The International Poster and Graphic Design Festival of Chaumont is providing “carte blanche” exhibition spaces of about 25 m².These will be allocated, after assessment of applications, to 10 professional individuals or teams. The spaces are located in the former printshop of the Tisza packaging-textiles factory, which is still operating.The festival will give each selected project €1,500 of funding as well as logistics and com- munications support.
The winning projects that were presented during the 2011 Festival:
Enlight the World
Vincent Godeau, Vincent Broquaire, Arnaud Finix
The room is in darkness. Lightscapes and miniature worlds move across the walls. The landscape drawn by the artists evokes the creation and evolution of our world. On the programme: improbable prehistoric monsters, the extinction of dinosaurs, then the Middle Ages with its castles and untamed hills teeming with animals. To finish, the futuristic city and flying saucers. Facing this installation is a studio for the public. Anyone can author a scene, and then the exhibition enters a state of perpetual evolution. Make films – the light is in your hands. A miniature film-making studio is at your disposal. Draw and cut out shapes, and then project them on the wall. Play with shadows and colours, to invent your own landscape.
This project is a translation of the financial crisis in Greece. Romain Albertini has created a monotype typeface of Cyrillic inspiration that can be read and understood by all; and a card game with slogans that refer to money. A ‘Greek’ graphic world thus takes shape. Each card has a double, because the crisis has a before and after. In economics as in games, players can win or lose everything with equal speed.
Marie Saarbach, Clémence Michon
The nerve centre of our project is Chaumont-sur-Marne: a former Merovingian royal residence built on Mont Chauve, the setting for the tragic story of a fratricidal princess in the 13th century, and a town where one can readily receive forgiveness if 24 June falls on a Sunday. It is masked by an impressive viaduct and served by a regional express train line. Chaumont’s folklore is rich indeed, and there is no question of providing a full survey here (sorry!). Rather, we will travel along the timeline from the 10th century to the present day, pausing whenever an anecdote, word or image takes our fancy. Our non-exhaustive discoveries have yielded four posters: four stops in ‘our’ history of Chaumont. During our residency the week before the exhibition opens, we will revisit these printed media, which will then become a forum for dialogue with Festival-goers.
The Noise of Ideas / Map of a Creative Process
Boris Igelman, Delphine Cordier, Jérémy Vey
In ‘The Noise of Ideas / Map of a Creative Process’, we explore the idea under construction, we dissect creation, and we navigate through the heart of a process. Our goals? Render tangible the progression between mind, heart and hand, prior to the result. Question our practice. Seek detachment. Gain awareness of the process, the better to experiment with it.
This project centres on the link between ‘expressive matter’ (ink and paper) and print production methods. Starting with eight papers (matt white, textured white, beige, grey, black, magenta and yellow), Julie Regazzacci created and printed several posters, each in a different colour: yellow, cyan, magenta or black. The use of primary colours directly references the colorimetric standards of printing, particularly offset. The overlaying of a flat area of ink creates new and sometimes unexpected colours, depending on the original shade of the paper.
Guus Gibjen, Vera Verberne, David Paans (GVD)
“1. Allow events to change you.
2. Forget about good.
3. Process is more important than outcome.
4. Love your experiments.”
These are the first four of 43 statements in Bruce Mau’s Incomplete Manifesto for Growth, written in 1998.
Fifty freshly graduated designers from the Netherlands reinterpreted thèse statements and transformed them into Ongoing. Ongoing is initiated by GVD (Guus Gijben, Vera Verberne and David Paans). Against all expectations, this is NOT a design studio but a collaboration to challenge themselves and other designers. Ongoing was first presented at the Graphic Design Festival Breda (GDFB) in 2010.
The Ship Boy
Jérémy Joncheray, Thomas Oudin, Roseline Cunin, Arnaud Wink
The ‘Ship’s Boy’ project is about appropriating the international code of maritime signals. How can this code – which is normally used in specific, and often emergency, situations be interpreted by an audience who have a perspective on the sectors of graphic design? Will the signals be respected right down to the last colour? Will the proposed grid yield new signals? To try to answer these questions, we invite you to experience a maritime ‘immersion’, during which you can write your own call for help, using a grid. This area, devised to illustrate the growing number of water-related disasters, is a general call for help that undergoes a mise en abîme by a code that tries to control this element.
Towards a Poetic Morphology
Floriane Pic, Joris Lipsh
‘Towards a Poetic Morphology’ is an installation that invites the text to shed its intrinsic meaning so that its form and space-staging gain the upper hand and it becomes a malleable landscape whose typographic veil camouflages many interpretations and a new visual language.
“Two trees stand in the snow,
tired of the light, the sky
heads home – nothing nearby
where the gloom makes its abode.
And behind the trees,
houses tower in the dark.
Now you hear someone speak,
the dogs begin to bark
The round, beloved moonlight
lamp appears in the house.
When again the light goes out
A gaping wound remains in sight.
What a small life to know
and much nothingness nearby.
Tired of the light, the sky
has given everything to the snow.
The two trees dance with grace,
bend their heads and nod.
Clouds race across the sod
of the world’s silent face.”
Oppressive Light, Robert Walser
Romuald Roudier, Clémentine Berry, Thomas Weil
Our first intervention was to locate a second, beyond-the-venue space of the same size as our exhibition space at La Fabrique. We soon decided to occupy an inaccessible wing of the Tisza factory, measure out 25m2 and demarcate it. Although our project could hardly render in exhaustive detail the activity of men and machines, it might borrow its forms, workings and vocabulary. Presented here in lifesize scale are the main steps in manufacturing a polypropylene canvas bag. Somewhere in the spectrum between minimalism and overload, graphic productions function like intercessors or time travellers. They are truncated reflections of an industrialised microcosm on the verge of extinction.
François Chay, Léo Chéron
We want to explore multimedia’s place in the poster festival through two ideas: space and time. Posters and books are linked to defined spaces: the paper’s dimensions, and the reading location. Multimedia connects ideas and people that are not necessarily close together. Print items can be collected; but websites, YouTube videos, tweets, etc. are harder to collect. The perception of the cube – a finite space – is blurred by LEDs that can make letters appear. The 3D structure becomes a 2D reading area. What is said about the festival in situ, but also worldwide, is retrieved. When a message is sent, the structure reacts and makes it possible to recreate the message as a virtual poster, in a new environment, at a different time.