
ISBN: 979-10-95991-17-5
ISSN: 2558-2062
Designed by Cornel Windlin (with Gregor Huber), the communications of the Zürich Schauspielhaus for the 2009/10 and 2010/11 seasons appeared just as the collaboration between the designers and the theater ended: with the Grand Prix of the Brno Biennial in 2010, where they won first prize in the international competition, with an exhibition in Chaumont the following year at the same time as the Swiss Federal Design Award, a brief appearance in specialist magazines and on specialist sites, and then nothing at all. Once again, Cornel Windlin retreated into the shadows, leaving behind work which asserted itself through both its amplitude and completeness in the heavy silence which remained, and through the multifaceted mass of the media imagery that it reactivated. A series of seasonal posters, event posters, annual and monthly programs, booklets dedicated to each piece, invitations, flyers, graphic materials from the program for younger audiences… everything is here, set in a precisely tuned bold Unica77, digitized by the Lineto foundry with the original team of designers (along with Windlin), all coming together in that blindness inherent to times of eclipse, where the black disk chosen by Windlin as the identity of the Schauspielhaus stands out. Now, a decade later, the idea is to propose a meticulously organized reception, informed by Cornel Widlin and placed in a cavalier perspective by the analysis of Thierry Chancogne.