On the occasion of a visit to the exhibition at the MRAC Occitanie / Pyrénées-Méditerranée entitled Honey I rearranged the collection, Jérôme Dupeyrat and Thierry Chancogne continue their discussion of the controversial relationships that exist between art and Graphic Design, based on a historical collection of “artists’ posters”.

          The artist’s poster or affiche is at once the traditional medium used to advertise artistic events, produced by the artists themselves, the historical medium of a certain passion for French-style painted posters and the desire of a particular artistic practice to democratize art, the symptom or symbol of potential new relationships between Graphic Design and art in an era where artists have acquired a new graphic culture and Graphic Designers a new artistic ambition.

          The thematic exchanges nourished by theoretical, artistic, and graphic references taken from recent and contemporary history are punctuated by thoughts from Mathias Augustinyak, based on his experiences with designing posters for artists, artist posters, artistic posters, and the art of the poster.

Authors: Thierry Chancogne, Jérôme Dupeyrat, Mathias Augustyniak
Feat John Baldessari, Richard Hamilton, Jenny Holzer, Allan Kaprow, Christophe Lemaitre, M/M (Paris), Michael Riedel, Sturtevant

In 1956 the designer Eliot Noyes was employed by the Director of IBM to rethink the company’s design as a whole, from products to communication right up to the architecture of the buildings.

Graphic Designer Paul Rand was invited to define all of the graphic documents used in the company. Thus began one of the most memorable graphic design projects of the 20th century, at the heart of the “IBM Graphic Design Program”.

The series of IBM logotypes created by Paul Rand culminated in 1972 in a drawn version made up of layered strips, making the company’s initials instantly recognisable all over the world. This iconic logo, composed of 8 bars, continues to be used today.

Between the sixties and the eighties a significant group of graphic rules and uses was documented and regularly updated in a folder that was organised into sections. Inside we can find the instructions that allow us to reproduce the logotype, graphic and typographic rules, designs for internal and external documents, signage and architectural applications. This document allows one to work with the company’s graphic signs in coherence and efficient discussion with other trades. Today this folder is an iconic, rare and little documented object and it seems important to us to render it accessible and distributable, to Graphic designers, students and anyone interested in the adventure undertaken by this emblematic company.

Considering the many updates that were made to graphic design standards and norms, the different folders of the IBM norm that we consulted often differed greatly in terms of their content.

The successive documents from the folder and their developments will be published and reproduced so as to offer the widest possible vision of the work accomplished over a period of more than twenty years. This work will be done in collaboration with the archive team from IBM New York, and the Kandinsky Library of the Georges Pompidou Centre in Paris.

The project is being undertaken with the approval of the legal successors of Paul Rand and IBM itself.

Absalon, Yaacov Agam, Alexander Calder, Marc Chagall, Lygia Clark, Naum Gabo, Rupprecht Geiger, Matt Montini, Bruno Munari & Leo Lionni, Ezra Orion, Chana Orloff, David Perlov, Dorothea Rockburne.

A limited edition book by Yonatan Vinitsky in the format of a completed sticker album.

Inspired by popular French and Belgium sticker albums, the book inhabits a place between an artist’s book and historical documentation and re-enactment in the form of a large-scale completed sticker album sculpture. Vinitsky’s publication examines the studios of 14 international artists of the 20th Century, through the collaboration of more than 40 artists, writers, designers, photographers, architects and other related practitioners, working together under the roof of the book.

The 14 studios were selected by Vinitsky from his personal list of art heroes. The book is constructed from newly commissioned texts and visual projects; without the use of any archival material, using performance, illustration, 3D models, photography, scanning, painting, sculpture and various re-enactments in order to ask what the artist studio means today.

Contributors:
David Adika, François Aubart, Ellie Armon Azoulay, Ariella Azoulay, Ewa Bickels, Alice Channer, Héléna de Laurens, Sophie Delpeux, Vanessa Desclaux, Oliver Evans, Jacob Farrell, Ryan Gander, Marie-Ange Guilleminot, Mark Higden, Sam Hryckow, Benjamin Lafore  & Sébastien Martinez-Barat, Myriam Lefkowitz, Achim Lengerer, Cédric Libert, Mathieu Loctin, Rebecca May Marston & Barnie Askew Page, Susan Meiselas, Aurélien Mole, Hans Ulrich Obrist, Ourie Ophir Azoulay, Émile M. Ouroumov, Janina Pedan, Florent Pierre, Pierre-Alain Poirier, Élodie Royer & Yoann Gourmel, Karin Ruggaber, Tom Shay, Moran Shoub, Sam Thorne, Ben Toms, Emilia Vinitsky Armon, Jonathan P. Watts, Hugo Wheeler, Jennifer Winkworth, Raphaël Zarka.