BAT éditions, Académie de France à Rome—Villa Médicis
<o> future <o>
Come vanno le cose? [How are things going?] is a collection of 1,512 inscriptions found on walls in Rome between September 2014 and February 2015, which could be attributed to a single person whose identity remains unknown. This collection displays a variety of signs, which are here deconstructed, transcribed and categorized in types of form and content, revealing a particular use of writing: conscious, obsessive, articulated and wild. Come vanno the cose? is a corpus of contemporary Roman inscriptions, which testifies the importance of language—institutional as well as popular—in the collective space of the streets, where freely scribbled messages can be read on the same walls as carved ones ad vitam æternam in stone.
"A poster is a tool." This catalog presents a selection of posters made by Allan Kaprow for his solo exhibitions, solo Happenings, solo Environments and solo Activities. They are here reproduced at almost actual size (scale 1 was not allowed due to copyright issues) on a large tabloid-size publication, giving the object a dual status: a book potentially convertible into an exhibition. Each part of the book has therefore a double function: the cover is a poster announcing the exhibition, the pages of the book are the content of the exhibition itself, images’ captions are the labels, and the publication’s index can be used as information sheet.
Élodie Royer, Yoann Gourmel, The Play, <o> future <o>
This publication combines in one volume the reprint of two out-of-print books entitled PLAY, self-published in 1981 and 1991, with an addition of previously unreleased documentation of actions made by the group from 1991 to 2014. Elaborated by the members of The Play, this complete survey of their activities is edited using the same format, lay-out and design features as the previous black and blue cover books made with a Xerox machine during The Play members' holidays. This new play or holiday book gathers photographs, documents (maps, drawings, charts, posters, press clippings, etc.) and short statements on each action made by the group from 1967 to 2014.
Clairvoyant Journal 1974 by Hannah Weiner (1928-1997) is based on the typescripts Early and Clairvoyant Journals and includes the entries dated February 23 to June 10. This new edition of Clairvoyant Journal features an “Afterword” by Patrick Durgin, which completes his study on Hannah Weiner’s “clair-style” writing (“BIG SENSIBLE, Introductory Remarks on Clairvoyant Journal”) previously published on www.f-u-t-u-r-e.org.
With Clairvoyant Journal, Hannah Weiner writes a specific form of diary, using the characteristics of typographic styles (roman, italic and CAPITAL) to present an inner discussion between three separate voices. Clairvoyant Journal also gives an insight into the daily life of a writer living in New York in the 1970s, evoking a poetic, musical, and artistic scene, yoga and a poetical experience.
ESBA Tours Angers Le Mans, Frac Bretagne, Les presses du réel
Yann Sérandour, Marie Lécrivain
A reflection on translation phenomena in the arts (a project by Sébastien Pluot and Yann Sérandour). Yann Sérandour simultaneously translated this research into a new book made in progress by assembling existing publications, original artworks, reproductions and facsimiles. New contributions were then inserted on and around the reproduction of this single copy, in the manner of polyglot Bibles.
Le Plateau / Frac Île-de-France, Museum of American Art
Élodie Royer, Yoann Gourmel
This is a fiction. A fiction that might begin in the following way:
“Once upon a time a story known as the history of modern art . . .”
A fiction that the Salon de Fleurus, New York and the Museum of American Art, Berlin, lay out before us. A fiction whose characters would be the artists, curators, art historians and collectors together with the artworks, exhibitions and institutions that have played a part in shaping that history such as we know it today. As Walter Benjamin stated in 2003:
“Art is defined only within the story called art history. Artifacts shown at this exhibition are not works of art. They are rather souvenirs, selected specimens of our collective memory.”
<o> future <o> continues and enhances the activities of △⋔☼ with online and printed publication, using the tool Ethertoff built by OSP to deal with three aspects of publishing: Read, Write, and Print.
Read: the Django framework integrates the content into a browsable space.
Write: the content is edited synchronously and collaboratively on Etherpad Lite by the members of Bat.
Mechanical version of Gill Sans after an aeronautical Almanac from the 60s, Nasa provides a technical aspect on <o> future <o>, alongside the Bat typography used for texts. The font NASA differentiates texts from printed publications in <o> future <o>’s index, and is used for colophons as well as other technical informations.
To design the new Continental Rift book collection, we used the transatlantic interest (Europe > US > Europe) of Belgian publishing house (SIC) in French Theory.
Robert Smithson, Du New Jersey au Yucatán, leçons d’ailleurs by Ann Reynolds is a comprehensive examination of Robert Smithson's work and creative process.
"I am going to tell you some performances, the way you tell stories. Or, better, read them. When we read a book, often there are images that illustrate or clarify the contents of the text. I will do the same: I will tell you or read you or have you listen to the texts of several performances and, from time to time, there will be an image, a fixed or moving image. Do not be afraid, I am not going to explain my performances to you, nor shall I talk about their symbolic content or otherwise, nor about why I made them, nor about what you should understand, etc. No, I am simply going to present them to you, in the simplest way possible. It is up to you to find the contents, interpretation and all the rest, if that interests or amuses you. In any case, these meanings, these contents, these interpretations will be your own, not mine, because for me all interpretations are valid, yours is just as valuable as mine and vice versa, of course."
Esther Ferrer, Contar performances, 1995, score (excerpt)
How do you observe something from the point of view of the thing observed?
Pictures of Nazca or Mochica ceramics come from Rafael Larco Hoyle’s book Pérou (Genève: Nagel, 1968), drawings from Gerdt Kutscher and Heinrich Döring’s studies, reproduced by Danièle Lavallée, Les Représentations animales dans la céramique mochica (Paris: Mémoires de l’Institut d’Ethnologie, 1970).
A selection of recent works reproduced at actual size: Dossier Fernand Baudin, Abitacollection, ∆⅄⎈ nº1, FAN nº4, ÉSAD •Grenoble •Valence, La vie matérielle, 2.0.1 nº5, Smog a Los Angeles., Sainte-Victoire, Corporate Identity, French Theory and American Art, Louie Louie, Mime Radio, Catalogue raisonné, Collection du Frac Franche-Comté, Berdaguer + Péjus, The Crystal Hypothesis.
More infos here
Several artworks by Italian artist Elisabetta Benassi circulates through each communication announcing her first exhibition in France. The invitation card, printed in nine different versions, displays watercolor reproductions of backs of photographs. The large scale poster, printed both sides, presents a photograph of Bushman, the famous gorilla. The exhibition’s guide consists of copies of all the artworks labels stapled to an invitation card. Finally, in the parking lot at the entrance of CRAC’s building, a huge banner presents a still from Benassi’s film Roma K69996.
The publication starts with a forty-page long opening credits, allowing the visitor to insert various documents produced before and during the exhibition: invitation card, postcards, exhibition map, Criticism bookmarks, RSVP flyer, photographs of the show by Aurélien Mole… As closing credits, a colophon ends the publication on a flap, intended to welcome the inserts. Also taking the form of closing credits, a long list of people involved in the show can be found at the entrance of the exhibition, as an hommage to the wonderful films by Duras.
The very first version of the invitation card, in the manner of a page-a-day calendar, originally featured an illustration by Sany, which was sadly denied.
To design the new Continental Rift book collection, we used the transatlantic interest (Europe > US > Europe) of Belgian publishing house _(SIC) in French Theory.
First and foremost, French Theory and American Art examines some of the main historical conditions of this reception. It considers significant texts, artists, authors, and events that were instrumental in the introduction of French thought into the artistic field of the United States. The relation between artistic creation and theoretical thought, between singular, inventive uses and creative misunderstandings of theory, constitutes the other major question of the present volume.
French Theory and American Art is awarded the title of "Prize-winner of the 2013 Fernand Baudin Prize".
ÉSAD •Grenoble •Valence’s website does not only have an institutional purpose but also aim to show the school’s various activities, and also to serve as a tool for both students and teachers. The website allows you to generate the student handbook (information brochure and courses catalog) to be read online or downloaded as a PDF, which layout is generated using the software ConTeXt.
More infos (in French): Écrire l’École Supérieure d’Art et Design •Grenoble •Valence
Ongoing revival project of Beaudoire’s Elzévir, based on the printer’s specimen. The font is renamed Minotaure, as an homage to the Surrealist magazine Minotaure (1933-1939), which used the font for the titling of its articles.
Designed for the new visual identity of ÉSAD ••, Dauphine is a sans serif typeface based on lettering found on maps from late nineteenth century to mid-twentieth century, and designed after writing models for industrial designers or French and American cartographers. The weight and shapes of Dauphine are similar to the mono-linear symbols used in cartography, as well as referring to writing models showing the letters’s skeleton to teach how to write.
Dauphine is the only typography used within this new visual identity. It consists of a roman, an italic (slanted roman) and dingbats, all of medium weight.
“Let's imagine a land flat as a sheet of paper, in fact let's take a sheet of paper and a black felt-tip pen with a large round tip and mark some dots at random on the paper, skipping about with the pen held upright. It isn't necessary to give town names to these dots spread at random on the paper. Let's look at them as reference points around which we will establish clusters—connections—formal relationships—using straight lines, curved lines or lines of dots, or whatever.
The game consists in inventing lots of different ways of connecting, linking, grouping together these dots.”
Excerpt from Bruno Munari, Flight of Fancy, Maurizio Corraini, Mantova, 1992.
To be continued soon at www.esad-gv.fr
The exhibition guide plays with two meanings of the word “cahier” in French. First, the exercise or learning book, as the art center is now occupying the building of a former school. And “cahier" in printing terms, a printed sheet of paper folded 4 times to form a booklet but left uncut, which is also the presentation of a method: the regular section of 32 pages.
The first side of this sheet is a practical tool for on-site consultation while visiting the exhibition. When fully unfolded, the back mixes contributions by the artists to create a kind of community like the Mèla publications edited by Maurizio Nannucci in the late 1970s.
The other communication material “rachâchent” an excerpt of dialogue borrowed from the video By Recheating (1982) by Jean-Marie Straub & Danièle Huillet. The signage of the exhibition is manually written in pencil or chalk, as in the entrance within a blue triangle drawn in collaboration with the artist Amilcar Packer.
The first part of the third issue of Messy Sky, entitled A Preface, was edited by Élodie Royer & Yoann Gourmel and exhibited during the eponymous exhibition at Le Plateau / Frac Île de France, from June 6th to July 28th 2013. With contributions by Michael Crowe, Laurence Sterne, Bruno Persat, Richard Brautigan, Philippe Fernandez, Ruth Krauss & Antonio Frasconi, Pedro Barateiro, Jimmie Durham, Triple Candie, Zoe Leonard, Paul Sietsema, Stéphane Barbier-Bouvet, Michael Crowe, Géraldine Longueville, Mark Geffriaud, Dorothy Norman.
Messy Sky website
The Abortion: An Historical Romance (1966) by Richard Brautigan begins in a library whose particularity is to only welcome manuscripts that did not find any publisher. A library of refused books in single copies, with titles as evocative as Growing Flowers by Candlelight in Hotel Rooms, God and Stereo or The Dostoevsky Cookbook, whose authors are invited to place "wherever the [their] heart tells them" on its shelves.
Inspired by this fictional library, Les 23+2 is an on-going collaborative project consisting in the production of these 25 fictitious books described in the text. 25 white books to be sent to 25 authors to be written in the form and time they desire.
Large scale poster for Pierre Leguillon's exhibition at erg, Sainte-Victoire, Corporate Identity. The poster shows the illustration accompanying a list of spare parts, enlarged to scale the object represented: an automatic toaster Braun HT 2, designed by Reinhold Weiss in 1961.
Léa Audouze, Jérémy Barrault, Alex Chavot, Martin Clamens, Fabien Coupas, Héloïse Derly, Kevin Gotkovsky, Célestin Krier, Fabrice Mabime
Following a first workshop at ÉESAB in Rennes, Il n'y a que la canaille / Qui mette son nom sur les murailles is the second issue of the gazette of vandalism of art in the public space. The purpose of the workshop leading to this publication was to look at artworks in the city Lyon. Either existing artworks, or missing, or destroyed, or in production phase. This second issue is focusing on vandalism from “above.”
To provide additional informations or resonate with the motivations behind vandalism reported in Lyon, a selection of texts was made for the occasion and inserted between each student’s contribution. A conference by Alexis Guillier and an intervention by Marianne Homiridis also provided informations and insight.
Synagogue de Delme, Louise Hervé, Chloé Maillet, Marcelle Alix, JRP|Ringier
The three references for this project are combined into one single object: Strange Attraction is a “Pulp” at the size of a book, printed like a newspaper. Cheap science fiction “Pulp” magazines are the main reference, giving the dimensions for the book. The 3D-lettering on the cover is a tribute to the French magazine Fiction (covers from February 1973 to September 1979). The structure and layout of Strange Attraction refers to literary novels of the nineteenth century. Rotary printing refers to the Strange Attraction series published by Louise Hervé & Chloé Maillet in the Républicain Lorrain during their exhibition at the Centre d'art—La Synagogue de Delme.
Drawing from Fernand Baudin's collection kept in the rare books and manuscripts section at the Université libre de Bruxelles, this Dossier Fernand Baudin gathers texts written or translated by Baudin, previously unreleased or published in various journals, or read in conferences, covering a period going from 1958 to 1998. Presented in a chronological order, this selection of texts conveys a panorama of his various activities, the ideas he developed and advocated, and gives a glimpse on the network of friendly and professional relationships Baudin established during his entire career.
Through their chronology and the history they depict, the facsimiles naturally offer an insight on the technical evolutions in the field of the graphic industry, a particular concern for Baudin. When taken as a whole, they allow highlighting Fernand Baudin’s position on the role of writing in the printing process, from the author’s draft to the final, published edition via all the intermediary stages.
This Dossier Fernand Baudin refers to the Dossiers prepared by Fernand Baudin for the Association des Compagnons de Lure between 1969 and 1975. In Dossier Layout (1972), Baudin gathers and annotates a selection of working documents sent by graphic designers and typographers. This method was employed in a separate section of the Dossiers, to present the nine books awarded this year with a Fernand Baudin Prize.
Fernand Baudin Bille and Fernand Baudin Feutre are digital interpretations of Baudin’s “ballpoint pen” and “felt pen” handwriting. The former typeface was inspired by his article “L'écriture à bille,” as well as by various correspondences and notes found in his archives. The “felt pen” version was mainly based on the titles used for the Dossier Mise en page.
Initiated during the workshop Ô Fernand held at the ÉSAD •Valence, the digitalization of the two alphabets Fernand Baudin Bille and Fernand Baudin Feutre is specifically created for the publication Dossier Fernand Baudin.
Custom version of Série Seize for the english translation of Madame Bovary by Gustave Flaubert. Illustrations for Marc-Camille Chaimowicz and design by John Morgan Studio for Four Corner Books, Four Corners Familiars book collection.
Four Corner Books
The first part of the second issue of Messy Sky, entitled Les Fleurs Américaines, was edited by Élodie Royer & Yoann Gourmel and exhibited during the eponymous exhibition at Le Plateau / Frac Île de France, from December 13th 2012 to February 17th 2013. With contributions by Élodie Royer & Yoann Gourmel, Walter Benjamin and the Museum of American Art, Berlin.
Messy Sky website
To design the new Continental Rift book collection, we used the transatlantic interest (Europe > US > Europe) of Belgian publishing house _(SIC) in French Theory. The first installment of the collection is a translation of Random Order, Rauschenberg and the neo-avant-garde by Branden W. Joseph, originally published by MIT Press in 2003.
To accompany our digital version of Serie Seize — based on French and Belgian books from the last hours of metal type — we chose sans serif Univers Else published by OSP in 2011. Univers Else is a "raw" revival of the famous typeface Univers by Adrian Frutiger, based on his mid-1960s revised version for the IBM Selectric composer typesetting machine.
Jérôme Dupeyrat, François Aubart, Camille Pageard, Benjamin Seror
Jérôme Dupeyrat, «‹As cheap and accessible as comic books›: l’utopie démocratique du livre d’artiste», p. 11-29.
Seymour Papert, «Turtle Geometry: A Mathematics Made for Learning (extrait)», p. 31-47.
David Antin, «Parler aux frontières», p. 49-84.
François Aubart, «Naviguer la mer immense», p. 121-134.
Paul Morley, «Words and Music (extrait)», p. 135-146.
Sam Lewitt, «Le cri de la marmotte: quelques commentaires sur certaines images et certains textes de Jack Goldstein», p. 147-160.
Élodie Royer, Yoann Gourmel, Le Plateau / Frac Île-de-France
Poster, flyer and guide for the exhibition Abitacollection, an itinerant exhibition conceived by Élodie Royer & Yoann Gourmel with Xavier Franceschi, with artworks from the collection of the Fonds régional d’art contemporain Île-de-France and the collection départementale d’art contemporain in Seine-Saint-Denis, inside an inflatable piece of architecture produced by Hans-Walter Müller.
The retrospective catalogue of French artists Christophe Berdaguer & Marie Péjus, large scale and shinny envelope on glossy paper, is a distant echo of the modernist architecture magazine Aujourd'hui : Art & Architecture (1955-1967) which was founded by André Bloc. In this ghostly package, a symmetrical path is built between artworks based on Berdaguer & Péjus' exhibition Insula at the Institut d’art contemporain in Villeurbanne.
"Have you in one way or another contaminated this paper or this ink behind which the texts and images of this book exist?" [Sébastien Pluot].
As suggested by Sébastien Pluot in his interview with the artists, images were somehow contaminated with silver ink, possibly producing disorder depending on how the catalogue is handled.
14628.jpg is a collaboration between Linda Sanchez and Philippe Vasset. The book consists of a series of drawings – tracings – by artist Linda Sanchez, based on an image found on the internet: a beach full of debris after Hurricane Katrina. This image is not present in the book but is being described alongside the drawings by author and journalist Philippe Vasset. Using archeological methods, the rigorous and abstract sketches lead to exhaustion, which becomes condensed both in a large scale multiple inserted at the end of the book, and in a diagram on the back cover that shows the various sets of drawings and the relationships they have with one another.
The first part of the first issue of Messy Sky, entitled Mount Fuji Does Not Exist, was edited by Élodie Royer & Yoann Gourmel and exhibited during the eponymous exhibition at Le Plateau / Frac Île de France, from June 7th to July 29th 2012. With contributions by Richard Brautigan, James Lee Byars, John Cage, Lenka Clayton & Michael Crowe, Gaëtan Didelot, Hamish Fulton, Mark Geffriaud, Ikemizu, Chitti Kasemkitvatana, Yuki Kimura, Kuwano san, Benoît Maire, Bruno Persat with Fabrice Gallis, Pratchaya Phinthong, The Play, Chloé Quenum and Shimabuku.
Messy Sky website
Jérôme Dupeyrat, François Aubart, Camille Pageard, Benjamin Seror
Élodie Royer & Yoann Gourmel, «The Play/ザ・プレイ», p. 13-30
Ryan Gander, «LAX», p. 31-78
Sébastien Pluot, «Parasite, dans l'intervalle», p. 79-98
Samuel Vermeil (éd.), «Jacques Bertin, Sémiologie graphique», p. 99-110
Raphaël Pirenne, «(Loop-De-Loop): Dan Graham et Radical Software, entre utopie et dystopie cybernétique», p. 111-124
Paul Morley, «Words and Music (extrait)», p. 125-134
Jérôme Dupeyrat (éd.), «Statements on Artists' Books», p. 135-154
Pierre Deruisseau, «Sun Ra: Outer Spaceways Incorporated», p. 155-174
Margot Baran, Pierre Boggio, Elliot Gaillardon, François Girard-Meunier, Aude Grave, Léna Le Pommelet, Lara Lancereau Jaulin, Alexandre Liziard, Timothée Marnat, Morgane Masse, Étienne Ozeray, Delphine Sicard Malafosse, Jeanne Triboul
This time capsule project is a collaborative in situ reflection in the former Banque de France building, which will be part of the next Centre international du graphisme in Chaumont. In the building's entrance, the removal of a plaque left a blank rectangular area where now the building's building stones are visible. This empty space became the site of our time capsule, a large stainless steel plate with laser engravings. Its large size echoes the format of a poster (context of the festival) and its horizontal rectangular shape reminds of the shape of a banknote (context of the bank).
The drawing engraved on the plate is a tracing of the wall which the plaque is covering. It forms a record of the past in the present and a record for the future. It marks the transitional stage of the building between being a bank and being a design centre. The plate is fixed to a specific location and is hence unable to circulate, unlike a reproducible book. No opening date has been scheduled for the design centre, but if in the future the plate would have to be removed, then it would reveal a truthful reproduction of the wall. A closing ceremony was held on Friday June 1st 2012 during which two local musicians interpreted "Also Sprach Zarathustra" by Richard Strauss for the occasion.
This exhibition catalog is divided into two equal parts: part one is composed of a collection of illustrations followed by part two which is dedicated to texts and annexes. Selected by Laurent Grasso, 12 recent projects are presented in silentio in a numbered but non-chronological order, establishing associations and proximity between different projects. These artworks are accompanied by a collection of various archival documents, representative of the documentary dimension of the artist's work. Mixing both the work and document at an equal level firstly wish to show complex networks of references while secondly highlighting recurring aspects of the work of Laurent Grasso and lastly cast doubt over the temporality of a work which creates its own archive.
A naturalized iguana lent by the Musée Barrois to Louise Hervé & Chloé Maillet was used as a starting point to make invitations, flyers and kakemonos of their exhibition Attraction Étrange at the Centre d'art — La Synagogue de Delme. The lizard skin paper used for the invitations wishes to contribute to the strange attraction, as well as the six letters taken from the alphabet lapidaire monstre by Jean Midolle (Spécimen des écritures modernes, Strasbourg, 1834-1835), which also refers to the architecture of the synagogue.
"Messy Sky is an expansive publication, fluid and adjustable. Loose content pages, digital files and a hand-finished sculptural object are available for arrangement by the user. The forms can be stored virtually or practically and the information retrieved or produced according to desire. Messy Sky is a vague translation of 'Rok-Fah', the Thai name of the wood—Terminalia Alata Heyne Ex Roth—used as the magazine’s binder. This wood is commonly used for house building and tool handles in Thailand, as it is tough and durable. Messy Sky resonates functionally and poetically." Chitti Kasemkitvatana & Pratchaya Phinthong
The first part of the magazine Messy Sky, entitled The Feeling of Things, was edited by Élodie Royer & Yoann Gourmel and shown at Le Plateau / Frac Île de France. With contributions by Robert Barry, Robert Breer, Steven Caney, Remy Charlip, Lenka Clayton & Michael Crowe, Isabelle Cornaro, Julien Crépieux, Robert Filliou, Martino Gamper, Ryan Gander, Mark Geffriaud, Ray Johnson, Chitti Kasemkitvatana, Kitasono Katsue, Ruth Krauss, John Lidstone & Clarence Bunch, Cyrille Maillot, Charles Mazé & Coline Sunier, Bruno Munari, Yoko Ono, Emilie Parendeau, Bruno Persat, Pratchaya Phinthong, The Play, Chloé Quenum, Clément Rodzielski, Fred Sandback.
Messy Sky website
Mikaëla Giry-Gonzales, Diane Bousquet, Olivier Gardera, Quentin Bodin, Marie Piccolin, Fabien Goutelle, Mélanie Yvon, Martin Bachelier, Alice Jauneau, Juliette Hoefler, Mathilde Enjalran, Thibault Proux, Nicolas Larretche, Anne-Lise Bachelier, Romain Meynier, Sarah Garcin
At the occasion of the 60th anniversary of the French art program 1% artistique, the purpose of this workshop is to focus on works in public space through their vandalism. The publication resulting from this workshop, Ambiance scandale, danses de vandales, is the the first issue of a gazette devoted to vandalism. It provides an overview of the tools and traces of vandalism by, for example, researching works in public space in the city of Rennes as well as other cities, and listing the vandalisms done to the two most martyred artworks in Hollywood movies. This workshop was punctuated by a talk by Alexis Guillier and interventions by Benoît-Marie Moriceau and Odile Lemée.
And glory to street art!
Jérôme Dupeyrat, François Aubart, Camille Pageard, Benjamin Seror
Camille Pageard, «It’s love money», p. 11–28.
Raphaël Pirenne (éd.), « Radical Software », p. 29–34.
Open Source Publishing, « Relearn », p. 35–46.
François Aubart, «Raiding the 20th Century», p. 49–64.
Élodie Royer & Yoann Gourmel (éd.), «The Play», p. 65–102.
Alexis Guillier, «Artless», p. 105–130.
Morad Montazami, «La scriptologie: science des œuvres à venir», p. 133–150.
The invitations and flyers of this exhibition act as ghosts. Referring directly to the title Gue(ho)st House of Berdaguer & Péjus' a new public commission at the Synagogue in (of) Delme. The communication documents take the appearance of Marcel Duchamp's ephemera A Guest + A Host = A Ghost, which consists of thin sheets of aluminium foil, 137 × 137 mm each. These candy wrappers were distributed at the opening of an exhibition by William Copley in 1953. For the exhibition Les Milles rêves de Stellavista, the front side of the invitation card shows the title of the exhibition in an altered and hybrid version, combining Duchamp's wordplay with J. G. Ballard's short story title, borrowed for the exhibition in Delme. Using these ideas of cover, envelope and "ghost", each invitation was crumpled, making these new objects become empty shells again, approaching the "used" aspect of Duchamp's candy wrapper, an ephemera that one can now only find in its unfolded form, but now emptied from its original content.
The installation Madeleine pénitente by the French artist Yann Sérandour displays a copy of the sculpture Magdalen by Canova on which the fingers are missing. A copy of the sculpture was produced when its fingers were broken off during a transport. We handed over the typographer Pierre-Alain Sunier the task to compose a text written by Christophe Gallois about Yann Sérandour's Madeleine pénitente in metal type, using the typeface Garamond.
The use of this printing technique refers to the time when the catalog of the salon de Paris (1808) was published, and which contains an illutsration of Magdalen. Over 2000 pieces were assembled one by one by hand to print a single copy of the text. The hand setting of the text highlights the importance of the hands, and the fingers in particular, as a reference to Canova's misadventure, while the metal type characters link sculpture to typography and layout.
Louie Louie is a program of meetings hosted by the École supérieure des beaux-arts in Angers and the École nationale supérieure d’art in Bourges. The edition which follows these events gathers transcripts of conferences, symposiums and workshops that were host by the two art schools. Borrowing its title from one of the most covered songs in the history of rock & roll, Louie Louie proposes to consider repetition as a way to produce originals.
A project by François Aubart and Camille Pageard, with contributions by Simon Dybbroe Møller, Jill Gasparina, Alexis Guillier, Will Holder, Émilie Parendeau, Seth Price, Clément Rodzielski et Benjamin Seror.
Louie Louie is awarded the title of "Prize-winner of the 2011 Fernand Baudin Prize".
A digital interpretation of handwritten alphabets that can be found on vintage american sheets music from the first half of the 20th century. Single Stroke CC is a wide rounded single stroke font with loopy alternates, opening and endings.
The Paper with Moon Time Capsule was on view from the 16th of April to the 12th of June 2011, as part of the exhibition Papier avec Lune curated by Géraldine Longueville at Le Quartier in Quimper. This time capsule contains contributions by Nicolas Chardon, Aurélien Froment, Émilie Parendeau, Pratchaya Phinthong, Élodie Royer, Coline Sunier & Charles Mazé, Adva Zakaï and the students of the art school of Quimper.
Contents were added to the Paper with Moon Time Capsule till the last days of the show. The capsule has been then be enclosed in a wall and remain in the art space.
June the 10th 2011, an inventory (Sous-Série 26 Fi 1 to 26 Fi 69) of the Paper with Moon Time Capsule has been made by Bruno Le Gall, archivist at the City Archive in Quimper. The whole content of the time capsule should return to the City Archive after its discovery and remain there according to the archive's policy.
This issue of 2.0.1 is based on a recent numismatic auction list, Liste 242, published in 2007 by Jean Elsen & ses fils, in Bruxelles. Preliminary researches gave us the chance to come across the following list (Liste 243, January — March 2008), where Jean Elsen reveals that the 155 coins of the «Trésor Mosan» were in fact fake coins.
The reprint of this collection by 2.0.1 can therefore be helpful to collectors and authorities, as Michel Prieur points out in Bulletin de numismatique issue 42. It's a tool to recognize and study these fake coins now circulating.
hello (1.2#) <((laughing)) hey so i wanna talk about> office
gallery/ this x sean fletcher’s piece\ (.) >>(he’s made in)<<
two thousand one .h euh i had just moved to the bay area and
started to attend (course) at the san francisco art
institute\<< i met this guy sean fletcher# (.)
through euh (.) harrell fletcher/ (.) and jon rubin\ (0.5) .h
and t- (.) this guy:# euh apparently had a- (0.5) a gallery in
an office\ and for me that was really (0.4) really unheard
Extract of FAN Nº7, by Yaël Kreplak.
Unpublished facsimile edition of an original and unique publication made with Yann Sérandour and produced by Christophe Daviet-Thery, Paris. The publication functions as both the work and the catalog of the exhibition Double Bind (Villa Arson, Nice, February-May 2010), the publication aimed to push further the issues related to translation, interpretation, alteration and mismatches generated within contemporary artworks. With texts by Walter Benjamin, Peter Connor, Jacques Derrida, Dean Inkster, Marcella Lista, Paul De Man, Eric Mangion, Sébastien Pluot, Avital Ronell, Friedrich Schleiermacher, Fabien Vallos, and contributions by A Constructed World, Robert Barry, Erick Beltrán, Mel Bochner, Mark Geffriaud, Ben Kinmont, Nicholas Knight, Silvia Kolbowski, Aurélien Mole, Fabrice Reymond, Zarka, Katarina Zdjelar.
At the end of a working session at cneai= Paris, the presentation of the original layout was accompanied by a series of meetings, a dinner, performances and an exhibition dealing with language and technology.
BAT éditions invites Alice Malinge to collaborate on a publication and exhibition around the filmmaker Harun Farocki. An occasion to investigate the director's work, and especially the double rotation of images in his installations, a rule inspired by musical composition as well as Jean-Luc Godard's cinema. Harun Farocki: Tout autour—Rundherum will enable to cross analogies between Farocki's cinema which code/decode/recode found images and the never-ending act of translating.
Table of Contents is the first installment of a series of exhibitions at Elaine Levy Project, taking place exclusively on a table designed by Benoît Police and Charles Mazé.
Table of Contents is a patchwork of table deck tops found on the street of Brussels, reflecting the variable and multiple uses of future exhibitions.
G. W. Sok was the singer for The Ex from 1979 to 2008, and Laurent Kropf compiled his lyrics in this book. This is the first book in a series of publications to be coming out in the next 2 years, and to be assembled in a boxset in the end.
Ongoing revival project of Deberny & Peignot's Didot Série Seize. The book series Continental Rift published by (SIC) is currently providing the frame and use to develop the type family. Série Seize — or Série 16 — was cut around 1890 and was widely used in Europe till the end of metal type.
Double Mixte est un projet d’exposition(s) proposé par Thierry Chancogne dont le principe est d’inviter un graphiste à travailler avec un tiers qu’il choisit pour construire l’exposition. La première édition, Electroshield, projet / réplique, présente les productions nées de l’invitation de BAT éditions à l’artiste Benoît-Marie Moriceau.
Suite à une première version coproduite par la Galerie Arko et le Parc Saint Léger - Hors les murs (Nevers), la version définitive d'Electroshield fut présentée à la galerie melanieRio lors de la Biennale de Belleville, du 19 septembre au 21 octobre 2012.
In the book Paratexts: Thresholds of Interpretation, Gérard Genette defines paratextuality as "the relationship that text maintains, within the whole formed by a literary work, with its paratext: title, subtitle, headings, prefaces, afterwords, warnings, forewords, etc., marginal notes, footnotes, [etc.].", each autograph or allograph is a signal that gives a text its surrounding. By moving Genette's study to the field of art, the aim of this workshop was to discuss the paratext found in various forms of art catalogues. It was also an opportunity to look deeper into the paratext of an artwork in an exhibition context. After having sorted, compared and analysed a selection of books collected for the occasion, each student selected a sample of paratext from an edition which then constituted the raw material for a new publication? (an edition, a poster, an exhibition, …) that questioned the original form as much as its content.
Avec les filles je ne sais pas, The Tide is High, Susie and Jeffrey, Die Young Stay Pretty, Ein Bißschen Goehte en bißschen Bonaparte, Comme le meunier fait son pain, Je veux rêver, Down on the Street, Symphonies, The Fool Hyde Away, Ring my Bell, Half a World, Rest in Peace, It's a Heartache, Celle que j'attendais, Le lundi au soleil, The Seeker, Here for More, You Can Cry if You Want to, Tu, Perdando anna, J'ai vidé ma valise, Sunday Girl.
Tracklist from FAN Nº6, by Patrice Caillet.
Ces cartels d'exposition sous la forme de grandes planches A3 répondent à un besoin de modularité en vue d'un regroupement en grands ensembles sur les murs ou d'une dissémination dans l'espace, près des œuvres concernées. Numérotées, elles peuvent également être reliées pour constituer un catalogue de l'exposition.
L'aspect démesuré des formats, la typographie simple en gros corps et les couleurs vives se jouent de la crainte des organisateurs de perdre les visiteurs.
Et, non, nous n'avons pas réalisé l'affiche de l'exposition.
Élodie Vichos, Jonas Barry, Adrien Gervet, Julien Montfalcon, Tiphaine Massard, Romain Dumas, Mélanie Hoffmann, Élodie Decaup, Guillaume Vial, Léo Virieu, Marie-Caroline Terenne, Jonathan Chambon, Lei Tian, Elise Janouch
This workshop aims to question the various forms of catalogs published in the field of art through the manipulation / transformation of existing publications : the monographic catalog, the exhibition catalog (solo or group show) catalog, the art collection catalog, the catalogue raisonné… The physical deconstruction of these objects has allowed the students to reconstruct a new edition (book, poster, …) that questions the initial form by consciously using types of the above publications or extracts of it.
This workshop is inspired by Walter Benjamin's reflections on the loss of the aura of the work of art by its reproduction, its impact on art history and the circulation of artworks (André Malraux, John Berger). As a reference to Malraux's maquette farfelue, Catalogue farfelu also echoes recent artistic practices that favor the printed form as the medium of the work, while at the same time questioning the status of artworks and their abundance (The Infinite Library, Hubert Renard, Yann Sérandour). The use of artwork reproductions is motivated by an actual interest in exhibition photography (Postdocument).
Conçue pour l'exposition Rehab, l'art de refaire, Zoo est notre réponse typographique aux enjeux de recyclage de l'exposition en tant que « revival » d'un alphabet pour enfant, trouvé dans le petit livre anglais The Zoo de M. E. GAGG, 1960, un cadeau de Grégory Ambos. Produite manuellement, ascendantes et descendantes y sont très marquées pour être repérées plus facilement. D'apparence simple et géométrique, son aspect « pédagogique » est contre-balancé par les fonctions d'un alphabet à usage courant.
We like Zoo, do you?
Compilation de textes que l’artiste Seth Price cite, mentionne ou évoque, parfois implicitement, dans un écrit intitulé Dispersion (Seth Price, Dispersion, 2002-2008). Il y est question de la place et du rôle des médias distribués dans les pratiques artistiques du XXe siècle, de Duchamp à l’art conceptuel et à ses développements. C’est la pratique même de la lecture et les ramifications de ce texte choisi qui permette ici de composer le Reader.
Cette publication répond à l'invitation de BAT à Codex, Deux regards sur les formes contemporaines de l’édition en art et design, Voltex, Toulouse, les 16 et 17 octobre 2010.
«Three Shelves, Floating tile poster, Samsons hair in projector, House on the beach Vinyl, Bedwyr Novel, Aurefilian in Negatve testimony, Terracotta Rubics Cube, Parisian bookvendors stall, […]»
Excerpt from FAN Nº5, by Ryan Gander.
The book is a sequel to the exhibition Cf. curated by François Aubart at Gallery Art & Essai, University Rennes 2 (January 7th - February 12th 2010).
Cf. reflects practices of the artists presented in the show : Pierre-Olivier Arnaud, documentation céline duval, Aurélien Froment, Mark Geffriaud, The Infinite Library. The way these artists use images freely is echoed through unclassified color pictures, all mixed up inside an envelope. Blank spaces are available inside the book for the reader to place images or not, and to test various combinations. The form of the catalog refers to old art books from the first part of the XXth century, where reproductions of art works were litteraly glued on pages. At that time, text and color images had to be printed separately.
Original layout : M.H. Groenendaal, Kleur en Inkt, Amsterdam, 1968.
« Ce numéro de 2.0.1 est bien un facsimilé scrupuleux en terme de mise en page et de format des Archives du bibliophile, mais son mode d'apparition correspond à sa provenance. Il est marqué par le sigle de Google Books qui le rend accessible sous forme numérisée. »
Maquette originale : Archives du bibliophile, ou Bulletin de l'amateur des livres et du libraire, Vol. 1—3, Paris, A. Claudin, 1860. D'après un original provenant de l'Université du Michigan numérisé le 14 août 2009 par Google Books.
DAF invites artists, designers and architects to produce a specific work to be displayed inside an empty factory located on Nantes’ island.
Inside an old supervisor‘s booth are gathered drawings made by Alstom’s past employees and actual occupants. These drawings were made from memory and show Fine art items and weaponry that were produced by the various industries which used to own DAF’s actual location.
A simplified small scale model of a bomb container, used during French nuclear tests in Moruroa, was designed with DAF members according to incomplete and authorized descriptions made by an employee who also attended a test. Container’s facets are covered with an exotic view of a beach with palm tree and pirogue. This large scale poster was taken down from a wall inside the building : employees of Alstom used to make their own selection and changed them regularly.
Sous la forme d’un récit de la consultation de ses propres sources bibliographiques, Frr Frr disserte et digresse sur les indices de la mode dans l’œuvre de Marcel Duchamp — son goût pour le vocabulaire de la couture tout autant qu’une sélection de ses travaux.
Frr Frr is woven according to various patterns. Its cover and opening pages look like a chessboard — in relation to Duchamp’s chess moves in Le surréalisme au service de la révolution — and the layout evokes textile patterns by the use of tiny margins, a continuous all-over text without indentations nor line breaks, set in a monospace font that emphasize the grid.
The birefringence produced by calcite crystals was the starting point for the design of the catalog. Using various a-symmetric and parallelistic compositions throughout the publication, it includes a conversation between the two curators, a conference by Benoît Maire as well as visual contributions by artists Ulla von Brandenburg, Isabelle Cornaro, Julien Crépieux, Ryan Gander, Mark Geffriaud, Adrian Ghenie, Benoît Maire, Bruno Persat, Clément Rodzielski and Bojan Šarčević.
The reasons behind the large squarish format are revealed once inside the limited edition: it is a leaflet for the 12" vinyl disc conceived as the soundtrack of the exhibition, upon an idea by Bruno Persat.
A compilation of texts on Dick Higgins & Something Else Press, selected by Bertrand Clavez in the occasion of Points de vue. Formes de l'édition contemporaine, École nationale des beaux-arts, Lyon, May 7th and 8th 2010.
"[…] et les notes, […], pénètrent au cœur de la pierre comme des gouttes de clair de lune." Excerpt from Marcel Aymé, Le passe-muraille, Gallimard, 1943.
The cut out letters let the night ink come through. This deep black color is produced by a room in darkness behind the large sheet of paper.
Collaboration with Mark Geffriaud for his exhibition Et Mason at Galerie Edouard Manet in Gennevilliers (FR).
«Idea blanchardii togiana sous-espèce nova est décrite des Îles Togian (Sulawesi, Indonésie). Ses caractères constants et distinctifs sont comparés à ceux des sous-espèces (ssp.) les plus proches.»
Excerpt from FAN Nº4, by Jean-Marc Gayman & Jacques Ouvaroff.
Curated by Dean Inkster, Éric Mangion and Sébastien Pluot, Double Bind—Arrêtez d'essayer de me comprendre! is an exhibition about language's alteration and distortions. The booklet usually edited in the occasion of an exhibition at Villa Arson — as a regular and direct way for the visitor to get informations about artworks — is here transferred on walls located in the Galerie carrée. Technical details and informations about the 90 artworks in the show and an interview with the curators are brought together in one place and covers entirely the two sides of a wall.
V.RUBBERS, A.DEBOODT, JOS BAEYENS or R.DELVILLE are some of the architects' names collected by rubbing signatures carved on buildings near Elaine Levy's gallery.
Removed from its location, the lettering used gives informations about the style of the building, the architect's influences or the year of construction.
Using remains of the previous show, a table was first built in the gallery to set the workspace.
Cyril Bihan, Morgane Fondrillon, Cyrielle Langiaux, Hugues Le Guen, Yves-Marie Rinquin, Anaïs Touchot, Xiao Xin Wang
Initiated by teachers Pascal Rivet and Joëlle le Saux, we helped 7 students to work on the gallery's new visual identity and invitation system, galerie-ésab.doc. The first issue announcing an exhibition curated by Élodie Royer and Yoann Gourmel, was finalised by Anaïs Touchot and Yves-Marie Rinquin.
galerie-ésab.doc replaces the regular invitation by a versatile format: invitation, poster, newspaper as well as archive. It gathers documents presenting the forthcoming exhibition ("Preview") and the previous one ("Review"). galerie-ésab.doc aims to play with archive by mixing working documents collected during the creation of an exhibition and archived documents of the past show. Based on the same layout and structure, one or several students are taking care of each issue.
Compared to the previous system, the production of galerie-ésab.doc is cheaper and faster, with printing and mailing being centralized at the town hall.
Working around the notions of archive and methodology, C&C wanted their website to reflect their practice. Therefore, we decided to go archetypal: to present C&C's work as a collection of discrete entities, showing graphically the highly structured scheme of the relational database running in the background.
No specific reading is given except from the different sorting options. To circumvent the flatness of this collection, we created a basic "curating" system allowing Coline and Charles to group works on a specific theme/narrative, and working along with actions: "Fold/Unfold the projects" or "Generate a PDF of the selection". Visitors can achieve a similar effect by checking the item boxes and applying an action to them.
The splash page -- appearing on an above layer -- is a way to balance the omnipresence of text, giving glimpses of their work. Call it a feature, it shows as well "bonus" images from unpublished works.
The way texts and images are treated, Science et Nature can be considered as archetypal of post-war publications, directly echoing the topic of this issue “Pratiques de l’image." For the occasion, Batia Suter's special contribution spreads in all the original pictures.
Original layout: Science et Nature par la photographie et par l’image, Nº21, Paris, May-June 1957.
“All of them produce this same sensation in the visitor. […] Their penchant for exhaustiveness, signaled by a lack of even the smallest cranny of empty space, makes them seem like sums, void of distinction.”
Excerpt of “Archive Stories” by François Aubart
“Les différents textes et images qui suivent ont été réunis sans souci d’exhaustivité sous forme d’un collage dessinant les contours mouvants de recherches en cours. Comme le précisait Roland Barthes en ouverture de L’Empire des signes: ‘Le texte ne commente pas les images. Les images n’illustrent pas le texte: chacune a été seulement pour moi le départ d’une sorte de vacillement visuel, analogue peut-être à cette perte de sens que le Zen appelle un satori […].’ Une dérive évocatrice peut-être de ce sentiment de mono no aware.”
Excerpt of FAN Nº1, by Élodie Royer & Yoann Gourmel
This trio of typefaces will be used in each book of the collection MAP (Mixed Art Pages) and, by extension, for every production of the publishing house BAT (Books Art and Texts) and its visual identity.
The starting point was a Didone structure, a symbol of the French typographic heritage, chosen as a reference to the bland nature of scientific and academic texts. This rigid structure was then modified to increase readability. The high contrast letters, first written using a pointed pen, were given a warmer tone, ball terminals were added, fluid tails placed here and there. Still, the roman alphabet is rigid, almost dull. The italic, in comparison, is dynamic and friendly, emphasizing quotes, book and artwork titles in the text. In detail, the weight increases in the middle of the x-height, like in a kind of muscle enhancement program. A fat—high contrast—display face was produced for the logos of BAT and its subdivisions.
To present the design process of the BAT fonts, a book gathers various documents—notes, sketches, pictures, references, working documents, printouts, tests—produced or collected at each step of the design.
Every invitation for exhibitions at the parisian art gallery Super are made by a different graphic designer. Curated by le Bureau/, Une exposition de Polly Smith can be seen either as a solo exhibition or as a collective one. The exhibition booklet looks like a stack of images produced by the fictive artist Polly Smith. Captions appearing only at the back give clues to understand the group show.
Prototype of the book collection MAP (Mixed Art Pages). MAP series gathers books on contemporary art, printed matter and graphic design. The form of these volumes, their contents, their production and their distribution are jointly conceptualized, giving priority to plurality and hybrid principles.
“FAN (Free Art News) deliveries are part of the UFO series. This irregular gratis publication borrows its form and distribution from newspapers and mail art. The work of an author, a curator, an academic or an artist is presented on both sides of an A3 sheet, displaying the state of a current, ongoing and unfinished project. Issues are then mailed to a variable list of 100 recipients.”
Excerpt of FAN Nº0
This catalog accompanies Lawrence Weiner's public art project at abbaye de Corbigny. It describes the production of the art piece, step by step, like an administrative publication. It combines the various working documents (faxes send by the artist, sketches, …). The final art work can only be seen half way in the publication, and inside the cover once unfolded. The different materials available (text, interview and translation) allowed to divide the catalog in three parts, using the three colors of the art piece.
"The ability to produce elegance without a trace of pretention.
If the original layout of “Local/Global” was found in a small administrative archive somewhere in the south of France, such local publication may represent 80% of the French graphic production. According to the style of the illustrations found in this original publication, Baptiste Alchourroun produced a new serie of drawings.
Original Layout: Syndicat d’aménagement du val de Drôme Rhône-Alpes, Établissement public régional, Un Contrat de pays pour le Val de Drôme, Crest, Syndicat d’aménagement, 1981.
ESAG's brochure is completely handwritten by the many actors within the Fine Art school (director, administration, students and teachers) and by guests students of the Type]media course at KABK. The aim was to include all the employes of the school and to reveal the often neglected leading role of the students. Beyond the punitive aspect of the handwritten task, the status of an author is here considered within the context of an art school.
Revival of Mercator regular (Dick Dooijes, 1909-1998) based on a type specimen edited by Letterfoundry Amsterdam—Tetterode in the mid-sixties, and according to notes, working documents and correspondences kept in the special collections of the University Library in Amsterdam.
A small essay also describes the life of the Dutch typographer, tells the story of the font and lists possible reasons of its commercial failure.
In relation to the main topic of each issue of 2.0.1, an existing publication is chosen, its layout copied as closely as possible, and its content replaced by new texts and pictures. The topic of each issue is therefore emphasized by the form and layout of the publication. Only the logo remains the same, stamped on the cover.
Entitled “Restrictions,” the first issue had to be authoritative. The dry and rigid layout of the now defunct Revue historique de droit français et étranger is chosen to provide such effect. The book is left uncut on the top, compelling you to cut the pages in order to read the content.
Original layout: Revue historique de droit français et étranger (4e série—19-20es années, 1940-1941, Nº1-2, Éditions Sirey).
3 complementary books = 24 texts focusing on methods and protocols in art and design = 651 rules to think well and create right = 5497 words = 31180 characters = A personal library presented as a public one.
Numerical index [0–154] of register [Folder A–Folder X]. Has to be consulted alongside register [Folder A–Folder X] and alphabetical index [A–Z].
Alphabetical index [A–Z] of numerical index [0–154] of register [Folder A–Folder X]. The clear and functional look of this index is misleading: its exhaustiveness of form and contents makes it completely useless.
Using Processing and “Physical computing" tools, the toy writes letters and words previously entered on a computer. Based on loopy alphabets for children, a script font is designed to be used with the machine: the beginning and the end of a letter are drawn in the same direction and avoids to curl the alimentation cable.
The brochure of ERBA Valence contains materials found in the school archive as well as in the city archive and local journals, in order to localise the school in its geographical aspect. A small collection of symbols picked up in Valence was also used on the cover of the exhibition booklet of Forms of Inquiry in Valence.
Portraits of artists Lawrence Weiner and Ed Ruscha drawn using a remote control toy with a felt tip pen at the front.
Drawings made for the LR6-1,5 Volt exhibition at Le RADAR gallery in Bayeux, 30 october-25 november 2007.
“Thanks for contributing Charles! Turned out great! Best, Leo”
Leo Jung and Gail Bichler of the New York Times magazine commissioned a titling for a Wiliam Saphire’s “On language” article. The Reservoir dog system was then improved to draw the word Overwatch. To show the whole process, a video appeared as an online feature on the New York Times website.
Thirtythree Fonts… is a map/poster that lists paintings by Edward Ruscha using texts, words or letters. The inventory is based on the first two volumes of the Catalogue raisonné of the paintings (Gagosian Gallery, Steidl).
Mimicking a specimen of typefaces, each title is set with the original font used, transformed or created by Ruscha, followed by the description of the art piece. It presents Ruscha’s work in a very unusual way and provides extra information about the work.
77 signs composing 67 figures translating Karl Marx's Kapital. A graphic representation of an abstract theory. A scientific reverie based on graphic language. A 4 month long exclusive relationship with Karl.
Portraits of Jasper Johns and Osip Brik drawn using a remote control toy with a felt tip pen at the front.
Drawings made for the Qu’il fasse beau exhibition at Art & Essai gallery, University Rennes 2, 8-29 september 2005.