Le graphisme dans le livre de photographie: rencontres et entretiens aux créateurs de livres

EVENEMENT: Une journée

INTRO

 

PROGRAMME

EXPOSITION

 

Cartographie du graphisme dans le livre de photographie européen.

Graphistes Invités:
Anna Chevance et Mathias Reynoird (Atelier Tout va Bien), Danny, Marieke & Erwin – (Experimental Jetset), Markus Dressen (Mycrotyp), Hans Gremmen (Graphiste indépendant), Winfried Heininger (Kodoji Press), Rob van Hoesel & Carel Fransen (The Eriskay Connection), Patric Leo (Leoform), Tom Mrazaukas (Brave Books), Ramon Pez (Colors Magazine), Christophe Renard (Graphiste indépendant), Jérôme Saint-Loubert Bié (Graphiste indépendant), Roger Willems (Roma Publications), Jan Wenzel (Spector Books), Véronique Yersin (Macula).

Livres exposés (Salle – 104):

WORKSHOP

PROJECTIONS

 

DISCUSSIONS

 

INFORMATIONS PRATIQUES:

Festival Circulations
Le CENTQUATRE-PARIS
5, rue Curial
75019 Paris

Horaires d’ouverture:
Du mardi au dimanche
11h-19h

 

 

PARTENAIRES:

festival_circulations104

 

Lignes de fuite : un regard sur les réalités cachées du livre de photographie

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TM RSI SGM 1960–90, Research Archive: 1968
Les photographes et les éditeurs qui publient leur premier livre sont souvent confrontés
Its difficult to have an overview of the innovations in terms of design when it comes to photo-books. Not because there would be any but because the events that promote the books are usually selecting those are not making the history of design, not following this evolutions of the book in a more specific way.
 

There are only a few events where the photo-book is seen and selected for its good format and context. Its the case of The Fotobook Kassel founded by Dieter Neubert for being the first proposing a serious selection of Dummies and a book price to publish one of them, Yet Magazine for their concept, the portfolios and their important research in photography, and the case of The Most Beautiful Swiss Books founded by Patrizia Crivelli, Jonathan Hares et Beatrice Mettraux, this very important institution selecting, recognizing and exhibiting art books made in Switzerland. Maybe the last project worth being mentioned is this TM research archive on Swiss typography developed by the ECAL/University of Art and Design Lausanne.

This special attention given to the design of each book, putting it in context and selecting if for its audacious contend and form are giving this books a more intelligent approach is not fetishist, it is based on an interesting research on what the book is and what it can give to photography. All the projects mentioned have all introduced a more reflexive approach on the recent publications they selected, not choosing everything, not wanting to become the only platform of the book but more a significant one. PUNTO DE FUGA will follow their example to publish in this page a series of interviews and meetings done with this designers to better understand their vision and their input in this complex mechanism of making books. A special portfolio on one of their recent books will also be shared exclusively.

Visualizing design:

From this interview we want to be able to read the recent history of photo-books in the way it has been shaped by different schools of design and art movements (The Bauhaus, Futurism, Art Nouveau, Dadaism and Surrealism, The Fluxus Mouvement, Video and Digital art, etc.), recognizing the conscious and unconscious influences that this design approaches have had on the book making process, on the editing format chosen and the language used.

This comes out from the deception we have had visiting the most important book fairs in Paris and in Arles that have often copied other fairs without having developed an identity first. Each book selection shared will have its story, told according to the place, the time and the hands that where behind its fabrication.

Most of what is imperceptible in the book, most of what we haven’t managed to explain about the editing, the shape, the identity of the book are relevant. Sometimes an excessive design can kill the book, and a book with no contend is just an empty glove, but from our experience, the historical books, those we will definitely remember have been those who have overcome their own contend to become exceptional pieces, art pieces, not just a book you can read.

How can we visualize the book design in its constant research process of the proper contend and form?

Only then when this experiment will take shape below, any reader would understand and consider with respect the new experimental and digital languages that are changing radically the photo-book field. It seems quite important for us, for the identity of our project.

PHOTO-BOOK DESIGNER’S LIST
A selection made by PUNTO DE FUGA:

Anna Chevance et Mathias Reynoird – Atelier Tout va Bien
http://www.ateliertoutvabien.com/contact.html
Danny, Marieke & Erwin – Experimental Jetset
http://www.experimentaljetset.nl/
Markus Dressen
http://www.microtyp.org/
Hans Gremmen
http://www.hansgremmen.nl/demo-item
Winfried Heininger
http://www.kodoji.com/
Rob van Hoesel & Carel Fransen
http://www.eriskayconnection.com
Patric Leo
http://leoform.se/
Tom Mrazaukas
http://mrazauskas.de/
Ramon Pez
http://www.ramonpezstudio.com/
Christophe Renard
http://www.christopherenard.com/
Jérôme Saint-Loubert Bié
http://www.jslb.fr/
Roger Willems
http://www.rogerwillems.nl/
Jan Wenzel
http://spectorbooks.com/
Véronique Yersin
http://www.editionsmacula.com/

General Questions for the book designers:

This general questions we are now sending to the list of designers mentioned below will allow us to approach their most adventurous editions in terms of design. We will ask the designers to chose only five books that have been challenging their vision and confront its contend to their personal research in terms of language and design form. Certain questions may be difficult to answer as they engage art of who this persons are, but that is the idea…to create an uncomfortable situation to better get to know their language.

Identity and meaning of design:

– Why do photo-books need design for?
– Is design a matter of : finding indexing, finding a language, translating the photographer’s state of mind, introducing rhythm?
– Which design process mentioned is the most determining your approach on designing a book and why: time, sequence, printing, folding-unfolding ?
–  Is there anything lost in the process of designing a book?
– Do you care about typography?

Research and context:

– What is your most precious research field in terms of design right now?
– Can you list the five most audacious books you have had to design and publish recently and explain in a few words why it has been challenging or disturbing for you?
– What has been your most influential source of inspiration concerning your design language and approach of the book (school, designer, publisher or typographer, etc.)?
– What is the book you would have loved to design?

More info soon…

Stay Tuned!