Elsa Hosk by Yulia Gorbachenko
Harper’s Bazaar Greece August 2020
Photographer Yulia Gorbachenko
Stylist Sandy Armeni
Hair Pasquale Ferrante
Makeup Georgi Sandev
Faire is a bi-monthly publication dedicated to graphic design. Produced by Empire, the publishing arm of French design studio Syndicat (designers Sacha Léopold and François Havegeer), Faire is aimed at students as well as researchers and professional designers. Each issue addresses a specific object or theme and is written by a renowned author.
This anthology set includes three issues, numbers 16 through 18:
n°16 — A reproduction: what El Lissitzkzy wants. By James Langdon
I am rarely convinced when I see graphic design that was originally printed in two inks reproduced in four-color process. Before the advent of commercial color offset printing, the elementary colors of printing — from Gutenberg to Tschichold—were black and red. In the early twentieth century, black and red were used by graphic designers not to attempt to recreate the spectrum of colors that appear to the human eye, but as graphic forces in themselves. To make a distinction. To create dynamism. To embody ideology on the page. In particular, the combination of black and red on white paper has become synonymous with Suprematism and revolutionary Russian graphic design.
A contemporary imaging workflow can enable extraordinary reproductions of these historical aesthetics. A high-resolution digital photograph of an original black and red printed book from the 1920s can be processed using a color profile to calibrate its appearance across design, color correction in computer software, proofing, and printing. This workflow can ultimately achieve a beautiful and precise image of that graphic artifact as it looks today, down to small details of its patination, its discoloration by exposure to sunlight, and the many more other subtleties that define it as an archival object.
But such a reproduction exhibits a strange technical anachronism. What about the constraints that originally shaped the design of that book — the implicit connection between the two colors of its graphics and the architecture of the one- or two-color printing press on which it was printed? Are they not important? Can they even be reproduced?
I compare printed reproductions of the proud black and red cover of the book ‘Die Kunstismen’ (1925), designed by Russian artist and designer El Lissitzky. Published between 1967 and 2017, these images treat the material characteristics of the original book’s color in different ways, appealing to contradictory notions of fidelity.
n°17 — An acronym: ACAB. By Ariane Bosshard, Jérôme Dupeyrat, Olivier Huz and Julie Martin
The acronym ACAB, often seen in urban space in the form of graffiti or stickers, first appeared in the U.K. in the 1970s, linked to punk culture, and later found a certain popularity during the social movements of the 1980s. Meaning “All Cops Are Bastards”, over the last 20 years it has become widespread in public spaces internationally, in the wake of a number of political movements, from alter-globalization groups to the French gilets jaunes, or Yellow Jackets, along with black blocks and TAZs, even spawning different variations, such as “All Capitalists Are Bastards”, “All Colors Are Beautiful” and “All Cats Are Beautiful”.
Observing how ACAB (or its numerical version, 1312) is written, allows one to traverse multiple political landscapes, as well as a number of visual cultures (anarchist, punk, hip-hop, LOL) to which this acronym has spread. It is through this scriptural, graphic, and visual movement that it has become both a sign of recognition and a polysemic statement.
n°18 — A studio visit: the studio of Ines Cox. By Manon Bruet and Julia Andréone
Three women walk into a bar. The first lives in a large apartment in Anvers, Belgium. The second is an independent Graphic Designer who founded her own studio. The third is an avatar—you might even know her—with a certain interest in creative processes, their interfaces, and their vocabularies. Together, they eat some pistachio nuts, order vodka, and are not at all sure about getting up the next day to teach at the Royal Academy of Fine Arts. But together, more than anything else, they form the troubling multiple personalities of Ines Cox, a Belgian Graphic Designer who met Julia Andréone and Manon Bruet in her studio in June 2019. This publication develops a narrative driven by three voices and traces the outline of a path, a practice, and a figure.
Published by Editions Empire
Bilingual, in French and English
60 pages total, each issue separately bound, b&w and color images, 8.25 × 11.75 inches
In the July/August issue of frieze, Etel Adnan contemplates horizons in an exclusive excerpt from her forthcoming book, Shifting the Silence; Moyra Davey and Kate Zambreno consider Nadine Gordimer’s haunting proposition ‘to write as if you were dead’; and Evelyn Taocheng Wang answers our questionnaire.
Also featuring: an essay by Gary Zhexi Zhang on the parafictional artworks of Cooking Sections, Goldin+Senneby, Sean Raspet and Shengping Zheng, which sit between ecology and industry. A profile by Brian Dillon on the choreographer Michael Clark, who combined classical training, punk, pop and outré fashion to recast London in the 1980s in his own image. 1500 words by poet Bernadette Mayer on the ever-changing colours of the alphabet. And Lynne Tillman responds to a photograph from An-My Lê’s Small Wars (1999–2002).
Plus, a series of columns on games – from Darran Anderson’s memories of Street Fighter II to Simon Denny and Joanna Pope’s reworking of the world’s first socialist board game Class Struggle (1978) – and 21 reviews from around the world, including ‘Uncanny Valley: Being Human in the Age of AI’ at de Young Museum in San Francisco and ‘Tell Me About Yesterday Tomorrow’ at the Munich Documentation Centre for the History of National Socialism.
Drift, Volume 9 takes a multi-faceted look at the coffee culture of Bali. Once a hideaway haunt for yogis and surfers, this tropical destination in the world’s largest archipelago nation has become a hotspot for a wide range of visitors, from coffee purveyors to nomadic techies and itinerant bon vivants. And the new global trade winds they bring to the Indonesian island offer fresh perspectives on its cash crop coffee, as well as an increasingly international sense of style. A burgeoning third wave of coffee has narrowed the proximity between coffee farmer and consumer in Bali, presenting new opportunities for collaboration and education—what one author posits as the fourth wave of coffee. But it also presents challenges, as the Balinese, steeped in local tradition and religious beliefs, are confronted with foreign money and interests. Drift Volume 9 examines these relationships, while taking readers all over the island to explore the temples and beans of the Kintanami highlands, to the highly designed coffee shops of Canggu and Ubud.
Drift, Bali includes:
How the Balinese take their coffee—with everything from durian to egg yolks
Photo essay of local baristas and their personal interests
The influence of digital nomads and other expats on the coffee culture of Bali
Explainer of “fourth wave coffee” and Indonesia’s Coffee Wheel
How coffee shops in Bali are doing their part to alleviate the island’s waste crisis
Balinese religion and how they need to be in balance with both gods and devils
And much more…
160 pages, offset-printed and perfect bound, full color on uncoated paper.
Carbon neutral printing.