COLLECTION CINEMA

May 30th, 2012

Museum of Museum présente Collection cinéma, une archéologie du Musée au travers du cinéma.

Tout le monde connaît le fonctionnement du cinéma, son économie de production (qui n’a jamais regardé un making of de film ?), à l’inverse, le fonctionnement de l’art contemporain n’est pas encore acquis. L’économie de production des artistes surprend souvent compte tenu des clichés de l’artiste, personnalité douée d’un génie, travaillant seul dans son atelier, clichés encore opérant pour une majorité non initiée. Aujourd’hui, le moindre dvd d’un film grand public contient un making of, dévoile sa construction, alors que dans le champ de l’art contemporain il n’est que rarement dévoilé la face cachée de la production, comme si l’on souhaiter conserver un aspect magique de la création.

S’intéressant à la manière dont l’art apparaît en société, les dispositifs régissant son contexte de monstration, Museum of Museum développe une recherche sur la périphérie de l’œuvre d’art, et de son exposition – la documentation constituée par le para-texte et les éphéméras – mais aussi par rapport à l’image diffusée dans les médias – publicité, cinéma, série télévisée, littérature.

Museum of Museum envisage l’utilisation des codes du cinéma comme un moyen pour aborder le fonctionnement du monde de l’art. Le cinéma véhicule des idées, diffuse de la culture, étend la connaissance des éléments du monde, façonne les représentations que l’on se fait de la réalité. Il participe de l’approche virtuelle du monde faisant que l’on connaît précisément des choses que l’on a jamais vu ou expérimenté. Le projet consiste à répertorier la représentation du musée dans le cinéma. Dans l’histoire du cinéma se déploie tout une imagerie du musée. On peut identifier trois représentations principales du musée : magique (Une nuit au musée, Relic), un objet trésor (Hudson Hawk, L’affaire Thomas Crown) et sociale (Pulsions, Batman, Hitch expert en séduction).

Museum of Museum, dans son entreprise réflexive vis à vis de cette institution culturelle, se charge de conserver, de diffuser et d’étudier l’image du musée telle qu’elle apparaît notamment par le biais des films dans sa Collection Cinéma.

ll s’agit de répertorier des scènes de films se déroulant dans une institution muséale. Les scènes sont mises bout à bout et offrent différents points de vue sur le musée et son appréciation : qu’est-ce qu’un musée, qu’est-ce que l’on y présente, comment se comporte t’on à l’intérieur, quelles règles régissent ce lieu, quelle mythologie construit-on, etc. Par un regard sociologique de la manière dont le musée est perçu et présenté en société par le média filmique, dans sa Collection Cinéma, Museum of Museum propose une archéologie du musée par le biais du cinéma.

Projections, 14, 15 & 16 juin, 2012, 19h
Laboratoire d’Art Aujourd’hui – La Bifurk, Grenoble

Posted in Art

Ecstatic Alphabets/Heaps of Language – catalogue and trailer – Dexter Sinister

May 30th, 2012

Ecstatic Alphabets/Heaps of language is a group exhibition on view at the Museum of Modern art, New York, from May 6 to august 27, 2012. it brings together forty-four modern and contemporary artists and artists’ groups working in all mediums including painting, sculpture, film, video, audio, spoken word, and design, all of whom concentrate on the material qualities of written and spoken language—visual, aural, and beyond.

The most conventional and familiar materialization of language is the book, which the exhibition acknowledges through the publication. This book – volume #3 in the continuing series Bulletins of The Serving Library, published by Dexter Sinister – is that artist team’s contribution to the exhibition.

Artung à Malibu – George Brecht

May 29th, 2012

The exhibition Artung in Malibu comprises editions, drawings and artefacts by American artist George Brecht, a leading member of the 1960s-born Fluxus movement and a tireless champion of life/art equivalence. Assembled by François Curlet, this is the perfect introduction to an oeuvre to which the Palais de Tokyo will be devoting a handsome retrospective in 2013.

June 1st – July 13, 2012
Air de Paris, Paris

Posted in Art, Exhibitions

Mevis & van Deursen – CONFÉRENCE – ENSBA LYON

May 29th, 2012

Linda van Deursen et Armand Mevis vivent et travaillent à Amsterdam, où ils ont fondé leur studio dans les années 80.
Mevis & van Deursen travaillent principalement dans le champ culturel. Ils ont assuré la conception graphique de très nombreuses publications dans les domaines de l’architecture, du design et de l’art, ainsi que des identités visuelles pour des institutions telles que le musée Boijmans Van Beuningen à Rotterdam ou le Stedelijk Museum à Amsterdam, pour le duo de stylistes Viktor & Rolf, ou pour la ville de Rotterdam, l’année où elle fut élue capitale européenne de la culture.
Linda Van Deursen est coordinatrice du département design graphique à la Gerrit Rietveld Academy, et Armand Mevis enseigne à la Werkplaats Typografie.

1er juin 2012, 14h30
ENSBA, Lyon

Posted in Graphic Design

Graphic Design, Exhibiting, Curating

May 28th, 2012

The international conference Graphic Design, Exhibiting, Curating – organized in the framework of the Graphic Design, Exhibition Context and Curatorial Practices – aims at addressing the multifarious relationships that exist between graphic design, the exhibition context and curatorial practice.

The relatively new phenomenon of graphic designers themselves more and more interested and involved in the exhibition context as a space of production opens up a number of questions that call for an overall re-examination of the relationship of graphic design with exhibition making and curating, and of the implications this has for design culture.

What are the motives behind graphic designers’ choice to use the exhibition as a medium for producing and disseminating contents? What does this new engagement reveal about the cultural and social role and position of the contemporary designer? What are the values attached to graphic design within the exhibition context, and how do they shift according to different contexts? What kind of public do designers aim to address, and what kind of public is actually being reached through exhibitions and related activities? What critical discourse, if any, on graphic design is built through and around exhibitions? How do acts of exhibiting and curating relate to the traditional activity of graphic design?

Speakers: Brave New Alps (Bianca Elzenbaumer, Fabio Franz), Charlotte Cheetham (Manystuff.org), Mieke Gerritzen (Museum of the Image, Breda), Lungomare / Lupo&Burtscher, Prem Krishnamurthy (Project Projects), and Jon Sueda (California College of the Arts). With Jonathan Pierini (Free University of Bozen-Bolzano), Silvia Sfligiotti (Progetto grafico), Francesco Valtolina (Mousse), Carlo Vinti (University of Camerino).
Organized by Giorgio Camuffo, Maddalena Dalla Mura, together with the working group Roberto Gigliotti, Hans Höger, and Kuno Prey.

June 26, 2012
Faculty of Design and Art of the Free University, Bozen-Bolzano

PYRAMIDE, DIAPASON, ROUE CRANTÉE Nº2

May 27th, 2012


La revue Nº2, éditée par BAT éditions, est conçue comme une collection. Elle ne s’envisage pas seulement dans le rassemblement des contenus propres à chaque numéro, mais se révèle également par la succession et la corrélation des livraisons. Sa ligne éditoriale se dévoilera progressivement à travers les textes ou documents édités et la forme de leur apparition.

Conception, réalisation et production: François Aubart, Jérôme Dupeyrat, Charles Mazé, Camille Pageard et Coline Sunier; Couverture: Benjamin Seror.

Lancements:
2 juin 2012, 18h, castillo/corrales, Paris, avec Benjamin Seror.
11 juin 2012, 18h, Théophile’s Papers, Bruxelles, avec Benjamin Seror & Pierre Deruisseau

Posted in Art, Periodicals

Fillip 16: Berlin Launch

May 25th, 2012

Fillip 16: Berlin Launch, a special event for the sixteenth issue of Fillip magazine with contributing artist Olaf Nicolai, writer Patricia Reed, and Fillip Associate Editor Antonia Hirsch.

Colour is a major factor in a magazine’s “shelf appeal” and Fillip magazine, though a publication more aligned with academic journals, has more than a few times been advised to “go colour” in order to facilitate a larger sales volume.

Olaf Nicolai’s project for the new issue, Fillip 16, subverts this market pressure by causing the magazine to be printed in colour—yet this application of colour is undelineated and flows across the spectrum of the rainbow as well as across the page regardless of the printed content. The printing technique used to achieve this effect is called split fountain printing; with a history that stretches back to the inception of the art of printmaking, it gained renewed currency in the 1960s and ’70s as a method to introduce colour in printed material without having to go through the expensive four-plate colour process. With its evocative, quasi-psychedelic effect, the technique was particularly popular in a countercultural context.

Nicolai’s project for Fillip 16 represents another instance of the artist’s ongoing infatuation with print media in general through which he consistently mobilizes production techniques in order to articulate conceptual concerns. The printing technique used in 2500 × Fillip 16 causes each single copy of Fillip magazine’s sixteenth issue to become a unique original as no printed copy is exactly like the other.
Accordingly, the affective power of colour in relation to consumer behaviour is complicated by questions of value and circulation vis- à-vis the unique art object.

May 30, 2012, 7 pm
Motto, Berlin

Posted in Art, Periodicals

Blank book makers – Le Saloon du livre

May 24th, 2012


“Word Rain or a discursive introduction to the intimate philosophical
investigations of G,R,E,T,A G, A, R, B, O, it says”, Madeline Gins,
1969, Grossman

Blank Book Makers In Memoriam Michael Gibbs – during Saloon du livre – is meant to address the latest developments in artists’ book history. An amazing corpus of new works makes up a most dynamic overview. There are many books dealing with topics such as emptiness, space, or the very substance of pages, and we deemed it necessary to look at the influence of books that have been published in neighbouring fields to that of the artist’s book or bookworks publications, in order for us to better define our investigation. Showing all facets and aspects through the most significant images was an option made difficult by the abundance of publications. We attempted to identify and showcase the current ideas and needs of the artist’s book medium.”

June 2-17, 2012
Fonderie Kugler, Geneva

David Senior – Lecture – Corner College

May 24th, 2012

David Senior is the Bibliographer at the Museum of Modern Art Library in New York. He manages the development of the library’s collection with a particular focus on artists’ publications and other experimental publications in the fields of modern and contemporary art and design.
He curated Access to Tools: Publications from the Whole Earth Catalog, 1968-1974 as part of the MoMA Library’s 2011 exhibition program. In 2012, he organized two library exhibitions at MoMA, Scenes from Zagreb and Millennium Magazines and assisted with the current museum show, “Ecstatic Alphabets/Heaps of Language.”

David Senior will introduce some historical artists’ publications and trace one origin story for this genre of experimental books. It won’t be a full history – maybe a one hour chapter from a 10 part drama mini-series – but there will be a lot of action and adventure.

June 1, 2012, 7pm
Corner College, Zürich

Posted in Art, Books

François Rappo – Conférence – ENSBA Lyon

May 24th, 2012

François Rappo vit et travaille en Suisse. Designer graphique et dessinateur de caractères il dirige le master Art Direction de l’Écal, école au rayonnement de laquelle il a beaucoup contribué.
Certains des caractères typographiques qu’il a dessiné ont connu un grand succès ; on peut citer notamment le Didot Elder, le Genath et le Theinhardt publiés chez Optimo, La Police, et plus récemment le New Fournier, publiés chez Swiss Typefaces.

Dans le cadre de ce cycle de conférences à propos du design graphique des écoles d’art, François Rappo parlera de l’identité visuelle de l’Écal à la conception de laquelle il a largement pris part.

25 Mai 2012, 14h30
ENSBA, Lyon

Posted in Graphic Design

Postdocument #4 – Villa Arson

May 23rd, 2012

Postdocument est une publication consacrée à la photographie d’œuvre d’art en situation d’exposition, initiée fin 2010, par Rémi Parcollet, Aurélien Mole et Christophe Lemaitre. Pour chaque nouvelle revue, la sélection et l’organisation des photographies d’exposition rassemblées est réalisée en regard de l’une des 16 entrées permanentes qui composent les légendes des images publiées.

Après trois premiers numéros consacrés aux entrées « Titre de l’œuvre », « Matériaux », puis « Courtesy », ce 4ème Postdocument s’intéresse au « Lieu de l’exposition ». Réalisée pour l’occasion à la Villa Arson le temps d’un bref séjour, et avec l’aide des archives du centre d’art, la revue rassemble et met en scène une sélection de vues d’exposition d’un seul et unique lieu, la galerie Carrée.

24 mai 2012, 18h30
Villa Arson, Nice

Posted in Art, Periodicals

C/O Berlin Bookdays 2012

May 23rd, 2012

The Photobook: A History, Martin Parr & Gerry Badger

C/O Berlin Bookdays is a platform for both young and established publishing houses to present their newest publications and encourages exchange in the field of self publishing. C/O Berlin dedicates special attention to the phenomenon of self publishing and questions the history and the status quo of this still recent trend in discussions. The program includes discussions, seminars, lectures, live presentations, book signings…

C/O Berlin supports five young self publishing houses with the realisation of their projects and provides their presence at the C/O Berlin Book Days. The critic and artist Joachim Schmid curates this section.

The future of the photobook and its publishing culture, a discussion with Yannick Bouillis (Offprint Paris), Bruno Ceschel (Self Publish, Be Happy), Markus Schaden (Schaden.com), Jan Wenzel (Spector Books), & Charlotte Cotton (London/UK).
A book of photographs as a collector’s item or a work of art? Ten years ago, the two meta-volumes “The Photobook: A History” by Martin Parr and Gerry Badger came on the market and since then a new hype and new forms of publishing have emerged. Paradoxically this is happening at a time when one bookstore after another is closing and the margins for the publishing companies are sinking rapidly to only encompass a normal sales and marketing scope. At the same time, the love of photobooks is still just as strong, in fact even stronger than before. And the desire to produce has increased rather than decreased. Yet how does the future look? What roles and methods will the traditional publishers choose for their sales and marketing? What innovative models already exist? Will self-publishing hold its own? Four experts will explore these issues in a dialogue with one another.

May 25-26, 2012
C/O Berlin, Berlin

The missing books – Give your support

May 22nd, 2012

The missing books

Jan Tschichold had suggested to award the most beautiful Swiss books in 1943. Only, for the years of 1946, 1947 and 1948 there is already a gap in the series – no books were entered or awarded. This gap and its context served as an interesting starting point for an exhibition series which discussed book making and book design in Switzerland, particularly from that time, but also linking to the actual situation.

The exhibition was realized by Roland Früh, Corina Neuenschwander and Jenny Eneqvist and the swedish designer Fredrik Paulsen developed the furniture design.
With the exhibitions and events, they collected a large amount of documentation and took this as the opportunity to realise a publication. In 14 short statements experts like Jost Hochuli, Christoph Schifferli, François Rappo, Nicole Udry, Julia and Klaus Born and many more, explain their selections. These are short stories where to follow their personal interest for and relation to books. Further authors such as Severin Rüegg, Philipp Messner, Noah Stolz and Patrick Gosatti write about a more specific topic, starting from the different aspects of book production and design that were discussed during the events.

The aim of the book is to take the discourse a step further and although they will add a precise selection of historical sources, the publication should not be a history book, but a contemporary comment on what is crucial for the making and designing of books, back then, and today. Give your support.

Posted in Graphic Design

AIGA Chicago International Small Talks

May 22nd, 2012

AIGA Chicago International Small Talks

AIGA Chicago commissioned short videos from designers around the world. They asked them about the places and techniques they use to do their work, to collaborate, to create. They solicited a peek at their space and a taste of their vibe, delivered in whatever format they saw fit.
This year’s selections offer another eclectic jaunt around the globe: a variety of nationalities and media represented. Apart from a love of design, these films share another important trait: each depicts a singular creative vision.

With Marco Balesteros, Rejane Dal Bello, Gustavo de Lacerda, Min Oh, Charlotte Cheetham, Hugo Hoppmann, Mehmet Ali Türkmen, Kiko Farkas, Esen Karol, Bülent Erkmen, Veronica Ditting, maajoun, Régis Tosetti, Rico Lins, Arterial, Studio Text.

Posted in Graphic Design

Les Siestes Electroniques par officeabc

May 22nd, 2012

“Il existe un phénomène décrit par Louis Ferdinand Alfred Maury (1817–1892) et que les Anglais appellent Hypnagogia. Cet état transitionnel, entre l’éveil et le sommeil, ou plutôt cette phase qui amène au sommeil est dite hypnagogique. À l’opposé de cet endormissement, Frederic Myers (1843–1901) parle d’état hypnopompique, ou phase de réveil. Le passage viceversien du sommeil à l’éveil est le lieu d’un certain nombre d’expériences sensorielles mais aussi visuelles. Ainsi des formes d’amnésies peuvent apparaître lors d’un micro-sommeil, des images hallucinantes se former lors d’une phase hypnagogique. Vladimir Nabokov (1899–1977) écrit d’ailleurs dans Autres Rivages que « ce qui se rapproche le plus, peut-être, des mirages hypnagogiques […], c’est la tache de couleur, le coup de poignard d’une image persistante, dont la lampe, que l’on vient juste d’éteindre, blesse la nuit palpébrale ».

L’affiche se construit avec des semblants d’écritures automatiques et automatiquement générées, sillons graphiques brefs qui disent l’essentiel : Les Siestes Électroniques, Toulouse, du 28 juin au 1 juillet. L’image est recomposée à partir de fragments, ceux d’une grotte-volcan : tourbillons d’un vortex de pierres qui serait la cheminée à l’envers d’un volcan au-dessous duquel on danserait… Au-dessous du volcan de Lowry, un roman mais aussi une adaptation filmée en 1984 par John Huston. L’affiche de ce film, mystérieuse, montre l’acteur principal, Albert Finney, portant des lunettes d’aviateur. Comme c’est le cas pour le policeman dans Psychose qui arrête Marion, on ne sait pas si ses yeux sont ouverts ou fermés. Rempart au regard, les lunettes sont comme ces faux yeux que l’on dessine aux masques de la fête des morts au Mexique.

L’affiche des Siestes est double, un recto-verso comme un sommeil et un éveil. Affichée dans les sucettes retro-éclairées Decaux, elle sera, le jour, lisible, le soir étrangement sur-bavarde, un conte à dormir les yeux ouverts

officeabc (Catherine Guiral & Brice Domingues)

Posted in Graphic Design

Graphic Design: History in the Writing (1983–2011) – castillo/corrales

May 21st, 2012

Graphic Design: History in the Writing (1983–2011),
launch & introduction by Catherine de Smet and Sara De Bondt.

The first anthology of its kind, Graphic Design: History in the Writing (1984–2011) comprises some of the most influential published texts about graphic design history. The book documents the development of the relatively young field of graphic design history from 1983 to today, underscoring the aesthetic, theoretical, political and social tensions that have underpinned it from the beginning.

May 24, 2012, 7pm
castillo/corrales, Paris

Posted in Books, Graphic Design

Charlotte & Sture Johannesson

May 21st, 2012

Charlotte & Sture Johannesson

“…and then began experimenting in expressing myself in conceptual art forms and actions; with posters, graphics, paintings, happenings, performances, media freaking etc. I learned how free art or even a mischief performance aroused archetypal behaviour of the authorities in power, bringing about faces of the Watchmen; the Guardians of the Camp, with censorship, police brutality, and political persecution of dissidents. I believe that art should be well adapted and fused to rock the establishment, opposed to the ruling Party’s desirous ideology production.”

Sture Johannesson: Graphic Art studies 1955-1959, photographer 1959-1961. Worked with experimental films, mixed media, posters, and conceptual art in the 60′s. Pioneering Computer Graphics experiments 1970 together with Sten Kallin, IBM Senior Technical Staff Member. 1986~1998 working together with Sten Kallin again in The EPICS Project: Exploring Picture Space.

Charlotte Johannesson: Has worked with weaving, lace making, textiles and fiber art, mainly handmade paper, as well as Computer Graphics. Together with Sture, Charlotte founded the first Apple II-based microcomputer graphics studio in Scandinavia “The Digital Theatre” in 1978.

May 25-June 9, 2012
New Jerseyy, Basel

Posted in Art, Exhibitions

Book on the Fritz #03

May 20th, 2012

Book on the Fritz is an idea and discussion based platform. We create exhibitions, discussions and workshops that investigate the publication and its various components, both morphological and historical with an emphasis on its contemporary manifestations.

In relation to the LGBTQ-festival in Gothenburg and this summer’s large solo exhibition at Göteborgs Konsthall by the artist Chitra Ganesh, Book on the Fritz #03 will be a space for interaction, discussion and practice in the more disregarded parts of the Konsthall.
The method of investigation takes its form from the making of a publication, exploring the role of printed matter by considering its position as a carrier of communication, instrument of power and upholder of norms.
The project will be initiate, along with invited guests, during the LGBTQ-festival, arranging public workshops, discussions and screenings which aim to address issues surrounding the format of the publication from a LGBTQ point of view.
During the festival a temporary office will be set up at Göteborgs Konsthall, exposing the process behind the making of a publication as well as producing an exhibition and a library that will be on show throughout the summer, in parallel to Chitra Ganesh’s solo exhibition.

Participants:
Studio SM, Sophie Mörner/Capricious Publishing, Conny Karlsson, Melissa Gordon & Marina Vishmidt (LABOUR), Bitte Andersson, Kajsa Dahlberg, Girls Like Us, RANDY, Capricious Magazine, Clara Johansson, Occasional Papers & Kaisa Lassinaro (Born in Flames), DIK Fagazine, Karolina Bång, Bart de Baets & Sandra Kassenaar (Success and Uncertainty), AA Bronson, Sleeperhold Publications, Chitra Ganesh, The Queer Zine Archive Project, Little Joe Magazine, 88Books, Disismaineim, Hanna Gustavsson, Kolbeinn Karlsson, Emelie Östergren, Christina Damgaard, Lisa Jonasson, Mellan regn och sol, FUL Art Magazine.

May 30 – September 16, 2012
Göteborgs Konsthall, Göteborg

Posted in Art, Books, Graphic Design

Post-Digital Print – The Mutation of Publishing Since 1894

May 18th, 2012

Post-Digital Print – The Mutation of Publishing Since 1894
by Alessandro Ludovico

In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of everyday life. The mutation of music and film into bits and bytes, downloads and streams is now taken for granted. For the world of book and magazine publishing however, this transformation has only just begun. Still, the vision of this transformation is far from new. For more than century now, avant-garde artists, activists and technologists have been anticipating the development of networked and electronic publishing. Although in hindsight the reports of the death of paper were greatly exaggerated, electronic publishing has now certainly become a reality. How will the analog and the digital coexist in the post-digital age of publishing? How will they transition, mix and cross over? ?

In this book, Alessandro Ludovico re-reads the history of the avant-garde arts as a prehistory of cutting through the so-called dichotomy between paper and electronics.

Alessandro Ludovico will be working as artist-in-residence at Baltan Laboratories and Onomatopee in Eindhoven. During this time he will be exploring the distributed archive and tools for post-digital print, stemming from research presented in his new book. Working with local students, he will build a DIY book scanning machine.

Open call for local artists and designers to bring rare or out of print material that they would like to scan and experiment with in the context of the residency.
 
The whole process will be documented, visualised and published as a supplement to the book, which will be launched on the occasion of the Post-Digital Print conference which will reread the book by inviting one speaker for each chapter. By using each speaker’s expertise of his own field, covering Post-Digital Print’s full scope.
Speakers include: Alessandro Ludovico, Florian Cramer, Adam Hyde (Floss Manuals), Dusan Barok (Monoskop) and Simon Worthington (Mute Magazine).

May 21 – June 2, 2012
Onomatopee, Eindhoven

Posted in Art, Books

Jean-Marc Ballée for Chaumont festival

May 18th, 2012

The task of creating the 23rd International Poster and Graphic Design Festival’s communications was handed to Jean-Marc Ballée.
He knows Chaumont like a graphic designer knows the Festival. He knows the local area like the town itself, where he was in residency from 2003 to 2006. The communications, whose role is to foster dialogue, were in themselves a subject of discussion. Their design and publication was a two-way piece of work with Jean-Marc Ballée, and this dialogue laid bare the 2012 Festival project: its gaps and flaws as much as its strengths and its embrace of the event’s established identity.

The visible, sensory and sentimental and given primacy over the legible and informative. Clues and traces of Chaumont-the-town and Chaumont-the-Festival form a sediment; their setting is illustrations from Playboy in its heyday. Here’s Chocomont, caught in charming company in a room at the Hôtel MAC 3. And there’s the Pompidoumobile, humming away deep in the woods. The presence of reality in the communications is guaranteed by fiction, fantasies included, which ensures their impact on people’s minds.

There is a tension between the parts and the whole. Play on de/composition brings the images vibrantly to life. They expand into various uses and locations, the better to amalgamate in the poster. Once again this year, the spectre of 23 years of graphic design in the town – an improbable tangent point between Raymond Savignac and Edvard Munch – shouts Chaumont. This necromancy stems from a strange alchemy. Soda text spurts fluorescently onto matt black. And that’s the mystification: making images of reality so that these images truly exist in reality. The Festival is in town, and it has its calling card.

A set of inks, papers and sizes specific to each document render this phase of graphic embodiment. The singularity and quality of the published objects give the Festival’s discourse its tone, and form the personality of its 23rd edition.

Posted in Graphic Design

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