Action, interaction, activation…

. master thesis 2021
. 13 x 19.5 cm
. 236 pages
. 7 copies

 

Between 2010 and 2020, performance entered the graphic designers’ toolbox. This thesis explores the forms and challenges of performance in graphic design through cases, all European, of different studios and relatively recent collectives, without forbidding the observation of artists from the field of contemporary art who are also practicing graphic design. This survey, whose territory will certainly expand in the coming years, offers a broad historical definition of graphic design. This thesis produces a typology intended to map the functions of performance in these practices as well as the different modes of relation to the spectator with which these studios and artists work. This study covers works dedicated to questioning the socio-economic conditions of existence of contemporary graphic designers, going through productions turned on one side towards a graphic design intended for citizens and on the other towards digital interfaces questioning then the place of the latter in our spectator practices, and by projects setting up protocols with instructions in order to reveal emerging behaviors. My thesis therefore aims to explore how performance seems, today, to constitute a new reflective tool for certain practitioners of contemporary graphic design.

 

Action, interaction, activation — Nouvelles pratiques du Design graphique (2010-2020) (Action, Interaction, Activation — New Graphic Design Practices (2010-2020)) is a Master thesis produced as part of my DNSEP 2021, at the Graphic Communication Department of HEAR Strasbourg. He was followed by Nicolas Fourgeaud. It is available in print at the HEAR Strasbourg Media Library and in PDF version on request.

Now or Never

. report of my Erasmus exchange at ArtEZ (Arnhem, Netherlands)
. 11.5 x 16 cm
. 60 pages
. 3 copies

 

« I have written this exchange report with the desire to be able to help you as much as possible with this important choice. You will find a lot of practical information there. I hope they will make it easier for you to project yourself as well as to anticipate any organizational problems. I present to you my experience, according to my feelings, whether they are positive or negative. Once you have read this, the purpose of this report will be accomplished if it has helped you with your choice. Good reading ! »

 

Now or Never is the report of my Erasmus exchange of five and a half months spent in the Netherlands. I wrote and built it as a guide. Preserved by the administration of the HEAR, this book will help to guide future students interested in an exchange semester at ArtEZ. First, they will be able to get a better idea of ​​the educational and cultural environment in the Netherlands, and secondly, they will be able to find a good deal of advice for practical life there.

Hello Everyone.

. collaborative publication from a workshop
. mirror effect cover
. 16 x 30cm
. 58 pages
. 3 copies

 

“The content of this book was written during a research workshop on publishing using network, which took place on the 7th of october 2019 at ArtEZ in Arnhem. This book is a double collaboration, first between us, Nai-Syuan Ye and Lucie Henriot who are two students from the Graphic Design department. But it’s also a collaboration with a network of volunteer students and teachers who answered present at the workshop.

Nowadays, the internet and its networks are everywhere and they influence the whole of our daily environment. Now you can chat with your banker on your phone or exchange and sold your items through several facebook groups. Thus, the publishing area too, is not an exception and on the contrary sees emerge new models.

That’s what Alexandro Ludovico tried to demonstrate in Post-Digital Print, The mutation of Publishing since 1984, published in 2012. He is an italian researcher, artist and also the chief editor of Neural Magazine since 1993. The reading of this text, and more specifically the last chapter called “The network: transforming culture, transforming publishing” was a starting point for us.” Extract from the Preface of the book. This book is available in ArtEZ’s library.

To see the google document made during the workshop, click here.

Book Book Book

. automated editing
. 28 x 42 cm
. 380 pages
. 1 exemplaire

 

This book has been produced in an automated manner. A book made out from 35 anonymous persons answering 10 questions about book. Each color refers to one chapter. One chapter contains 35 answers to one questions. At the end you can see 35 imagined books.

The Shared Cookbook

. collaborative activation of the book
. 10 x 15 cm
. 30 pages
. 1 copy of each

 

Because cooking can be a moment of joy, meeting, discussion and above all sharing, The Shared Cookbook project presents a cooking protocol to be activated by three people. For each of the stages (choice of recipe, races, preparation of the dish and storage), people are obliged to exchange in order to recompose the fragmented information available to them. Each book has a different part of the recipe. Much more than the action of “cooking”, this project thus proposes to link a relationship where collective coordination is required for deciphering and producing recipes.

This Book Presents…

. semi-automated book
. 23 x 30 cm
. 170 pages
. 2 copies

 

As part of a course, this edition was made from the data flow of my internet history. This book speaks for itself and its own construction process. This book is self-documenting since it is composed of all the research I have done to build it. The white pages are made up of the various sites visited. An eye-shaped pictogram indicates when a site has been visited more than 3 times. While the black pages present them, all the models made for the construction of this book. The order of this book is antechronological, which recalls that of internet history where the most recent research is always above. This self-reflective aspect is also reminiscent of the body of work produced by conceptual artists between the 1960s and 1970s. The length of the title as well as the color of the cover refer to the historian’s book. art Lucy Lippard: Six Years – The Dematerialization of the art object from 1966 to 1972.

Index, Archive, Save

. book, photography
. 11.5 x 18.5 cm
. 1 copy per year

 

This photo book reveals the tendency we have to lend cell phones our cognitive memory capacities. This book consists almost exclusively of photographs. On the left pages, the photographs represent exhibition cartels I have visited. Each photograph is given a new cartel containing information relating to my way of archiving them (image file’s name, date of shooting, time of shooting). These photos are mostly poorly framed, blurred, overexposed. In fact, the objective in taking these photographs was only to make them hypomnematas, in the sense of memory support, as defined by Michel Foucault in “Self-writing”,  Saying and writing published in 1983. Printing these photographs gives them new visibility and allows them to really act as a memory medium, which was not the case in digital version on my phone.

The right pages are to be unfolded in order to discover the original work which belonged to the cartel photographed. These are photos from Google Images, which could be called collective memory. This book takes the form of an archive with reflexive issues.

Constellations maps

. book, typographic specimen
. dust photograms
. 50 x 32 cm

 

I designed a new typographic specimen of the free font Manifont Grotesk designed by Alexandre Liziard and Etienne Ozeray. Manifont Grotesk was designed from the skeleton of the Vremena grotesk. It has no curves and it is its outgoing appearance, which makes it so recognizable, that made me think of constellations.

This new specimen groups together 11 constellation maps, with information on each of them concerning their position, the surface of the constellation, its brightness. Each card is punched. These perforations represent the different stars that make up the constellation. Thus these perforations let glimpse the photograms of dust that I slipped between each card. Finally, two large posters complete the specimen.

 

At The Heart of The World

. remake
. 13 x 17.5 x 5.5cm
. 166 pages
. 1 copy 

 

Remake of the book At the Heart of the World, Complete Poems 1924-1929 by the poet traveler, Blaise Cendrars. This book encourages the reader to appropriate it by activating it: by writing or transforming it. Each poem is detachable and can be sent. Once the poem is gone, there remains only its title and a box with the information related to the sending. When all the poems are detached, the book becomes a logbook.